In stock
LP
Ju Suk REET MEATE
“Solo 1975-1980”
Side-stepping all normal expectations on this album, Ju Suk Reet Meate
(founding member of Smegma) directly goes about casting musical spells utilizing primitive “inner-mind” techniques on Hammered Dulcimer, Tape Loops, Thrift store records, Homemade Synthesizer, Electric Guitar, Saxophone, mouth sounds and manipulated Christian radio broadcasts.
Recorded in Portland, Oregon, between 1975 and 1980 these recordings reflect a similar inner-mind-over-limited-technique-matter aesthetic as his highly acclaimed (but seldom heard) classic Ju Suk Reet Meate “Solo 1978-1979” issued on Pigface Records in 1980.
Side One presents “Something New: Opus I-IV” recorded between 1975 and 1977 while on Side Two you find “Or Feets: Opus I-III” recorded in 1980. Both sides contain only previously unreleased sounds with no remixing or overdubs.
White silkscreened sleeve on black cardboard paper. Cover art and layout by Ju Suk Reet Meate. Issued in an edition limited to 188 copies, the first 50 with handmade sleeve by the artist.
(founding member of Smegma) directly goes about casting musical spells utilizing primitive “inner-mind” techniques on Hammered Dulcimer, Tape Loops, Thrift store records, Homemade Synthesizer, Electric Guitar, Saxophone, mouth sounds and manipulated Christian radio broadcasts.
Recorded in Portland, Oregon, between 1975 and 1980 these recordings reflect a similar inner-mind-over-limited-technique-matter aesthetic as his highly acclaimed (but seldom heard) classic Ju Suk Reet Meate “Solo 1978-1979” issued on Pigface Records in 1980.
Side One presents “Something New: Opus I-IV” recorded between 1975 and 1977 while on Side Two you find “Or Feets: Opus I-III” recorded in 1980. Both sides contain only previously unreleased sounds with no remixing or overdubs.
White silkscreened sleeve on black cardboard paper. Cover art and layout by Ju Suk Reet Meate. Issued in an edition limited to 188 copies, the first 50 with handmade sleeve by the artist.
23,00€
Out of stock
LP
Jacques THOLLOT’S INTRA MUSIQUE
“Intra Musique”
There are records that stimulate curiosity to the extreme, records that make you want to dissolve yourself into the intense and beautiful surprise this music will bring. It is undeniable to the delighted ear that this exhumed document contains all the assets of the historical output, of the record that one would dream of waiting for long if one had known it existed.
This rough edit, done within urgency by Jacques Thollot, testifies of a unique experience: the concert of Intra Musique at the Faculty of Law in Paris, an uncertain evening of 1969. The devastating gab of the two acolytes Jacques Thollot and Eddie Gaumont made the concert take place, on the ploughed earth of May 68, in the same faculty where so much was discussed and thanks to the success of the previous concerts of the association of students that allowed the risk of hiring the thundering dream team.
Unique because there will never be another replica of what Jacques Thollot called "a movement”, involving Michel Portal (tenor sax), Mimi Lorenzini (guitar), the rare Daniel Laloux (tambour), Jacques Thollot (drums and tapes of recorded experiments, those that will build the skeleton of the magnificent “Quand le son devient aigu jeter la girafe à la mer” LP on Futura), and Eddie Gaumont (guitar / piano), the instigators of this journey. Captain Eddie Gaumont will capsize shortly after, sunk by a too intensely dark life; sad coda putting an end to the project.
Let us add the undeniable whirling of the mentors' and companions' spirits of Jacques Thollot, such Don Cherry, Steve Lacy, Bernard Vitet and Jean-François Jenny Clark, and we fail a little further at attempting to describe this succession of precious moments: that oblique spiritual-jazz, that other staggering ballad or that primitive fever of essential nervous flights, that almost psychedelic proto rock; alternations of radical free music to those magnificently classic, overwhelming achievements.
Jacques Thollot is not just one of the greatest abandoned jazz composers: he is the one who abandons himself to all its forms.
Edition of 350 copies in full-color gatefold sleeve, co-produced with Jac Berrocal historical d’Avantage label (whose catalogue includes Michel Potage “Occupé” LP, also co-produced with alga marghen).
This rough edit, done within urgency by Jacques Thollot, testifies of a unique experience: the concert of Intra Musique at the Faculty of Law in Paris, an uncertain evening of 1969. The devastating gab of the two acolytes Jacques Thollot and Eddie Gaumont made the concert take place, on the ploughed earth of May 68, in the same faculty where so much was discussed and thanks to the success of the previous concerts of the association of students that allowed the risk of hiring the thundering dream team.
Unique because there will never be another replica of what Jacques Thollot called "a movement”, involving Michel Portal (tenor sax), Mimi Lorenzini (guitar), the rare Daniel Laloux (tambour), Jacques Thollot (drums and tapes of recorded experiments, those that will build the skeleton of the magnificent “Quand le son devient aigu jeter la girafe à la mer” LP on Futura), and Eddie Gaumont (guitar / piano), the instigators of this journey. Captain Eddie Gaumont will capsize shortly after, sunk by a too intensely dark life; sad coda putting an end to the project.
Let us add the undeniable whirling of the mentors' and companions' spirits of Jacques Thollot, such Don Cherry, Steve Lacy, Bernard Vitet and Jean-François Jenny Clark, and we fail a little further at attempting to describe this succession of precious moments: that oblique spiritual-jazz, that other staggering ballad or that primitive fever of essential nervous flights, that almost psychedelic proto rock; alternations of radical free music to those magnificently classic, overwhelming achievements.
Jacques Thollot is not just one of the greatest abandoned jazz composers: he is the one who abandons himself to all its forms.
Edition of 350 copies in full-color gatefold sleeve, co-produced with Jac Berrocal historical d’Avantage label (whose catalogue includes Michel Potage “Occupé” LP, also co-produced with alga marghen).
23,00€
In stock
LP
Gil J WOLMAN
“Wolman et son double”
Might it be as a ‘détournement’ of Artaud’s famous collection and masterpiece “Le theâtre et son double” that Gil J Wolman calls this recording “Wolman et son double”? Artaud’s conference at the Vieux Colombier theater on January 13, 1947 had a major impact on the future sound poets François Dufrêne, Jean-Louis Brau and Gil J Wolman. Wolman’s ‘mégapneumie’ appeared as early as 1950 and eventually developed into an improvisation for breath and organic sounds originating from the throat. The whole body seems to be mobilized to perturb the human appearance of any possible speech.
“Wolman et son double”, a previously unreleased recording probably from the end of the 70’s, is Wolman’s most theatrical, musical and lyrical piece, his most accomplished and extreme. This is due both to its duration and above all to its experimental recording techniques: Wolman records a series of improvisations on a 30 minute track, then mixes them with a new series of ‘mégapneumes’, mixing and manipulations with echo and larsen!
The first track begins with a hum, immediately overlaid by Wolman’s ‘poésie physique’: hoarseness, cough, strangulation, twisting, wheeze, rumbling, hiccups, asphyxia, a whole set of grips against himself and his speech. Wolman breaths and winces, he mimes the impacts, the scars of the blows by an invisible fighter… actually his double.
Antonin Artaud observed that ‘actors in France no longer know how to do anything but talk’… “Wolman et son double” may well be the national strike of that show, of masterpiece art.
