Out of stock
LP
Philip CORNER
“Through Mysterious Barricades with George Maciunas”
New Philip Corner LP on Recital. Voice recordings from a small performance in Italy, early in 2020 -- Homages to/from George Maciunas (1931-1978). Corner's piano meditative playthroughs of Couperin's The Mysterious Barricades (1717), from 1989 and 1992. These two elements (voice and piano) superimposed by Sean McCann, edited during the first month of the pandemic. Manic exaltation, distorted harmony things. Album cover is a few PC scores soaked in olive oil and held in-front of the sun through my kitchen window. Booklet features passionate writings on the Couperin piece and its meaning by Corner. Philip wrote a new reflection for this LP edition, "The Mesure of the Mystery". This album is built from the finest ingredients: beautiful piano with stomach-c
lenching voice stretches. Edition of 250; 12-page pamphlet of scores and an essay by Corner.
27,00€
Out of stock
2 CD
Philip CORNER
“Satie Slowly”
American composer Philip Corner likes Satie too well not to object to how he is played. From the time of his participation in the first performance of Satie’s “Vexations” he realized that here was, lurking under the travesties of the 1st Gymnopédie, one of the greats of this or any other century... a “secret genius” who masked with humility and seeming conformity a profoundly innovative thorough-going critique of the limitations and pretensions of our High Culture as it has come down to us. A 44 page booklet of commentary and and additional 16 page booklet of graphic analyses set out to demonstrate this - with implication for performance of the works. As the record title “Satie Slowly” shows, the indication “lent” is taken at its full value. An ample selection of piano pieces, spread across two CDs, come from his early period, music with great spiritual content.
Original price was: 21,00€.12,00€Current price is: 12,00€.
Out of stock
CD
Philip CORNER
“Gong-Ear: Shaman”
Limited edition of 250 copies. Mastered by Jacques Beloeil. Collages by D.M. Nagu.
Philip Corner (b. 1933) is an American composer, musician and visual artist. His teachers include Henry Cowell and Olivier Messiaen. While on military duty in Korea in 1960-1961 he studied calligraphy with Ki-sung Kim and many of his works have calligraphic scores. A founder member of Fluxus, Corner has performed with George Maciunas, Dick Higgins, Yoko Ono and Nam June Paik. From 1967 to 1970 he taught the course in Experimental Composition at the New School for Social Research, which John Cage initiated in 1956. He was a member of Judson Dance Theater as both dancer and composer and has written scores for dance pieces by James Waring, Yvonne Rainer, Lucinda Childs and Elaine Summers among many others. He lives in Reggio nell’Emilia with his wife and performing partner, the dancer and choreographer Phoebe Neville. His wide-ranging output includes numerous works for gongs, bells, metal percussion and gamelan orchestra.
Philip Corner writes… ‘Hiah Park – new age shaman, then living in California (where else?). My Korea connexion interest led me to a workshop she gave in New York; more sessions continued until the opportunity of really working together at the proposed seminar ‘Art and the Invisible Reality’ to be held in Bavaria. I revisited my old practice of ‘metal meditations’ specially reinterpreted to go with performance/dance derived from traditional shamanic practices (of which she a certified practitioner). Then done in Trento in front of the cathedral where we joked about when they burnd witches. After the two performances in Europe our association came to an end.
Sin Cha Hong, a great friend in New York and a fabulous dancer and choreographer. Truly profound and intense body-incorporated physicality serving a spiritual content in no need of official status. Her Korean-American company she called Laughing Stone (with its implicit antipod-olarity so seeming compatible with my own expression thru music); she used my anklung (Javanese bamboo rattles) quartet gamelan Adagio onstage for one of her solos.
For many years now she has been back in the Orient. We did reconnect in 1993, performing together in the festival ‘The Seoul of Fluxus’. This recording I made alone in the New York loft with my ‘familiar’ – the large Paiste tam-tam: while holding her in my mind.
