albeit composed with a sharp sense of timing and sound-design, and a tendency often to focus on a single delicate strand of sound rather than always weaving them together into something more complex. This last-named quality is at its most attractive in Cercles and Marelles, and the final piece Yegl (2007), whose computer alert sounds are amusingly arresting but will surely lose their significance in a few more operating-system updates’ time. Finally, Annie Mahtani (b. 1981, Coventry) is concerned in her liner notes to cite the sources of her recorded materials, and the circumstances under which the pieces were conceived and realised, in a way that contrasts markedly with the more poetic and suggestive texts accompanying the other CDs, which might suggest a somewhat documentary approach to composition, although the music is mostly at least as abstract in its effect as anything on the other five CDs. Of course, the resources of computer music enable almost any sound to be turned into almost any other sound, and there is often little to distinguish the ‘concrète’ from the synthetic, so that it might be questioned whether mentioning source materials has any real purpose in giving listeners a point of entry into the music. The effect might indeed be quite the opposite – a sense of confusion when what’s heard seems to have little or no connection to its ingredients as described. Past Links (2008) subsumes a range of recordings made at a museum in the West Midlands into a continuous textural flow which indeed generates a ‘rich sonic landscape’, although reminiscent of a ‘bygone age’ it is certainly not, to these ears anyway. ’Round Midnight (2018) similarly treats recordings made in the Amazon rainforest with such a weight of transformative procedures that I found myself wanting only to hear the biological polyphony of the creatures whose calls had become so homogenised, and wondering why the composer felt she needed to add anything to them. The other pieces build up a picture of a musical style forged mainly from slowly changing laminar elements occupying a large proportion of the audible frequency range, and with a certain sameness of pacing (the shortest of the five pieces is 9′26′′ in duration and the longest 12′57′′) and overreliance on crossfading to bring about a sense of structural process. I had the impression of the field recordings on which most of the music is based being poured into the same textural and structural mixing bowl each time. The final Racines tordues (2019) is the only piece whose sources aren’t mentioned, although music-boxes obviously play an important role, and I found it the most satisfying of the five, especially in that its mostly abstract-sounding constituent layers merge, separate and recombine in a much more subtle way than elsewhere. In conclusion, the weight of the acousmatic tradition, as initiated in Paris by what became the Groupe de Recherches Musicales, is felt to some extent in almost all of this music. There’s no intransigent staking out of radically new musical terrain, such as one might associate with the tangential departures from the tradition in the work of composers like Xenakis or Radigue, but on the other hand there is plenty of evidence of the vitality and musical diversity of the medium, in the music of Monique Jean a significant (if belated) personal discovery, and in the almost diametrically different work of Ana dall’Ara-Majek a rare and captivating sonic exuberance that disarms criticism.

中文翻译：

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Hans Thomalla - Hans Thomalla，Bagatelles / Air / Noema。光谱四重奏，里昂，菅原 - Hemmi。边带记录，B0851YGV57。

尽管具有敏锐的时间感和声音设计感，并且倾向于专注于单一微妙的声音，而不是总是将它们编织成更复杂的东西。这种最后命名的品质在 Cercles 和 Marelles 以及最后的作品 Yegl (2007) 中最为吸引人，其计算机警报声很有趣，但肯定会在更多操作系统更新的时间里失去意义。最后，安妮·马赫塔尼（Annie Mahtani，生于 1981 年，考文垂）在她的班轮笔记中引用了她记录材料的来源，以及这些作品的构思和实现的环境，以一种与更具诗意和暗示性的方式形成鲜明对比的方式其他 CD 随附的文本，这可能暗示了一种有点文献记录的作曲方法，尽管音乐在效果上至少与其他五张 CD 上的任何内容一样抽象。当然，计算机音乐的资源几乎可以将任何声音转换为几乎任何其他声音，而且“具体”和“合成”通常几乎没有区别，因此可能会质疑提及源材料是否有任何实际目的为听众提供进入音乐的切入点。效果可能确实完全相反——当听到的内容似乎与所描述的成分几乎没有联系或没有联系时，会产生一种混乱的感觉。Past Links (2008) 将在西米德兰兹 (West Midlands) 一家博物馆制作的一系列录音包含在连续的纹理流中，这确实产生了“丰富的声音景观”，尽管让人想起“过去的时代”，但无论如何，对这些耳朵来说肯定不是. 'Round Midnight (2018) 类似地处理了在亚马逊雨林中制作的录音，采用了如此沉重的变革程序，以至于我发现自己只想听到那些叫声变得如此同质化的生物的生物复调，并想知道为什么作曲家觉得她需要向他们添加任何东西。其他乐曲构成了一种音乐风格的画面，主要是由占据大部分可听频率范围的缓慢变化的层流元素构成的，并且具有一定的节奏相同（五首曲子中最短的为9'26''时长）和最长的 12'57'') 和过度依赖交叉淡入淡出带来结构过程感。我的印象是，大部分音乐所基于的现场录音每次都被倒入同一个质地和结构的搅拌碗中。最后的 Racines tordues (2019) 是唯一没有提及来源的作品，尽管音乐盒显然扮演着重要角色，我发现它是五部中最令人满意的，尤其是它的大部分听起来抽象的成分层合并，以比其他地方更微妙的方式分离和重组。总而言之，几乎所有这些音乐都在某种程度上感受到了声学传统的重要性，正如法国音乐研究集团在巴黎发起的那样。对于全新的音乐领域，没有不妥协的态度，例如人们可能会联想到 Xenakis 或 Radigue 等作曲家的作品与传统的切切背离，但另一方面，有大量证据表明音乐的活力和音乐多样性媒介，