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Roomful Of Teeth

Roomful Of Teeth
Release Date: 10/30/2012 
Label:  New Amsterdam   Catalog #: 41   Spars Code: DDD 
Composer:  Rinde EckertCaleb BurhansMerrill GarbusCaroline Shaw,   ... 
Orchestra/Ensemble:  Roomful Of Teeth
Number of Discs: 1 
Recorded in: Stereo 
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Notes and Editorial Reviews

The adventurous and renowned vocal octet Roomful of Teeth released their debut self-titled album Roomful of Teeth in October 2012. This album features a variety of intriguing music.

"Partita for 8 Voices," an a cappella composition by Caroline Shaw, won the 2013 Pulitzer Prize for music. The piece, written for Roomful of Teeth, is in four parts on this album, Passacaglia, Courante, Allemande and Sarabande.

The composer writes: "Partita is a simple piece. Born of a love of surface and structure, of the human voice, of dancing and tired ligaments, of music, and of our basic desire to draw a line from one point to another." - Caroline Shaw

"From the neo-alpine yodel on Rinde
Read more Eckert’s “Cesca’s View” to Caleb Burhans’s stirring post-minimalist take on bel canto singing in “No”, the album breathes fresh life into the a cappella landscape. One of this generation’s most dynamic vocal talents, Merrill Garbus of tUnE-yArDs, contributes two electrifying songs that explore a range of world-inspired grooves. African pygmy yodels, Inuit rhythmic pulsing, Appalachian hymn tunes, and bracing Eastern European belting all filter through Garbus’s powerful compositional voice. Composer-to watch Caroline Shaw uses her insider vantage as a Roomful of Teeth vocalist to create four sonically exquisite and emotionally charged journeys through the ensemble’s soundworld.

New Amsterdam co-directors William Brittelle, Judd Greenstein, and Sarah Kirkland Snider contribute as well: Brittelle’s daring “Amid the Minotaurs” pushes and pulls before opening into a heart-stopping soprano solo; Snider’s otherworldly “The Orchard” intertwines haunting vocals with the text of poet Nathaniel Bellows; and Greenstein’s three pieces explore the group’s polyphony at its most lively, tender, and affecting. Altogether, the album is a 13-piece showcase of this adventurous ensemble’s staggering range, resulting in an entirely unforgettable listening experience." - New Amsterdam Records Read less

Works on This Recording

1. Cesca’s View by Rinde Eckert
Orchestra/Ensemble:  Roomful Of Teeth
2. No by Caleb Burhans
Orchestra/Ensemble:  Roomful Of Teeth
3. Quizassa by Merrill Garbus
Orchestra/Ensemble:  Roomful Of Teeth
4. Passacaglia by Caroline Shaw
Orchestra/Ensemble:  Roomful Of Teeth
5. Amid the Minotaurs by William Brittelle
Orchestra/Ensemble:  Roomful Of Teeth
6. Montmartre by Judd Greenstein
Orchestra/Ensemble:  Roomful Of Teeth
7. Courante by Caroline Shaw
Orchestra/Ensemble:  Roomful Of Teeth
8. A E I O U by Judd Greenstein
Orchestra/Ensemble:  Roomful Of Teeth
9. The Orchard by Sarah Kirkland Snider
Orchestra/Ensemble:  Roomful Of Teeth
10. Allemande by Caroline Shaw
Orchestra/Ensemble:  Roomful Of Teeth
11. Sarabande by Caroline Shaw
Orchestra/Ensemble:  Roomful Of Teeth
12. Run Away by Judd Greenstein
Orchestra/Ensemble:  Roomful Of Teeth
13. Ansa ya by Merrill Garbus
Orchestra/Ensemble:  Roomful Of Teeth
14. Partita for 8 Voices by Caroline Shaw
Orchestra/Ensemble:  Roomful Of Teeth
Notes: Winner of the 2013 Pulitzer Prize in music. The four parts of this suite have separate tracks on this album: Passacaglia, Courante, Allemande and Sarabande. 

Sound Samples

4 Pieces: No. 4. Passacaglia
Amid the Minotaurs
Montmartre
No
4 Pieces: No. 3. Courante
A E I O U
The Orchard
Cesca's View
4 Pieces: No. 1. Allemande
Quizassa
4 Pieces: No. 2. Sarabande
Run Away
Ansa ya

Customer Reviews

Average Customer Review:  1 Customer Review )
 Unusual recording and demanding music. May 18, 2013 By Dr. Mitchell Gurk (Spencer, MA) See All My Reviews "The human voice triggers limbic reactions. Various calls in these pieces force us to respond with alarm, concern, shame, relief, compassion, peace, tension, fear. It is a feat of emotional endurance to listen to this album thru. One must be ready for the vulnerable experience and to be rewarded by it. Carolyn Shaw's pieces seem the most inventive conceptually with vocal timbres and the most objectified. In Courante she plays with the limits of the breath of life as in exertion, athletic or sexual. In that we witness more than music, we are joined to what it is to be that particular person, thus the shame or disgust or love responses. Shaw's are mixed into the playlist with the other pieces, so i intend a future hearaing to group the suite, Passacaglia, Courante, Allemande (which mixes spoken word about its own evolving form with choral chanting), Saraband. Greenstein's Montmartre is horrifying, my skin crawled - therefore very very good. What vision of the pretty picaresque Parisian immigrant neighborhood prompted this? His other works similarly are suffused with intensity. His Run Away is a beautiful, organ-like lullaby. Perhaps the most purely and traditionally vocal beauty is in Burhans ironical "No", that shaming syllable in a setting of loveliness and consolation. "Amid the Minotaurs", a modern poem written and set by Wm. Brittelle gives us existence, reality, iconography and death, equivalent to any great Dies Irae, a capella. These vocalists are superb, e.g., Eseli Gomez' yodeling in "Cesca's View". They yodel, croon, whisper, sigh and grunt. Strange. Captivating. Unlike anything else." Report Abuse
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