The dancer/shamans are, as their names show, from Korea – the country par excellence for this ancient form of religion incarnate. I have had a long a long continuing and most appreciative relationship to that country’s culture, from 1960 when shipped as a trombonesman to the American occupying forces there and turned on each afternoon listening to ‘National (Kuk Ahk) Music Hour’ their theme song ‘Su Je Chun’ – the most ancient piece from the court repertoire which I have never stopped hearing as the most beautiful music ever made. That, and the breakthrough composition ‘Sang-Teh/Situations’ which written and performed in Seoul in 1961, made this meeting and working with a genuine Korean shaman a spectacular amplification of my rapport.
It was the beginning of the years-long improvisation-meditation practice shared with many other dancers, including most notably Phoebe Neville, soon to become my wife, and still is.’ – Philip Corner, Reggio nell’Emilia, 1st September, 2016.
11,00€
In stock
LP
Philip CORNER
“Battutosso – Bone pulse (and other nature musics)”
Philip Corner (b. 1933) studied composition with Henry Cowell and Otto Luening and musical analysis with Oliver Messiaen. During the 1960s and 70s he was an active member of Fluxus, a founder (along with James Tenney and Malcolm Goldstein) of the Tone Roads Chamber ensemble, the resident musician and composer for the Judson Dance Theatre, and co-founder of Gamelan Son Of Lion (with Barbara Benary and Daniel Goode).
"Battutosso" presents four previously unpublished compositions by Philip Corner, recorded in various locations. The first one is a very hypnotic and beating piece recorded in July, 1989: Philip Corner has used some bones to create his percussive and pulsating piece. The second track recorded with bells creates a “liquid” sound, recorded in Zouz (western Alps) in July 1992, with Kurt Hofer (the cowherd) and Laura Donnelly as dancer. The first track on Side B has a noisy background with a natural flute played by Kurt Hofer. The fourth and last track was a short piece recorded at Caterina Gualco’s “Genova - Expo” (July, 1997) with Geoff Hendricks’ xylophone sculpture. Edition of 300 copies.
Original price was: 18,00€.10,00€Current price is: 10,00€.
In stock
LP
Philip CORNER
“OM Entering. and Once Enterd”
Kye is proud to announce the release of “OM Entering. and Once Enterd”, the latest LP from veteran fluxus composer Philip Corner. “OM Entering. and Once Enterd” comprises four previously unreleased recordings with the Barton Workshop, taken from performances in the Netherlands, and South Korea, between 2000-2007.
“Om Entrance” which one does.... because the performance is a real “passage from the material to the spiritual” unless the “real” world is just as spiritual already which i like to think it is. As perhaps an everyday awareness is already to be entranced which i have been told it is, really. To the facts: musicians’ coming-in already the performance of everything has to be done to get ready from unpacking to tuning and all that is done in the concentrated and exalted spirit of real music. Multiplicity moves noise to instrument possibilities with virtuosity show-offs slowing down to a perfect tuning in a quiet circle from where there is nowhere else to go but the sustaining of a quiet long tone.
My old friend and colleague also great composer Jim Fulkerson is there as he has be, as he was even at the first performance way back must be almost 50 years by now joining the Creative Associates at the University of Buffalo on his initiative as likewise these performances in Holland with his group he calls The Barton Workshop and for sure he is there playing trombone too.
The movement from Sang/Teh (Situations). Guard duty in a cold Korean winter. This piece was a major turning-point in my work. My life too you-could-say. “Of Ancient Times and Modern Sounds” i wrote then: a better world---much much better---than being in the American Army. The heterophonic melody-only texture learned from their “Ah Ahk” court music (“Soo Je Chun” the most beautiful music in the history of the world!) imposed on a thoroughly modern chromatic note structure. Occidental instruments absorbing the traditions of subtle sound colours so-long absent from the West.
Public performance in Seoul. That must have been the Spring of 1961 just before they “shipped me out”, to bring all that back home.