Edition of 350 copies.
“Wolman et son double”, a previously unreleased recording probably from the end of the 70’s, is Wolman’s most theatrical, musical and lyrical piece, his most accomplished and extreme. This is due both to its duration and above all to its experimental recording techniques: Wolman records a series of improvisations on a 30 minute track, then mixes them with a new series of ‘mégapneumes’, mixing and manipulations with echo and larsen!
The first track begins with a hum, immediately overlaid by Wolman’s ‘poésie physique’: hoarseness, cough, strangulation, twisting, wheeze, rumbling, hiccups, asphyxia, a whole set of grips against himself and his speech. Wolman breaths and winces, he mimes the impacts, the scars of the blows by an invisible fighter… actually his double.
Antonin Artaud observed that ‘actors in France no longer know how to do anything but talk’… “Wolman et son double” may well be the national strike of that show, of masterpiece art.
Edition of 350 copies.
19,00€
Out of stock
LP
Ghérasim LUCA
“Two poems”
“Alga Marghen proudly presents an LP edition including two experimental sound works by Ghérasim Luca, created in close connection to Sten Hanson who invited the Rumenian artist at Fylkingen in the very beginning of the 1970s and made him discover the possibilities of the advanced EMS electronic music studio of Stockholm. The two recordings presented here are quite unique as they are the only poems by Gherasim Luca created through the use of electronic manipulations. As Henri Chopin wrote some years later in his legendary "Poésie Sonore Internationale" book, Ghérasim Luca made a big impression at the Third Stockholm Festival in 1970. Luca was born in Bucarest in 1913. Before leaving to Israel he had a leading role among the Roumanian Surrealist group. He eventually moved to Paris where he lived untill the end of his life in 1992. Ghérasim Luca work is very personal, giving his poems a very uncommon and ironic character. Again Henri Chopin underlines that "in his recordings, which are not many, he superimposes his very warm voice, marked by his Roumanian accent; it’s a sound wonder. In fact Luca is not a sound poet. He is more a speaker who managed, without complex, to enter into the Fylkingen studio vortex. On 4 tracks and with 32 loudspeakers, thanks to his superb voice and his instinctive knowledge of the electronic studio which amplifies words, he gives great pleasure to the listener, even if the latter can not understand French". “Autres secrets du vide et du plein” (April 1971) and “Crimes sens initiales” (April 1972) were both recorded one track at the time on a 4 track tape and afterwards subjected to electronic treatments. They were recorded in Sweden at EMS and first performed at the 1971 and 1972 Text-Sound Festivals of Stockholm. Edition limited to 385 copies, also including the reproduction of a worderful drawing by Ghérasim Luca on the front cover, a photo portrait of the author by Gilles Ehrmann from 1959 and an essay by Henri Chopin.”
19,00€
Out of stock
LP
Eduardo KAC PORN ART MOVEMENT
“Pornéia”
Edition limited to 270 copies.
These previously unissued recordings from the Porn Art Movement (1980-1982) include five performances recorded live on Ipanema Beach in 1982, as well as a selection of previously unheard studio recordings of Eduardo Kac yell-poems. Kac fused existing coarse and curse words with parts of words, neologisms, salacious buffoonery, the antinormative scribblings of toilet-wall graffiti, commonplaces, blasphemy, expletives, agrammatisms, incorrect orthography, slangy expressions, lexical exorbitance, general obscenities, the gross and the grotesque, into a new whole. His use of stigmatizing words in these Porn-poems transformed them from denigratory to empowering, through political critique and defiance.
The LP also includes the Manifesto Pornô (1980) and four recordings of Flatographic Poems from 1982, in which Kac uses the flatus as a compositional unit and the mellifluous flatal flow as material. Flatographic poems have visual scores—one of which can be seen on the cover—for metabolic performances that combine meticulous precision with gaseous explosiveness of scatological resonance. Demanding a high level of self-mastery on the part of the performer, this anal poetry was the only series of works produced in the Movement to literally explore the internal side of the body.
Edition limited to 270 copies, also including an LP-size 40-page full-color book with full documentation on the Porn Art Movement.
These previously unissued recordings from the Porn Art Movement (1980-1982) include five performances recorded live on Ipanema Beach in 1982, as well as a selection of previously unheard studio recordings of Eduardo Kac yell-poems. Kac fused existing coarse and curse words with parts of words, neologisms, salacious buffoonery, the antinormative scribblings of toilet-wall graffiti, commonplaces, blasphemy, expletives, agrammatisms, incorrect orthography, slangy expressions, lexical exorbitance, general obscenities, the gross and the grotesque, into a new whole. His use of stigmatizing words in these Porn-poems transformed them from denigratory to empowering, through political critique and defiance.
The LP also includes the Manifesto Pornô (1980) and four recordings of Flatographic Poems from 1982, in which Kac uses the flatus as a compositional unit and the mellifluous flatal flow as material. Flatographic poems have visual scores—one of which can be seen on the cover—for metabolic performances that combine meticulous precision with gaseous explosiveness of scatological resonance. Demanding a high level of self-mastery on the part of the performer, this anal poetry was the only series of works produced in the Movement to literally explore the internal side of the body.
Edition limited to 270 copies, also including an LP-size 40-page full-color book with full documentation on the Porn Art Movement.
23,00€
Out of stock
LP
David BEHRMAN
“Music With Memory”
alga marghen proudly introduce you to “Music With Memory”, a new record LP by David Behrman focused on his 70s work with new small, inexpensive devices then known as “microcomputers” equipped with “memory” to be used in live performances and installations.
Side A presents “Interspecies Smalltalk” with Takehisa Kosugi (Violin) and David Behrman (Electronics). A wild intertwine of two worlds of resonance, structure and tonal which is decades ahead of its time. Commissioned by John Cage and Merce Cunningham as music for the 1984 Cunningham Company dance titled “Pictures”, it was made to be performed by Takehisa Kosugi playing violin in his uniquely personal style.
Side B includes “Circling Six”, an earlier version of a more extended piece titled “Leapday Night”. “Circling Six” had six looping synthesizer phrases which could be played along with by the acoustic instrumentalist, on this recording by Werner Durand on saxophone.
“Interspecies Smalltalk” and “Circling Six” were pieces for instrumental performers and a small computer-controlled music system that Behrman assembled during the 1980s. The electronic gear consisted of pitch sensors (“ears” with which it listened to the performing musicians), various music synthesizers (some homemade), a video display and a personal computer. The pieces were made with computer programs governing interaction between performers and the electronics. The software created situations rather than set pieces. The performers had options rather than instructions, and the exploration of each situation as it unfolded was up to them.
Also on side B a short track titled “All Thumbs” for two electrified mbiras (African instruments of ancient origin also known as thumb pianos, kalimbas or zanzas). This piece grew out of a collaborative sound and video installation that George Lewis and David Behrman made for the opening of the Paris science museum La Villette in the spring of 1986. The metal tines of the mbiras were linked to sensors and to a computer music system. In this concert version, played together with Fast Forward, the piece was in several sections. All the sounds in “All Thumbs” were electronically generated.
Edition of 400 copies with liner notes by David Behrman and photos by the performances as well as original programs of the Music With Memory Festival.
