{"product_id":"dylan-mattingly-the-wild-heart","title":"Dylan Mattingly: The Wild Heart","description":"\u003cp\u003e\u003cstrong\u003eRelease date: 26th June 2026\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLabel: Nonesuch\u003c\/p\u003e\n\u003cp\u003eCatalogue No: \u003cspan\u003e0075597892727\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cspan data-originalfontsize=\"8.5pt\" data-originalcomputedfontsize=\"11.333333\"\u003eNonesuch Records releases \u003cem data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003eThe Wild Heart\u003c\/em\u003e, the label debut from composer \u003cstrong data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003eDylan Mattingly\u003c\/strong\u003e, \u003c\/span\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/dylanmattingly.lnk.to\/TheWildHeart\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/dylanmattingly.lnk.to\/TheWildHeart\u0026amp;source=gmail\u0026amp;ust=1777039267605000\u0026amp;usg=AOvVaw1twMihbNAkumVrP5IF79bH\"\u003e\u003cem\u003e\u003cspan data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003eThe Wild Heart\u003c\/span\u003e\u003c\/em\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003cspan data-originalfontsize=\"8.5pt\" data-originalcomputedfontsize=\"11.333333\"\u003e, performed by \u003cstrong data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003eContemporaneous\u003c\/strong\u003e with conductor \u003cstrong data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003eDavid Bloom\u003c\/strong\u003e and vocal soloist \u003cstrong data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003eIarla Ó Lionáird\u003c\/strong\u003e. The vinyl edition features two movements - ‘Ulysses Dances’ and ‘Last Dance’ - from the five-movement work \u003cem data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003eThe Transmutation Notebooks\u003c\/em\u003e, as well as \u003cem data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003eSunt Lacrimae Rerum (these are the tears of things)\u003c\/em\u003e. (The CD and digital formats feature all five moments of \u003cem data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003eThe Transmutation Notebooks\u003c\/em\u003e as well as \u003cem data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003eSunt Lacrimae Rerum (these are the tears of things)\u003c\/em\u003e.)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cspan data-originalfontsize=\"8.5pt\" data-originalcomputedfontsize=\"11.333333\"\u003eThe two pieces on this album sprang from Mattingly’s six-hour epic composition \u003cem data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003eHistory of Life\u003c\/em\u003e, which, as Jake Wilder-Smith says in his album liner note, “weaves together a wide array of traditions, styles, and source materials, chief among them Homer’s \u003cem data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003eOdyssey\u003c\/em\u003e and Charles Darwin’s account of his five-year expedition aboard the HMS \u003cem data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003eBeagle\u003c\/em\u003e.” \u003cem data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003eThe Transmutation Notebooks\u003c\/em\u003e takes its name from Darwin’s journals of his travels along the coast of South America.\u003cem data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003e Sunt Lacrimae Rerum (these are the tears of things\u003c\/em\u003e) was written during the first year of the pandemic, while wildfires blazed in Mattingly’s native California.\u003c\/span\u003e \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cspan data-originalfontsize=\"8.5pt\" data-originalcomputedfontsize=\"11.333333\"\u003eMattingly says, “The goal of my music is to give us an experience of the things we love most about being alive in this world, in a way that reminds us how damn beautiful they are and how much we can love.” He continues, “We don’t have a lot of opportunity in life (or in art) to focus on, to yell for joy about, the things we really love about this world. This music tries to give us that chance as clearly and strongly as possible, to remind us that this is worth it, to allow us to be swept over by the massive force of waves, to be small in the face of a massive, beautiful universe.”\u003c\/span\u003e \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cspan data-originalfontsize=\"8.5pt\" data-originalcomputedfontsize=\"11.333333\"\u003eSpeaking of his unique compositional style, the composer says, “everything on this album has at least one re-tuned piano, and the harp is re-tuned in \u003cem data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003eThe Transmutation Notebooks\u003c\/em\u003e, too. Many of the notes have literally never been heard before. But because they’re on these instruments where we expect the tuning to be fixed, like a piano, our brain instantly accepts them, and says, ‘OK, I guess this is the world.’ In that instant act of transformation, your brain tells you that you’re hearing something entirely new, that you’re in an alien world.\u003c\/span\u003e \u003cspan data-originalfontsize=\"8.5pt\" data-originalcomputedfontsize=\"11.333333\"\u003eThat puts us in this state of mind where we hear everything new. So then the music gives us the things we all love - I, IV, V chords (the music that’s at the heart of everything, the harmonic language we were born into) - but in this state of receptivity, we hear it as if for the first time. The things we love so much about the world feel suddenly present and alive, not a reference to some other time, or thousand times, we’ve heard them, but joyfully new.