Before that the wonderful and exceptional opportunity to “run through” some of it with the indigenous instruments of the Koog Ahk Wun (National Music Institute) thanks to the cultural open-mindedness of the classical kayageum master Byungki Hwang. And Jim has not only played the 3rd movement often, but brought if back to Korea once at the Pan Music Festival. But my long-waiting-for performance in Korea on native instruments has yet to take place.
The Chopin Prelude piece is one of two, reworking passages from his D Major Prelude for piano, and a part of the “as a revelation” series which “looks into” moments from the classics which usually go by too fast. Begun with Mozart, the series has “got a lot of mileage” out of Satie, as well as including Buxtehude, Bach, Rimsky-Korsakoff, Verdi, Ives, Berlioz, and others.” (Philip Corner, 2015)
“OM Entering. and Once Enterd” arrives in a full color, high gloss Philip Corner designed sleeve, with insert, 350 copies black vinyl.
Original price was: 20,00€.10,00€Current price is: 10,00€.
Out of stock
LP
Philip CORNER
“PoorManMusic”
Historical recording of previously unpublished Fluxus classic masterpiece available now in an edition of 300 copies only. Pulse Polyphony!
“PoorManMusic” (1966).
The simplest materials and the things your own body is and does claps, slaps, stamps. Rubbing and scratching: body, all parts, and clothing if any voices. And all the sounds your voice and breath and throat may make except words. Although a mightbe rare&special one sound deep word and meaning / warning, affectations show up. If sincere, express.
Better a middle and easy utterance of like natural soundings & thus beyond outside things, but the matter might be simple sticks of every day life. The small stones and the fabrics papers and textures, easily picked up. Rattle, rattles, nuts
little bells, seeds this is not quite all of homemade noise makers.
Homemade noise made, among others, by Philip Corner, Max Neuhaus, Steve Reich, James Tenney, Malcolm Goldstein, Jackson Mac Low, Dick Higgins, Alison Knowles, Carolee Schneemann, Jerome Rothenberg… the Technicians of the Sacred.
Gift Event III: A Celebration for Poets, Musicians and Dancers, based on the orders of the Seneca Indian Eagle Dance and performed at the Judson Dance Theatre, Judson Memorial Church, New York City, March 21st and 22nd 1967.
A part of the Spring Happenings.
The group cohesion and reentering and listen
ing (ensemble sensitive)
Out of flux of differing individual tempi, to fuse into one
Felt agreed beat
(this is easier, very easy, than it may seem)
In period of pulse - polyphony.. non-rationalizable multipl
licity of the beats.
And the whole at ease. If ever at extremes
of intensity, and moving towards their implications of passions,
let it relax and tend intowards the mean, just the energy and
the continuing which is devotion in every day life and works.
“PoorManMusic” (1966).
The simplest materials and the things your own body is and does claps, slaps, stamps. Rubbing and scratching: body, all parts, and clothing if any voices. And all the sounds your voice and breath and throat may make except words. Although a mightbe rare&special one sound deep word and meaning / warning, affectations show up. If sincere, express.
Better a middle and easy utterance of like natural soundings & thus beyond outside things, but the matter might be simple sticks of every day life. The small stones and the fabrics papers and textures, easily picked up. Rattle, rattles, nuts
little bells, seeds this is not quite all of homemade noise makers.
Homemade noise made, among others, by Philip Corner, Max Neuhaus, Steve Reich, James Tenney, Malcolm Goldstein, Jackson Mac Low, Dick Higgins, Alison Knowles, Carolee Schneemann, Jerome Rothenberg… the Technicians of the Sacred.
Gift Event III: A Celebration for Poets, Musicians and Dancers, based on the orders of the Seneca Indian Eagle Dance and performed at the Judson Dance Theatre, Judson Memorial Church, New York City, March 21st and 22nd 1967.
A part of the Spring Happenings.