Side A presents “Interspecies Smalltalk” with Takehisa Kosugi (Violin) and David Behrman (Electronics). A wild intertwine of two worlds of resonance, structure and tonal which is decades ahead of its time. Commissioned by John Cage and Merce Cunningham as music for the 1984 Cunningham Company dance titled “Pictures”, it was made to be performed by Takehisa Kosugi playing violin in his uniquely personal style.
Side B includes “Circling Six”, an earlier version of a more extended piece titled “Leapday Night”. “Circling Six” had six looping synthesizer phrases which could be played along with by the acoustic instrumentalist, on this recording by Werner Durand on saxophone.
“Interspecies Smalltalk” and “Circling Six” were pieces for instrumental performers and a small computer-controlled music system that Behrman assembled during the 1980s. The electronic gear consisted of pitch sensors (“ears” with which it listened to the performing musicians), various music synthesizers (some homemade), a video display and a personal computer. The pieces were made with computer programs governing interaction between performers and the electronics. The software created situations rather than set pieces. The performers had options rather than instructions, and the exploration of each situation as it unfolded was up to them.
Also on side B a short track titled “All Thumbs” for two electrified mbiras (African instruments of ancient origin also known as thumb pianos, kalimbas or zanzas). This piece grew out of a collaborative sound and video installation that George Lewis and David Behrman made for the opening of the Paris science museum La Villette in the spring of 1986. The metal tines of the mbiras were linked to sensors and to a computer music system. In this concert version, played together with Fast Forward, the piece was in several sections. All the sounds in “All Thumbs” were electronically generated.
Edition of 400 copies with liner notes by David Behrman and photos by the performances as well as original programs of the Music With Memory Festival.
19,00€
In stock
LP
Charlemagne PALESTINE
“Relationship studies”
“Relationship Studies LP includes 2 seminal electronic music radical realizations by Charlemagne Palestine, or "Relationship Study No. 1" (1967) and the generally titled "Electronic" from the same year. Sounds in motion like race cars, motor cycles, war planes, rocket ships excited Charlemagne sonic imagination when we was still a young teenager. Then came the experience of listening to the electronic music of Tod Dockstader, Alwyn Nikolais, Pierre Henry and Pierre Schaffer, Xenakis and "Poème Electronique" by Edgar Varese. Immediately fascinated Charlemagne Palestine bought a primitive electronic equipment and started to experiment, creating his original electronicesque language. The two previously unreleased 18 minute masterpieces presented here directly come from this early period of intense experimentations in a fluid ever-changing mix of adding and filtering white noise and simple sine tone generators. Both pieces are late night compositions created at the electronic music studio of the New York N.Y.U. Intermedia Center using Buchla 100 and Buchla 200 systems. Even if dating back from the mid-1960s these intense sonorities might very much recall the best early power electronic scene from the late 1970s, in particular to the first brut music works created by Maurizio Bianchi. For sure they represent a very unique and inspiring approach to electronic creation, sounding more and more actual and surprising nowadays. Edition limited to 350 copies.” label info
23,00€
In stock
LP
Charlemagne PALESTINE
“Two electronic sonorities”
alga marghen proudly presents two seminal electronic music radical realizations by Charlemagne Palestine. These previously unpublished pieces confirm once more how advanced was his Golden Research already in the 1960s, a very personal approach to sound which would have later become so influential for future generations. Continuous Sound, built by an ever-changing mix of adding and filtering white noise and simple sine tone generators, is the most solid sound construction that Charlemagne created in preparation of his lost electronic masterpiece L’Avventura, inspired by the Michelangelo Antonioni movie with the same title. Continuous Sound pre-dates L’Avventura of just a few months and with its suspended atmospheres and its deep sense of mystery represent one of the most fascinating sonic works by Charlemagne Palestine. Crown Chan is an electronic music piece created for a dance by Gus Solomon in 1970. Conceiving music for dancers gave Charlemagne the possibility to experiment and manipulate the reel tapes of some of his electronic sonorities. In a previous collaboration with Gus Salomon, Charlemagne created a new sound by simply superimposing two already existing and accomplished electronic drones. Holy1 and Holy2 thus became a completely new sonority titled Holy1+2 (these works were included in the CD titled Alloy, also issued by alga marghen). In the case of Crown Chan Charlemagne worked in a more structural way, shaping his electronic sound materials into two stereo reel tapes (titled Crown Chan 1&2 and Crown Chan 3&4) which also integrated silent parts and were meant to be played back simultaneously, thus providing a powerful live music for the dancers. Edition limited to 380 copies, with an institutional portrait of the composer on front and back sleeve for you consumers to enjoy.
19,00€
Out of stock
LP
Anton BRUHIN
“Deux pipes”
“In the past few years alga marghen successfully released on CD some of Anton Bruhin more experimental works. “InOut”, “Rotomotor” and the CD version of his first LP masterpiece from 1969 “Vom goldabfischer”, made many of you become familiar with the eccentric creations of this obscure Swiss artist. But for this new release alga marghen decided to concentrate on Anton Bruhin favorite instrument, the jews harp. Included in this LP record are six breathtaking jews harp pieces of pure genius. On Side 1 “Apocalypt Rb- with sampling loop” and “Chor H+ with sampling loop and solo reverb pot”, recorded in January 2000 while testing some modified jews harp self-made instruments created by Zoltan Szilagyi. This virtuoso performance is improvised over to a loop-continuum sampled through a Casio child synth. On Side 2 the all-time-classic titled “Maultrommel und Sprache” (i.e. Jews Harp and Speaking) where Bruhin is scientifically investigating the use of jews harp in rendering human voice. Recorded in 1994 this piece, divided in five short paragraphs, move from the very basic structure of language (vocals, diptongues, triptongues) and constructs a perfectly accomplished sonic statement. Also on Side 2 are three pieces from 1995 for Electric-Trumpi-2, the only existing second generation electric jews harp, constructed specially by Szilagyi for Anton Bruhin. “Towards the G-Spot”, “ET2 with fly and cough” and “ET2 extreme filling” grandly complete the collection of limousine musics selected for this record. Gatefold sleeve with large 8 page booklet reproducing four mind-blowing drawings released between 1969 and 2006 that well proof Anton Bruhin ultra-modernistic talent of the most refined nature. Also included in the booklet is the complete score of “Maultrommel und Sprache”. Edition limited to 330 copies.” label info
23,00€
Out of stock
4 LP
François DUFRÊNE
“Œuvre désintégrale – 4LP”
These are almost the last copies ! “Alga marghen presents one of the most impressive sound poetry anthologies ever published, introducing you to the sound works of the Nouveau Realiste artist Francois Dufrêne. His work, along with that of Gil J Wolman and Brion Gysin, was a strong influence for experimental poets like Henri Chopin, Bernard Heidsieck and Ake Hodell. François Dufrêne could be considered the younger of the first generation sound poets. Already in the Lettrist Group when he was only 16 years old, with his own style marked by an hyper-powerful voice. In 1953, at the age of 23, he became Ultra-Lettrist, starting his first Crirhythms by overpassing the alphabet in the perspective of the physical improvised scream. With the Crirhythms sound poetry enters for the first time in the factory of projective sounds. In the beginning Dufrene uses the tape recorder only to document his creations. These recordings show him that through the tape machine his poems could reached deeper and wider creative dynamics. Since the mid-1950s the tape-machine becomes for him a poetical and experimental tool and Dufrene fully develops its potentials with stereophonic recordings as well as with the superimposition of his Crirhythms. The loudspeakers amplifies sounds while the microphone captures even the most detailed concrete sound produced by his voice. The physical tempest he produces is a real concrete electronic sound attack. Dufrêne produced primitive, brutal poems opening the path of vocal sounds to contemporary composers: it’s known that Pierre Henry was deeply inspired by Dufrêne. The anthology presented here includes 10 Crirhythms from different periods dating from 1965 to 1976. Also included is "Osmose-Art", a long piece from 1969 divided in two suites where Dufrene superimposes his crirhythms to classical music. A similar technique was applied a few years earlier adding jazz music (specially drum and percussion pieces) to poems marked by strong lettristic esthetic. Two of those “Lecture-collage” dating from 1965 are presented here, as well as two “Comptinuum” from his early on-progress works started in 1958. François Dufrêne also developed unique performances, with live reading of his written text. The most famous is Tombeau de Pierre Larousse, published in 1958. This is a work half way between the written text and the sound poem whose unity is achieved through Dufrene performing it. It’s a masterpiece of synthesis of active poetry. “Eryximaque, suite choreographique au Tombeau Pierre Larousse” is also included in this anthology. Apart from the crirythmes that Henri Chopin issued on his Revue OU disc magazine (the complete OU anthology is available from alga marghen as a 4CD set) and a few short pieces issued on obscure sound poetry anthologies in the end of the 1960’s, François Dufrene work is practically unavailable. This 4LP anthology, conceived by the same author and privately issued as a 3 cassette edition in the mid-1970s, includes only previously unpublished sound works that finally fully documents the creativity of such a radical artist. De-luxe heavy boxset edition limited to 345 copies.”
