One of the constants of human nature seems to be pondering our relationship with nature: From Aristotle declaring that we are “rational animals”, Descartes separating our natural, material bodies from our God-like, immaterial, thinking minds, to Darwin mapping a direct line from the apes to us –from animal to animal – nature to nature.

Our concept of nature has often been reduced to an antithesis of the human, as reflected in this much cited definition of nature from The Oxford English Dictionary: “The phenomena of the physical world collectively; esp. plants, animals, and other features and products of the Earth itself, as opposed to humans and human creations”. Recently, sparked by the discourse of ecocriticism and environmentalism, this anthropocentric view of nature has been unmasked; we are nature, and failing to realize this is exactly what has led to a nature in crisis – and thereby, a crisis for humankind.

Kammerkoret Nova (Nova Chamber Choir)
Julia Selina Blank, Conductor

The post Human/Nature [World Premiere Recordings] appeared first on NativeDSD Music.

This album features the music of 13 female composers performed by Tine Thing Helseth and the tenThing Brass Ensemble.  It takes its title from an outdated quote that once described Ethel Smyth’s music.

The album is Exclusively Available at NativeDSD in Stereo DSD 512, DSD 256, DSD 128 and DSD 64 plus the recorded format of Stereo DXD. 

Good music is good music no matter what, but a little extra girl power never hurts. In observance of the story of Ethel Smyth and the critic who praised Smyth for ‘composing like a man’, tenThing knew that this had to be the title of their new album, released on the LAWO Classics label.

It’s both wonderfully provocative and something to bring a wry smile to the face. From Clara Schumann and Fanny Mendelssohn to Florence Price and Ethel Smyth, this program celebrates the work of female composers from around the world in world premiere transcriptions for the brass ensemble.

Tine says “When I was growing up, it was entirely normal for girls to play both trombone and tuba, and for me playing trumpet felt like the most natural thing in the world. However, in the professional music world this was not necessarily the case. In many countries, there is still a long way to go in terms of gender equality in the brass world. It feels incredibly good to play with the other musicians in tenThing. We trust each other. Without a doubt, trust and security are some of the things I value most when making music with others, and this applies to life in general. She composes like a man is a project that means a lot to me. It means a lot to us.”

Formed in 2007 by critically acclaimed Norwegian trumpeter Tine Thing Helseth as a fun and exciting collaboration between musical friends, the ten-piece, all-female brass ensemble tenThing have firmly established themselves on the international scene to great acclaim. tenThing are celebrated for their commitment to outreach and access to music through diverse repertoire. The group work closely with Norwegian guitarist and arranger Jarle Storlokken in the arrangement of scores for the ensemble.

Tine Thing Helseth, Trumpet & Leader

tenThing Brass Ensemble
Maren Ingeborg Tjernsli (trumpet)
Ingrid Eliassen (trumpet)
Elin Holmen Kurverud (flugelhorn)
Lena Wik (horn)
Heidi Solem (tuba)
Astri Karoline Ellann (bass trombone)
Marie Nokleby Hanssen (trombone)
Ingebjorg Klovholt (trombone)
Tone Christin Lium (trombone)

The post She Composes Like A Man appeared first on NativeDSD Music.

This album is Exclusively Available in Stereo DSD 512, DSD 256, DSD 128 and DSD 64 at NativeDSD thanks to our signature Higher Rates Program.

As I already explained in the previous album, for some years I have been developing a process of discovery and familiarization with the repertoire written by female composers and, throughout this journey, I have had the pleasure of getting up close and personal with true gems of the piano literature.

Except for certain specific cases, most of the 18 composers on this album are unfortunately still unknown. To say that it seems incomprehensible to me that for several of these pieces this one is their first recording, is an understatement. But, of course, I feel truly honoured to have been able to contribute in this very special way to the fight in delivering justice to this repertoire and its authors.

This second part of “La Muse Oubliée” does not intend to bring any sort of closure. On the contrary, it represents the continuation of a project as large as the number of female composers who have yet to be included…

Antonio Oyarzabal, Piano

The post La Muse Oubliée II (The Forgotten Muse II) appeared first on NativeDSD Music.