The group cohesion and reentering and listen
ing (ensemble sensitive)
Out of flux of differing individual tempi, to fuse into one
Felt agreed beat
(this is easier, very easy, than it may seem)
In period of pulse - polyphony.. non-rationalizable multipl
licity of the beats.
And the whole at ease. If ever at extremes
of intensity, and moving towards their implications of passions,
let it relax and tend intowards the mean, just the energy and
the continuing which is devotion in every day life and works.
19,00€
Out of stock
LP monoface
Philip CORNER
“Coldwater Basin No.2”
“Re-emerging from deep Fluxus celebrations in this 2012 summer, alga marghen realized that Philip Corner “Coldwater Basin” LP was instantly sold out. Could there be a better decision than issuing an alternative version of this masterpieces from the glorious 60s, by master of ecstatic music Philip Corner? If you fluctuated over sonic landscapes with the first version, then “Coldwater Basin No.2” will knock your socks off! More intense than Whitehouse, more liquid than your wildest dreams. “Remember? When you made these things at home, on the best equipment you or your other poor friends could find? And you had that Japanese tape recorder with built-in mike; indeed that was the only piece of furniture on your tatami floor on the Lower East Side that summer of 1961”. Coldwater Basin No.2” by Philip Corner. Again, a home recording of water running from a faucet into a sink. New York City, the Lower East Side, sometime in the 60s. With Bill Fontana still on microphone. “And I always dreamd of passing an entire night bathed in this… It was never long enough”. Edition limited to 310 copies with front sleeve design and calligraphies by Philip Corner.”
19,00€
Out of stock
CD
Philip CORNER
“More from the Judson years Vol. 2”
Yet not to forget that extraordinary place where so much of the new and exciting performances at that most interesting time in New York, took place. There was a Theater there; and a place for the first Happenings. An Art Gallery... and later the famous Judson Dance Theater.
There was Philip Corner first performance. The concert was in early 1962, January 2nd, to be exact. Handwritten change on typescrpt: Yoko Ono’s studio, changed at the last moment to Judson Church. A lot of players; and a lot of pieces. Some of my old friends, like Toshi Ichiyanagi or Richard Maxfield. And a lot of new names from California, Dick Higgins and Alison Knowles, the connection between the old New York and this new scene.
The creation of the Dance Theater: Philip Corner involvement with it from the beginning. (that participation documented on Alga Maghen cd "On tape, from the Judson Years", as most of Corner electronic music was made for dancers associated to the Judson).
Excerpts from the liner notes of Volume Two, written by Philip Corner:
"Everything Max Has" (1964), Max Neuhaus solo, recorded at the ONCE Festival, 1965. "A performance of Max’s taking down all of his stuff; tons of equipment filling entire stages".
"Big Trombone" (1963), Jim Fulkerson improvisation over tape collage. "Over an electronic reworking of the raw material presented by a rock band, absorbing its rhythmic vigour without falling into its banality, the trombone indulges in an orgy of uninhibited outbursts".
"Homage to Revere" (1962) for ensemble of copper-bottom kitchen utensils. "How not to use, for other than cooking, that great wedding gift of copper bottom pots, casseroles, skillets, and their covers... all sounding so good as if made for music".
"Punkt" (1961) for ensemble of staccato sounds. "Since the critics were calling us the plink plunk school, I contributed a composition favoring only those punkts for centuries having defined and inhibited Western music".
"Passionate Expanse of the Law" (1959) for ensemble, recorded at the Composers’ Forum, NY, 1972. Full lenght version.
"Expressions in Parallel" (1958) for ensemble. "From my earlies compositions I have been more enticed by an opening out towards greater possibilities, than in cheap and arbitrary limits of stylistic unity. Nevertheless, the mix here of expressively implicative phrases in no way destroys inner coherence".
Digipack first press of 1000 copies, including a 12 pages booklet with liner notes, scores and original documentation.