65,00€
Out of stock
4 CD + book
Walter MARCHETTI
“De musica inversa”
“alga marghen very proudly presents the only authorized reissue of all Walter Marchetti original recordings previously released by Cramps Records. An LP sized 4CD box set including “La caccia”, “In terram utopicam”, “Per la sete dell’orecchio”, “Natura morta” and “Vandalia”. Also included is the new book by Walter Marchetti titled “De musica inversa”, an instruction manual of both theory and practice for the proper and improper use of music. A method for perfecting oneself in composition annotated and commented upon by Gabriele Bonomo.
“The most amazing thing about music is its exterior aspect. High, vertical, translucent, almost turgid, maybe a bit too monolithic. One should, in any case, give a lot of attention to the large number of interstices which lead to the centre of the ear, wherefrom sounds spread out through a dense network leading to more circuits which direct these same and their relationships directly to the brain, in a logic of musical articulation which is nothing less than frightening. Even if, to attentive listening, dominating all is the eye of silence”.
CD1, titled “La caccia”, includes “La caccia” (1965), “Adversus” (Home-made electric music) (1966) and “Osmanthus fragrans” (Home-made electric music) (1973). The 16 page booklet presents the orginal scores, photos of both the 1965 ZAJ performances and of Marchetti recording “La caccia” in the 1970s, photos of the concert at Galleria Multhipla in 1974, and the reproduction of the original “La caccia” LP layout.
CD2, titled “In terram utopican”, includes “J’aimerais jouer avec un piano qui aurait une grosse queue” (1974/75) and “Per la sete dell’orecchio” (1981). The 16 page booklet presents the original score of “J’aimerais jouer”, photos of the performances in Milano and at the Venice Biennale, and the reproduction of the original “In terram utopicam” LP layout.
CD3, titled “Natura Morta”, includes the piece with the same title from 1980. The 8 page booklet reproduces original photos of the performance at Milanopoesia in 1988, as well as the text titled “In my music”.
CD4, titled “Vandalia”, includes “Perpetuum mobile” (1981), “Song for John Cage” (1985) and “Le secche del delirio” (1989). The 8 page booklet presents the photo of the “Perpetuum mobile” performance at Musicalia in 1981, the score of “Song for John Cage”, the photos of two “Musica da camera” installations, as well as the reproduction of the original “Vandalia” CD layout.
The 180 page “De musica inversa” book and all the texts included in the CD booklets are published in both English and Italian. “Too true: in all music there are, in effect, a lot of sounds henceforth... more than that, too many; everything that we listen to has become heavy beyond measure, completely unbearable. Rather than chasing it we should look for how to escape from music. Everything in it is monolithic, frozen, and the notes of music which slowly, more or less, are thickening around the listeners wrap them all in dripping blankets of death.” CD edition limited to 400 copies.” label info
“The most amazing thing about music is its exterior aspect. High, vertical, translucent, almost turgid, maybe a bit too monolithic. One should, in any case, give a lot of attention to the large number of interstices which lead to the centre of the ear, wherefrom sounds spread out through a dense network leading to more circuits which direct these same and their relationships directly to the brain, in a logic of musical articulation which is nothing less than frightening. Even if, to attentive listening, dominating all is the eye of silence”.
CD1, titled “La caccia”, includes “La caccia” (1965), “Adversus” (Home-made electric music) (1966) and “Osmanthus fragrans” (Home-made electric music) (1973). The 16 page booklet presents the orginal scores, photos of both the 1965 ZAJ performances and of Marchetti recording “La caccia” in the 1970s, photos of the concert at Galleria Multhipla in 1974, and the reproduction of the original “La caccia” LP layout.
CD2, titled “In terram utopican”, includes “J’aimerais jouer avec un piano qui aurait une grosse queue” (1974/75) and “Per la sete dell’orecchio” (1981). The 16 page booklet presents the original score of “J’aimerais jouer”, photos of the performances in Milano and at the Venice Biennale, and the reproduction of the original “In terram utopicam” LP layout.
CD3, titled “Natura Morta”, includes the piece with the same title from 1980. The 8 page booklet reproduces original photos of the performance at Milanopoesia in 1988, as well as the text titled “In my music”.
CD4, titled “Vandalia”, includes “Perpetuum mobile” (1981), “Song for John Cage” (1985) and “Le secche del delirio” (1989). The 8 page booklet presents the photo of the “Perpetuum mobile” performance at Musicalia in 1981, the score of “Song for John Cage”, the photos of two “Musica da camera” installations, as well as the reproduction of the original “Vandalia” CD layout.
The 180 page “De musica inversa” book and all the texts included in the CD booklets are published in both English and Italian. “Too true: in all music there are, in effect, a lot of sounds henceforth... more than that, too many; everything that we listen to has become heavy beyond measure, completely unbearable. Rather than chasing it we should look for how to escape from music. Everything in it is monolithic, frozen, and the notes of music which slowly, more or less, are thickening around the listeners wrap them all in dripping blankets of death.” CD edition limited to 400 copies.” label info
80,00€
Out of stock
maxi CD
Ghédalia TAZARTÈS
“Les danseurs de la pluie”
“Assassins 1” et “Assassins 2”, recorded in 1977 from sessions of “Une éclipse totale de soleil” and “Assassins 3”, “Assassins 4”, recorded in 2005.