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003e\u003cspan data-originalfontsize=\"8.5pt\" data-originalcomputedfontsize=\"11.333333\"\u003eIarla Ó Lionáird\u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-originalfontsize=\"8.5pt\" data-originalcomputedfontsize=\"11.333333\"\u003e - one of the leading contemporary vocalists of the traditional \u003cem data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003esean nós\u003c\/em\u003e Irish song style - is featured on two movements from \u003cem data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003eThe Transmutation\u003c\/em\u003e \u003cem data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003eNotebooks\u003c\/em\u003e. (Mattingly first heard the singer on Donnacha Dennehy’s Nonesuch recording of \u003cem data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003eGrá agus Bas\u003c\/em\u003e). Mattingly considers Ó Lionáird to be a “modern-day Homeric bard,” singing in an “imagined tradition of oral epic, as if it had evolved continuously over 2700 years.”  \u003c\/span\u003e \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cspan data-originalfontsize=\"8.5pt\" data-originalcomputedfontsize=\"11.333333\"\u003eMattingly began work on \u003cem data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003eSunt Lacrimae Rerum \u003c\/em\u003ein the fall of 2020, as he looked out on a smoke-darkened day during the already fraught Covid period. He thought of Aeneas’ lines from Homer’s \u003cem data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003eThe Aeneid\u003c\/em\u003e: \u003cem data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003esunt lacrimae rerum, et mentem mortalia tangunt. \/ Solve metus; feret haec aliquam tibi fama salutem\u003c\/em\u003e. (These are the tears of things, the stuff of lives touches my soul. \/ Release your fear: our story carries some salvation.) Wilder-Smith says, “In these ancient lines, the composer recognized ‘a statement of profound optimism’ in the face of personal and collective loss. So while \u003cem data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003eSunt Lacrimae Rerum\u003c\/em\u003e may have emerged in a moment of great loss and uncertainty, it is no elegy … it strives to sound out a world not yet in existence, released from the haze of present anxieties and past defeats. “\u003c\/span\u003e \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cstrong\u003e\u003cspan data-originalfontsize=\"8.5pt\" data-originalcomputedfontsize=\"11.333333\"\u003eDylan Mattingly\u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-originalfontsize=\"8.5pt\" data-originalcomputedfontsize=\"11.333333\"\u003e is a composer who creates music that offers ecstatic, transformative experience. Many of his projects exist on a massive scale, the results of his pursuit of projects from the wild reaches of his imagination. This practice was informed by the decade-long process of creating, developing, and bringing to life \u003cem data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003eStranger Love\u003c\/em\u003e, his six-hour opera, commissioned by the LA Phil, that premiered in 2023 at Walt Disney Concert Hall. Mattingly’s music also has been commissioned and performed by the Ojai Music Festival, the Cabrillo Festival of Contemporary Music, the Berkeley Symphony, the Del Sol String Quartet, Sarah Cahill, Kathleen Supové, the Albany Symphony, Contemporaneous, ZOFO Duet, John Adams, Marin Alsop, and many others. He has been \u003cem data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003eMusical America\u003c\/em\u003e’s New Artist of the Month and was awarded the Charles Ives Scholarship by the American Academy of Arts and Letters, among other honors. Mattingly has held residencies at the Ucross Foundation and the Harrison House Arts \u0026amp; Ecology Center. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cspan data-originalfontsize=\"8.5pt\" data-originalcomputedfontsize=\"11.333333\"\u003eDylan Mattingly also is the executive and co-artistic director of the new-music ensemble \u003cstrong data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003eContemporaneous\u003c\/strong\u003e - a group of twenty-five musicians whose mission is to bring to life the most transformative music by living composers through performances, commissions, recordings, and educational programs. In the tradition of the ensembles founded by Philip Glass, Meredith Monk, and Steve Reich early in their careers, the ensemble has mastered a body of music whose idiosyncratic demands and epic proportions do not fit neatly into the institutional calendars of symphony orchestras or traditional opera companies. Described as “exact and detailed, but also lively and openly dancing” by the \u003cem data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003eNew York Times\u003c\/em\u003e and “leading new music towards its better self” by\u003cem data-removefontsize=\"true\" data-originalcomputedfontsize=\"11.333333\"\u003e I Care If You Listen\u003c\/em\u003e, Contemporaneous particularly champions the creation of large-scale works and “dream projects,” which composers might not otherwise have opportunities to realize due to scale.\u003c\/span\u003e \u003cspan data-originalfontsize=\"8.5pt\" data-originalcomputedfontsize=\"11.333333\"\u003eBased in New York City and active throughout the United States, Contemporaneous has premiered more than 200 new works, and has been presented by institutions such as Carnegie Hall, Lincoln Center, Park Avenue Armory, the Los Angeles Philharmonic, Walt Disney Concert Hall, PROTOTYPE Festival, Merkin Concert Hall, MATA Festival, St. Ann’s Warehouse, and Bang on a Can. The ensemble has worked with artists such as David Byrne, Donnacha Dennehy, Iarla Ó Lionáird, Dawn Upshaw, and Julia Wolfe.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e \u003c\/p\u003e","brand":"Warner","offers":[{"title":"1LP 140-gram black vinyl","offer_id":55655524598100,"sku":null,"price":28.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1015\/0808\/8148\/files\/IMG-9635.jpg?v=1777354368","url":"https:\/\/preludeandgroove.co.uk\/products\/dylan-mattingly-the-wild-heart","provider":"Prelude and Groove","version":"1.0","type":"link"}