There was Philip Corner first performance. The concert was in early 1962, January 2nd, to be exact. Handwritten change on typescrpt: Yoko Ono’s studio, changed at the last moment to Judson Church. A lot of players; and a lot of pieces. Some of my old friends, like Toshi Ichiyanagi or Richard Maxfield. And a lot of new names from California, Dick Higgins and Alison Knowles, the connection between the old New York and this new scene.
The creation of the Dance Theater: Philip Corner involvement with it from the beginning. (that participation documented on Alga Maghen cd "On tape, from the Judson Years", as most of Corner electronic music was made for dancers associated to the Judson).
Excerpts from the liner notes of Volume Two, written by Philip Corner:
"Everything Max Has" (1964), Max Neuhaus solo, recorded at the ONCE Festival, 1965. "A performance of Max’s taking down all of his stuff; tons of equipment filling entire stages".
"Big Trombone" (1963), Jim Fulkerson improvisation over tape collage. "Over an electronic reworking of the raw material presented by a rock band, absorbing its rhythmic vigour without falling into its banality, the trombone indulges in an orgy of uninhibited outbursts".
"Homage to Revere" (1962) for ensemble of copper-bottom kitchen utensils. "How not to use, for other than cooking, that great wedding gift of copper bottom pots, casseroles, skillets, and their covers... all sounding so good as if made for music".
"Punkt" (1961) for ensemble of staccato sounds. "Since the critics were calling us the plink plunk school, I contributed a composition favoring only those punkts for centuries having defined and inhibited Western music".
"Passionate Expanse of the Law" (1959) for ensemble, recorded at the Composers’ Forum, NY, 1972. Full lenght version.
"Expressions in Parallel" (1958) for ensemble. "From my earlies compositions I have been more enticed by an opening out towards greater possibilities, than in cheap and arbitrary limits of stylistic unity. Nevertheless, the mix here of expressively implicative phrases in no way destroys inner coherence".
Digipack first press of 1000 copies, including a 12 pages booklet with liner notes, scores and original documentation.
15,00€
Out of stock
CD
Philip CORNER
“More from the Judson years Vol. 1”
Yet not to forget that extraordinary place where so much of the new and exciting performances at that most interesting time in New York, took place. There was a Theater there; and a place for the first Happenings. An Art Gallery... and later the famous Judson Dance Theater.
There was Philip Corner first performance. The concert was in early 1962, January 2nd, to be exact. Handwritten change on typescrpt: Yoko Ono’s studio, changed at the last moment to Judson Church. A lot of players; and a lot of pieces. Some of my old friends, like Toshi Ichiyanagi or Richard Maxfield. And a lot of new names from California, Dick Higgins and Alison Knowles, the connection between the old New York and this new scene.
The creation of the Dance Theater: Philip Corner involvement with it from the beginning. (that participation documented on Alga Maghen cd "On tape, from the Judson Years", as most of Corner electronic music was made for dancers associated to the Judson).
Excerpts from the liner notes of Volume One, written by Philip Corner:
"Passionate Expanse of the Law" (1959), extract from the first NY performance, featuring Charlotte Moorman, Philip Corner, Malcolm Goldstein. "I wrote this on an Army cot in Texas, in the Fall of 1959; a continuation of and a major development my exploration of maximum disjuction. It expresses the dynamic unity of the active and static forces in the universe, a characteristic in some degree of all my work".
"Air Effect" (1961), first performance, featuring Philip Corner, Alison Knowles, Malcolm Goldstein. "From 1961 already my music became characterised more and more by attention to the continuous quality of sound. A chamber ensemble, dedicated to directness of breathing. The rhythms and tone modulations of life-sustaining air, as projected through wind instruments bent back from an excess of art to express better a refinement more perfectly attuned to the basics of nature".
"OM emerging" (1971). "I have adopted the Hindu term OM as generic for all the variety of ways I have formulated possibilities of performances based on the prolongations of a single tone". This time it served as prelude to a contrasting form of expression, or "Lovely Music" (1962), "a piece were I let myself go all the way into an indulgence of gorgeous and voluptuous sounds".