11,00€
Out of stock
CD
MUSICA ELETTRONICA VIVA
“Spacecraft – Unified patchwork theory”
The MEV group was formed in September 1966 by Alvin Curran, Richard Teitelbaum, Frederic Rzewski, Allan Bryant, Carol Plantamura, Ivan Vandor, and Jon Phetteplace. In the beginning they performed compositions by themselves and others which involved the use of electronic sound produced in real time, or "live" electronic music. In the summer of 1967 they began to work more with improvisation and less with determinate structures. MEV focus more on interpreting the moment, rather than constructing repeatable programs; creating meaningful rituals, not images; becoming involved with the process, the operation, and not with the result of it, or its effects on people. MEV music is highly eclectic, resisting ready classification by combining elements of improvised music, computer music, world music, jazz and classical composition, without being clearly definable as any one of them. For the realization of "Spacecraft", recorded in Koln in 1967, MEV were Frederic Rzewski (amplified glass and springs), Alvin Curran (electric percussion, trumpet, voice), Richard Teitelbaum (moog synthesizer), Allen Bryant (homemade synthesizer), Ivan Vandor (alto saxophone). In the collective work of MEV "Spacecraft" it was stereotypes that formed the material for the improvisation. The player imagined himself as trapped within a labyrinth, whose corridors were lined with images, learned formulas, taken from the past. This was the space which he occupied, and it was indeed a trap, but then it was also all that he had. It was occupied space, he was in it, but didn’t identify with it, and the work was to transform it into created space,
to make it his. He had to penetrate through the walls of the labyrinth, through the images, whether by magic, all at once, or over a longer duration, by work, in order to come out into the open, to discover a new space which was neither his nor another’s, but everybody’s. The secret of the labyrinth is that the way out is not left, right, forwards, or backwards, but up: to get free one must fly. To fly is to risk falling, to acept this risk. As long as you are afraid to take this risk, you’ll never get off the ground, you’ll run around bashing into walls and going through the movements of flight, uselessly flapping and flopping. You will fall into stereotypes. If you accept this, however, if you open yourself to whatever is happening, suspend judgement and fall into it completely and with grace, then you will fly, and it will be transformed. "Spacecraft" is a composition, in the sense that it is based on a particular combination of ideas. In order to play "Spacecraft" it was necessary to be more or less familiar with these ideas. The performers all knew each other. Every performance was the moment of a continuous process. This process then came to an end, as it were, and the rather esoteric techniques used in the maintaining it were abandoned in favour of others which were more open, more accessible to the casual visitor or listener. This CD also includes " Unified Patchwork Theory ", recorded in
Zurich at Rote Frabrik by MEV including Frederic Rzewski (piano), Alvin Curran (sampler, synths), Richard Teitelbaum (synths), Steve Lacy (soprano sax), Garrett List (trombone, voice, electronics). This CD is included in a beatiful digipack black and white sleeve with photos and liner notes. Also included is a 8 page booklet with an essay by Frederic Rzewski titled "Plan for Spacecraft", as well as “Some MEV Memories" by Richard Teitelbaum and the chronology the “Spacecraft” performances in Europe in 1967. New edition remastered by Giuseppe Ielasi.
to make it his. He had to penetrate through the walls of the labyrinth, through the images, whether by magic, all at once, or over a longer duration, by work, in order to come out into the open, to discover a new space which was neither his nor another’s, but everybody’s. The secret of the labyrinth is that the way out is not left, right, forwards, or backwards, but up: to get free one must fly. To fly is to risk falling, to acept this risk. As long as you are afraid to take this risk, you’ll never get off the ground, you’ll run around bashing into walls and going through the movements of flight, uselessly flapping and flopping. You will fall into stereotypes. If you accept this, however, if you open yourself to whatever is happening, suspend judgement and fall into it completely and with grace, then you will fly, and it will be transformed. "Spacecraft" is a composition, in the sense that it is based on a particular combination of ideas. In order to play "Spacecraft" it was necessary to be more or less familiar with these ideas. The performers all knew each other. Every performance was the moment of a continuous process. This process then came to an end, as it were, and the rather esoteric techniques used in the maintaining it were abandoned in favour of others which were more open, more accessible to the casual visitor or listener. This CD also includes " Unified Patchwork Theory ", recorded in
Zurich at Rote Frabrik by MEV including Frederic Rzewski (piano), Alvin Curran (sampler, synths), Richard Teitelbaum (synths), Steve Lacy (soprano sax), Garrett List (trombone, voice, electronics). This CD is included in a beatiful digipack black and white sleeve with photos and liner notes. Also included is a 8 page booklet with an essay by Frederic Rzewski titled "Plan for Spacecraft", as well as “Some MEV Memories" by Richard Teitelbaum and the chronology the “Spacecraft” performances in Europe in 1967. New edition remastered by Giuseppe Ielasi.
15,00€
In stock
CD
Walter MARCHETTI
“Concerto per la mano sinistra in un solo movimento”
The “Concerto for the left hand in one movement”, for piano, is the last unpublished composition of Walter Marchetti to be performed in public before the death of the author on May 12, 2015.
Performed by Reinier van Houdt, piano.
Composed in 1994, the “Concerto for the left hand” belongs to an ongoing series of works written between 1994 and 1997: “Con vista sui suoni”, “Eight or Nine Movements for String Quartet” and “La perdita del tempo” which develop from a preceding composition titled “Canonic Variations for Orchestra on Prolapsed Time From Development to Hiccup of Black Cherry Jam”. In these works Marchetti made a systematic and assertive return to conventional music notation, even while not excluding performative and installative practice and the use of pre-recorded “concrète” sounds which from the 60s had been his privileged field-of-action. A modality shared principally within the exquisitely iconoclast and desacratory activities of the ZAJ group.
What was particularly interesting to Marchetti in this recourse to musical writing is weakening the meaning of the rigid normative apparatus of a musical score with the purpose of annihilating the factual potential of his system of prescriptions.
The title alone is used to hide a paradox where the notes to the performer intervene to subvert the following paradigm: “The pianist is obliged to hold a black umbrella opened over his head in his left hand during the whole performance of this concerto”. From here the performer is confronted with two conceptually convergent possibilities in de-potentializing the apparatus of signs in the score: the restrictive imposition of the paradox where the music couldn’t manifest itself in case of respecting to the letter the enunciation which lead to the impossibility of the music’s ‘existence’ (i.e., the obligation of holding an open black umbrella in the same hand) or rather, transgressing this encumbrance, the implicit possibility of playing the score with the right hand and, definitively, the condition of the music subjected to its own manifestation to no longer be able to coincide with its own realization: “a magic made free from the lie of being truth”.
Limited to 300 copies.
CD in digipak sleeve with a full-colour booklet including photos as well as liner notes by Gabriele Bonomo.
Performed by Reinier van Houdt, piano.
Composed in 1994, the “Concerto for the left hand” belongs to an ongoing series of works written between 1994 and 1997: “Con vista sui suoni”, “Eight or Nine Movements for String Quartet” and “La perdita del tempo” which develop from a preceding composition titled “Canonic Variations for Orchestra on Prolapsed Time From Development to Hiccup of Black Cherry Jam”. In these works Marchetti made a systematic and assertive return to conventional music notation, even while not excluding performative and installative practice and the use of pre-recorded “concrète” sounds which from the 60s had been his privileged field-of-action. A modality shared principally within the exquisitely iconoclast and desacratory activities of the ZAJ group.
What was particularly interesting to Marchetti in this recourse to musical writing is weakening the meaning of the rigid normative apparatus of a musical score with the purpose of annihilating the factual potential of his system of prescriptions.
The title alone is used to hide a paradox where the notes to the performer intervene to subvert the following paradigm: “The pianist is obliged to hold a black umbrella opened over his head in his left hand during the whole performance of this concerto”. From here the performer is confronted with two conceptually convergent possibilities in de-potentializing the apparatus of signs in the score: the restrictive imposition of the paradox where the music couldn’t manifest itself in case of respecting to the letter the enunciation which lead to the impossibility of the music’s ‘existence’ (i.e., the obligation of holding an open black umbrella in the same hand) or rather, transgressing this encumbrance, the implicit possibility of playing the score with the right hand and, definitively, the condition of the music subjected to its own manifestation to no longer be able to coincide with its own realization: “a magic made free from the lie of being truth”.
Limited to 300 copies.
CD in digipak sleeve with a full-colour booklet including photos as well as liner notes by Gabriele Bonomo.
15,00€
Out of stock
CD
Walter MARCHETTI
“Vandalia”
“alga marghen very proudly presents the only authorized reissue of all Walter Marchetti original recordings previously released by Cramps Records. With “Vandalia” Walter Marchetti is focusing his concrete and radical themes. Also including an homage to John Cage. Action Music! “Vandalia”, includes “Perpetuum mobile” (1981), “Song for John Cage” (1985) and “Le secche del delirio” (1989). The 8 page booklet presents the photo of the “Perpetuum mobile” performance at Musicalia in 1981, the score of “Song for John Cage”, the photos of two “Musica da camera” installations, as well as the reproduction of the original “Vandalia” CD layout. All texts are published both in English and Italian. First included in an LP sized 4CD box set together with other 3 CDs titled “La caccia”, “In terram utopicam” and “Natura morta”, plus the new book by Walter Marchetti titled “De musica inversa”, an instruction manual of both theory and practice for the proper and improper use of music, this CD is also available now, separately from the complete box set, in a very limited number of copies.” label info
15,00€
Out of stock
CD
Walter MARCHETTI
“Natura morta”
“alga marghen very proudly presents the only authorized reissue of all Walter Marchetti original recordings previously released by Cramps Records. “A very simple sequence of piano accidents, according to Robert Ashley the one of the most beautiful piano music ever recorded. “Natura Morta”, includes the piece with the same title from 1980. The 8 page booklet reproduces original photos of the performance at Milanopoesia in 1988, as well as the text titled “In my music”. All texts are published both in English and Italian.
First included in an LP sized 4CD box set together with other 3 CDs titled “La caccia”, “In terram utopicam” and “Vandalia”, plus the new book by Walter Marchetti titled “De musica inversa”, an instruction manual of both theory and practice for the proper and improper use of music, this CD is also available now, separately from the complete box set, in a very limited number of copies.” label info
First included in an LP sized 4CD box set together with other 3 CDs titled “La caccia”, “In terram utopicam” and “Vandalia”, plus the new book by Walter Marchetti titled “De musica inversa”, an instruction manual of both theory and practice for the proper and improper use of music, this CD is also available now, separately from the complete box set, in a very limited number of copies.” label info
15,00€
Out of stock
CD
Walter MARCHETTI
“In terram utopicam”
“alga marghen very proudly presents the only authorized reissue of all Walter Marchetti original recordings previously released by Cramps Records. Walter Marchetti is one of the most original and controversial pre-Fluxus authors. In this work he frees all of his sophisticated poeticism. “In terram utopican”, includes “J’aimerais jouer avec un piano qui aurait une grosse queue” (1974/75) and “Per la sete dell’orecchio” (1981). The 16 page booklet presents the original score of “J’aimerais jouer”, photos of the performances in Milano and at the Venice Biennale, and the reproduction of the original “In terram utopicam” LP layout. All texts are published both in English and Italian. First included in an LP sized 4CD box set together with other 3 CDs titled “La caccia”, “Natura morta” and “Vandalia”, plus the new book by Walter Marchetti titled “De musica inversa”, an instruction manual of both theory and practice for the proper and improper use of music, this CD is also available now, separately from the complete box set, in a very limited number of copies.” label info
15,00€
Out of stock
CD
Robert ASHLEY
“The wolfman”
New remastered CD edition of Robert Ashley “The Wolfman”. This edition introduces us to the most extreme experimental side of the famous American composer.
The program starts with “The Fox” (1957), the first electronic music work by Robert Ashley which already displays the future electronic music theatre style. Dark atmospheres and primitive tape collage techniques recorded at home, mixing the electronic tape and the voice in a single ’live’ pass. The title track, ’The Wolfman’, was composed in early 1964 and first performed on Charlotte Moorman’s festival of the avant-garde in New York in the fall of the same year, gaining considerable reputation as a threat to the listener’s health. For the occasion instigated by Feldman, Robert Ashley composed a piece of tape music, “The Wolfman Tape”, to be played along with the vocal performance of “The Wolfman”. The idea of a tape composition, which is to come out of the same loudspeakers as the voice and the feedback (the main sound source for this composition), is to fill-in the ongoing performance sound and to transform the performance into an elaborate version of the ’drone’ under the influence of electronics. The choice of what sounds should be on the tape is determined by the need to have the whole range of frequencies brought into the feedback, but to give those sounds a short duration-in other words, a blizzard of very short sounds across the whole frequency range-so that the illusion of the sounds coming from all parts of the room is preserved. For the performance of ’The Wolfman’ recorded here, produced at the University of California at Davis, Robert Ashley used an earlier (1960) tape composition entitled ’The 4th of July’. That composition changes gradually from a parabolic-microphone documentation of a backyard party into a layering of tape loops and tape-head feedback. ’The Wolfman Tape’ (1964) is, as descibed above, a tape composition made for a short performance of ’The Wolfman’. It uses tape-speed manipulation and mixes of many layers of ’found’ sounds, both from AM radio and from recordings made using different kinds of microphones. ’The Bottleman’ was composed in 1960 as music for an experimental film by George Manupelli. The 40 minutes long version preseted here involves contact microphones on a surface that holds a loudspeaker some six feet away. The loudspeaker is broadcasting open-circuit ’hum’ (at the American standard of approximately 60 hertz). That pitch is raised slightly through tape manipulation and the result is mixed with vocal sounds and other ’found’ sounds played back at various tape speeds. All compositions previously unreleased. The digipak CD comes with a 12 pages booklet including liner notes written by the composer and the complete score of ’The Wolfman’, first issued in Source magazine."