"As pure to begin" (1963), Philip Corner, piano with preparations, objects and amplification. "The purety of keyboard sounds turn prograssively noisy, effected by the strings themselves being touched, and touched by objects which are then laid on them and magnified by microphones".
"Music, reserved untill now" (1963), recorded at Judson, 1965 and featuring A-yo, David Behrman, Philip Corner, Malcolm Goldstein, Dick Higgins, Joe Jones, Alison Knowles, Jackson Mac Low, Charlotte Moorman, Nam June Paik, Chieko Shiomi. "A score for non-traditional sound sources. Rough material becomes shaped into sense. A precarious edge where beauty passed out of control".
"Composition with or without Beverly" (1962), recorded at ONCE Festival in 1963; Philip Corner, piano with prepared tape sounds. "I have here extracted the piano improvisation I put over prerecorded tape sounds already derived from piano, and very bashy Korean gongs, all in all a quite marvellous mess".
Digipack first press of 1000 copies, including a 12 pages booklet with liner notes, scores and original documentation.
There was Philip Corner first performance. The concert was in early 1962, January 2nd, to be exact. Handwritten change on typescrpt: Yoko Ono’s studio, changed at the last moment to Judson Church. A lot of players; and a lot of pieces. Some of my old friends, like Toshi Ichiyanagi or Richard Maxfield. And a lot of new names from California, Dick Higgins and Alison Knowles, the connection between the old New York and this new scene.
The creation of the Dance Theater: Philip Corner involvement with it from the beginning. (that participation documented on Alga Maghen cd "On tape, from the Judson Years", as most of Corner electronic music was made for dancers associated to the Judson).
Excerpts from the liner notes of Volume One, written by Philip Corner:
"Passionate Expanse of the Law" (1959), extract from the first NY performance, featuring Charlotte Moorman, Philip Corner, Malcolm Goldstein. "I wrote this on an Army cot in Texas, in the Fall of 1959; a continuation of and a major development my exploration of maximum disjuction. It expresses the dynamic unity of the active and static forces in the universe, a characteristic in some degree of all my work".
"Air Effect" (1961), first performance, featuring Philip Corner, Alison Knowles, Malcolm Goldstein. "From 1961 already my music became characterised more and more by attention to the continuous quality of sound. A chamber ensemble, dedicated to directness of breathing. The rhythms and tone modulations of life-sustaining air, as projected through wind instruments bent back from an excess of art to express better a refinement more perfectly attuned to the basics of nature".
"OM emerging" (1971). "I have adopted the Hindu term OM as generic for all the variety of ways I have formulated possibilities of performances based on the prolongations of a single tone". This time it served as prelude to a contrasting form of expression, or "Lovely Music" (1962), "a piece were I let myself go all the way into an indulgence of gorgeous and voluptuous sounds".
"As pure to begin" (1963), Philip Corner, piano with preparations, objects and amplification. "The purety of keyboard sounds turn prograssively noisy, effected by the strings themselves being touched, and touched by objects which are then laid on them and magnified by microphones".
"Music, reserved untill now" (1963), recorded at Judson, 1965 and featuring A-yo, David Behrman, Philip Corner, Malcolm Goldstein, Dick Higgins, Joe Jones, Alison Knowles, Jackson Mac Low, Charlotte Moorman, Nam June Paik, Chieko Shiomi. "A score for non-traditional sound sources. Rough material becomes shaped into sense. A precarious edge where beauty passed out of control".
"Composition with or without Beverly" (1962), recorded at ONCE Festival in 1963; Philip Corner, piano with prepared tape sounds. "I have here extracted the piano improvisation I put over prerecorded tape sounds already derived from piano, and very bashy Korean gongs, all in all a quite marvellous mess".
Digipack first press of 1000 copies, including a 12 pages booklet with liner notes, scores and original documentation.
15,00€