The program starts with “The Fox” (1957), the first electronic music work by Robert Ashley which already displays the future electronic music theatre style. Dark atmospheres and primitive tape collage techniques recorded at home, mixing the electronic tape and the voice in a single ’live’ pass. The title track, ’The Wolfman’, was composed in early 1964 and first performed on Charlotte Moorman’s festival of the avant-garde in New York in the fall of the same year, gaining considerable reputation as a threat to the listener’s health. For the occasion instigated by Feldman, Robert Ashley composed a piece of tape music, “The Wolfman Tape”, to be played along with the vocal performance of “The Wolfman”. The idea of a tape composition, which is to come out of the same loudspeakers as the voice and the feedback (the main sound source for this composition), is to fill-in the ongoing performance sound and to transform the performance into an elaborate version of the ’drone’ under the influence of electronics. The choice of what sounds should be on the tape is determined by the need to have the whole range of frequencies brought into the feedback, but to give those sounds a short duration-in other words, a blizzard of very short sounds across the whole frequency range-so that the illusion of the sounds coming from all parts of the room is preserved. For the performance of ’The Wolfman’ recorded here, produced at the University of California at Davis, Robert Ashley used an earlier (1960) tape composition entitled ’The 4th of July’. That composition changes gradually from a parabolic-microphone documentation of a backyard party into a layering of tape loops and tape-head feedback. ’The Wolfman Tape’ (1964) is, as descibed above, a tape composition made for a short performance of ’The Wolfman’. It uses tape-speed manipulation and mixes of many layers of ’found’ sounds, both from AM radio and from recordings made using different kinds of microphones. ’The Bottleman’ was composed in 1960 as music for an experimental film by George Manupelli. The 40 minutes long version preseted here involves contact microphones on a surface that holds a loudspeaker some six feet away. The loudspeaker is broadcasting open-circuit ’hum’ (at the American standard of approximately 60 hertz). That pitch is raised slightly through tape manipulation and the result is mixed with vocal sounds and other ’found’ sounds played back at various tape speeds. All compositions previously unreleased. The digipak CD comes with a 12 pages booklet including liner notes written by the composer and the complete score of ’The Wolfman’, first issued in Source magazine."
15,00€
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€
In stock
CD
Max NEUHAUS
“Four realizations of Stockhausen’s Zyklus”
Zyklus was written in 1959 and is one of the first solo pieces to utilize such a large nember of percussion instruments (twenty one). When Neuhaus first started to play this piece there were only three percussionists in the world who could play it. Stockhausen’s idea was that a performer would play the piece spontaneosly, making its complex decisions n the fly. No one played it this way; it was too difficult. Everyone wrote out his own version of the score and played from it. Coming from the world of jazz Neuhaus decided he wanted to take up the challenge of playing it spontaneously. At that time percussionists generally played only one instrument at a time. Playing twenty one siultaneously was unheard of. Neuhaus quickly realized that the only way to do it, in fact, was to think of all them together as just one instrument, one multi-surfaced bank of timbre.
Neuhaus decided to travel to Europe and go to Darmstadt where Stockhausen was teaching. He wanted to talk to him about the piece. Stockhausen was interested in the idea that the twenty one instruments had to be physically formed into one instrument and that so much work had been done already. So he offered Neuhaus the big opportunity to perform Zyklus on the first American tour.
Stockhausen came over to New York to hear Neuhaus play, but he wasn’t satisfied with the improvisation version. It was too long. Neuhaus was determined to teach himself how to do it for this tour. He had another six months. He got down to seven minutes; and he was still improvising, not writing it out. He was ready to play that piece, and played it like nobody had ever heard it before.
Each of these four recorings is a document of a true solo performance, one person and two hands, with no additional live help and no overdubbing. This cd also offers four different kinds of beauty, four proofs that the latitude that Stockhausen allowed, when capitalized on by a performer with creative imagination, could validate Stockhausen as a composer and an entire aesthetec of freedom and control.
This edition includes a 12 pages booklet with original photos of both official concerts and performances for invited audinces, Max Neuhaus’ own comments on the original score and an editorial note by John Rockwell. Digipack first press of 1000 copies.
Neuhaus decided to travel to Europe and go to Darmstadt where Stockhausen was teaching. He wanted to talk to him about the piece. Stockhausen was interested in the idea that the twenty one instruments had to be physically formed into one instrument and that so much work had been done already. So he offered Neuhaus the big opportunity to perform Zyklus on the first American tour.
Stockhausen came over to New York to hear Neuhaus play, but he wasn’t satisfied with the improvisation version. It was too long. Neuhaus was determined to teach himself how to do it for this tour. He had another six months. He got down to seven minutes; and he was still improvising, not writing it out. He was ready to play that piece, and played it like nobody had ever heard it before.
Each of these four recorings is a document of a true solo performance, one person and two hands, with no additional live help and no overdubbing. This cd also offers four different kinds of beauty, four proofs that the latitude that Stockhausen allowed, when capitalized on by a performer with creative imagination, could validate Stockhausen as a composer and an entire aesthetec of freedom and control.
This edition includes a 12 pages booklet with original photos of both official concerts and performances for invited audinces, Max Neuhaus’ own comments on the original score and an editorial note by John Rockwell. Digipack first press of 1000 copies.
15,00€
Out of stock
CD
Max NEUHAUS
“The New York school. Nine realizations of Cage, Feldman, Brown”
The term “New York School” refers to a circle of composers in the 1950’s who orbited around John Cage: Morton Feldman, Earle Brown, Christian Wolff and David Tudor above all. Their music paralleled the music and events of the Fluxus group, and drew its name from the New York School of mostly Abstract Expressionist painters who had got their start in the 40’s: Motherwell, Pollock, de Kooning, Rothko, Kline. What brought these artists together was a faith in the liberation of the unconscious and an excitement drawn from the street energies of Manhattan.
This compact disc offers multiple realizations by the solo percussionist Max Neuhaus of scores by three key members of the New York School: Earle Brown (three realizations of "Four Systems - For Four Amplified Cymbals", recorded between 1964 and 1968), Morton Feldman (three realizations of "King of Denmark", recorded between 1965 and 1968) and John Cage (one realization ’64 and two realization ’65 of 27’10.554"). All three composers conformed to the ethos of the 60’s, not to the blend of hippie mysticism and pop commercialism that defined that decade towards its end, but to a broader notion of personal liberation. In this context Max Neuhaus was allowed to express himself, to revel in timbral color (including the use of electronics, as in the amplification of the cymbals in the Brown performances, or in the use of a FM tuner, of a self-built electronic mini-instrumet or of a tape with concrete sounds in the Cage performaces) and in giddy dialogues between notated compositional intention and performed expression. Each of the realizations on this disc is a valid response to the scores, yet each is different, almost a new piece of music.
This edition includes a 16 pages booklet with original photos and concert programs, Max Neuhaus’ own comments on the original scores, an editorial note by John Rockwell, reviews by Malcolm Goldstein and Theodore Strongin. Digipack first press of 1000 copies.
This compact disc offers multiple realizations by the solo percussionist Max Neuhaus of scores by three key members of the New York School: Earle Brown (three realizations of "Four Systems - For Four Amplified Cymbals", recorded between 1964 and 1968), Morton Feldman (three realizations of "King of Denmark", recorded between 1965 and 1968) and John Cage (one realization ’64 and two realization ’65 of 27’10.554"). All three composers conformed to the ethos of the 60’s, not to the blend of hippie mysticism and pop commercialism that defined that decade towards its end, but to a broader notion of personal liberation. In this context Max Neuhaus was allowed to express himself, to revel in timbral color (including the use of electronics, as in the amplification of the cymbals in the Brown performances, or in the use of a FM tuner, of a self-built electronic mini-instrumet or of a tape with concrete sounds in the Cage performaces) and in giddy dialogues between notated compositional intention and performed expression. Each of the realizations on this disc is a valid response to the scores, yet each is different, almost a new piece of music.
This edition includes a 16 pages booklet with original photos and concert programs, Max Neuhaus’ own comments on the original scores, an editorial note by John Rockwell, reviews by Malcolm Goldstein and Theodore Strongin. Digipack first press of 1000 copies.
15,00€
Out of stock
CD
Luc FERRARI
“Éphémère I & II”
“Presented here for the first time, "Ephemere I & II" (for tape, or to be played with various instruments) are two previously unpublished masterpieces which represent for several reasons a very specific moment in the creative life and catalogue of Luc Ferrari. Even if Luc Ferrari’s perfect skill in creating some of the most beautiful sonic works ever is now well known to the large audience appreciating his music, the undetermined character marking the two work present here for is quite surprising. Luc Ferrari was tempted in the mid-1970s by the idea of leaving the final realization of these pieces open to the performers intervention (a perspective he decided not to develop in future researches). "Exercises d’Improvisation", a score conceived in 1977 and unreleased for almost 35 years (first recorded this year by the GOL collective with Brunhild Meyer-Ferrari for an LP soon to be issued on PLANAM), directly comes from the two works presented here. "Ephemere I" (or "L’ordinateur ça sert à quoin?" i.e. "What’s the use of computers") is a 27 minutes piece for tape only created in 1974, conceived as a kind of electronic drone superimposed by fragments of multi-language whispered voices that creates the thrilling effect of a "sea-like" continuum. "Ephemere II" (or "Lyon 75" after the only recorded realization) is a 51 minutes tape piece with guitar improvisation. The electronic repetitive structure reminds some of the most radical works of American composer Terry Riley, while the guitar sounds, first resulting as live manipulated pointillistic impulses, develop into a blues sonority superimposing the tape drone and creating a heavy psychedelic atmosphere of the most sublime kind. The end of this long suite lead us back into more abstract and live-electronic sonorities. This very intense work can be placed in a context between scored music and totally improvised music. First press limited to 500 copies in tri-folded digipack sleeve. Please note: these 2 previously unpublished pieces revealing a hidden part of Luc Ferrari poetics are not included in the INA 10CD boxset. Only available on this CD edition.” label info
15,00€
Out of stock
CD
Jacques BERROCAL
“Catalogue”
“Catalogue released in 1979 in a limited edition on his own d’avantage label, catalogue, with its overt theatricality is every bit as wild as the previous paralleles. not really jazz, not rock, having nothing to do with contemporary music either, catalogue it’s a kind of sonic postcard which features not the group of the same name but instead numerous Berrocal associates including Potage (co-founder of the d’avantage label in 1976), Parle, Ferlet, Pauvros and recording engineer Daniel Deshays, plus many musicians from the french underground collective scene of the 1970s. first compact disc edition with the integral documentation. Graphics reproducing the special layout of the original lp record, with photo collages by Berrocal. Digipak first edition limited to 1000 copies.”
15,00€
In stock
CD
Jacques BERROCAL
“Parallèles”
“Jacques Berrocal has been very active since the beginning of the 1970s. No one in France could mix jazz, improvisation, rock’n’roll, punk, no wave, spoken words and industrial music like him. He also had a central position in the creation of d’Avantage, a collective record label that issued some of the most particular sessions of the mid-late Seventies. At the same time he was working on never ending sessions for records that were never issued. Jac and his band were the Apostles of the non-urgency, enjoying recording in unusual situations, with no rules, improvising on undefined structures or using non-musical material mixed with ethnic instrumental solos. In 1976 d’Avantage issued a wonderful record LP titled Parallèles featuring, among the others, Bernard Vitet, Roger Ferlet, Pierre Bastien, Michel Potage, Daniel Deshays, with the intervention of Vince Taylor, the dark diamond of rock’n’roll who inspired David Bowie’s Ziggy Stardust. Just a couple of years later Berrocal collaborated with Steven Stapleton to create the first Nurse with Would record LP. Parallèles features very different styles; acoustic solo and duo for trombone and cornet as well as a large ensemble 25 minutes long piece dedicated to the futurist Russolo (again, two years later, Mr.Stapleton dedicated his first NWW record to the same italian artist). Also to mention are ’Post-Card’, recorded in a Pigsty in 1976, and the legendary ’Rock’n’roll Station’, a mini-concert for voice (Vince Taylor), double bass (Roger Ferlet) and bicycle (Jac Berrocal). The remastered CD also includes five previously unreleased tracks that were actually left out of the original record: ’Villa Povera Naturale’ (1972) is a short piece for pocket trumpet and various concrete elements; ’Occupè’ by Michel Potage is an excerpt taken from an LP that d’Avantage never issued; ’Shorten’ and ’Lisylis Pavillon’ are the first experiments using electronics and ’Cryptea IV’, taken from the sessions of the early Futura LP. Thirty years later Jacques Berrocal is still there, where nothing is waiting for him, totally outside the rules, out of fashion thus indémodable. A digipack CD edition including a folded insert with very nice original photos and scores.”
15,00€
Out of stock
CD
Ghédalia TAZARTÈS
“Transports”
New remastered version ! New bonus tracks !
New remastered CD edition of “Tazartès’ Transports”, Ghédalia Tazartès second LP, presented here with new bonus tracks. Also included are “Assassins 1 to 4” (previously issued as “Les danseurs de la pluie” miniCD), as well as “Elie” featuring Ghédalia in duo with his daughter (previously issued on “Tazartès’ Transports” 1997 first CD edition).
“Tazartès' Transports” is the incredible second album by autodidact and outsider composer Tazartès. Originally released on vinyl in 1980, it probably represents the most original example of the artist's poetical and personal approach to sound organization. The tracks for “Tazartès' Transports” were recorded in 1977 at Ghédalia’s own studio in Paris, strafing stream-of-conscious between rippling electro rhythms to outer-national singing styles, collaged field recordings and musique concrete, to chants, tape loops and exotic atmospheres with a perpetual sense of drift and magical imagination. We're spellbound from the first to last, through the deeply evocative peal of church bells and swirling synthetic textures in track 2, via humid sci-fi scenes and alien avian chatter on track 5 and the lost zones of the closing stages.
Also included on this CD are four “Assassins” tracks previously issued as “Les danseurs de la pluie”. The first two tracks were recorded around the “Eclipse totale” sessions in 1977 and consist of banking guitar feedback, unhinged hollers, and an unsettling piece of children's screams looped against droning synth tones and electronic pulses. The other two were recorded in 2005. “Assassin 3” is a mystical piece of ecstatic ululations and plangent electric guitar riffs, while part 4 feels more opulent, plush synth pads set against strange, strafing distortion, rhythmic exhortations and percussions with a surreal cinematic quality. Yet again, Ghédalia provides us with some of the most compelling, weirdly life-affirming music we've heard in ages.
The disc concludes with "Elie", a charming piano piece performed in duo with the composer's young daughter.
New remastered CD edition of “Tazartès’ Transports”, Ghédalia Tazartès second LP, presented here with new bonus tracks. Also included are “Assassins 1 to 4” (previously issued as “Les danseurs de la pluie” miniCD), as well as “Elie” featuring Ghédalia in duo with his daughter (previously issued on “Tazartès’ Transports” 1997 first CD edition).
“Tazartès' Transports” is the incredible second album by autodidact and outsider composer Tazartès. Originally released on vinyl in 1980, it probably represents the most original example of the artist's poetical and personal approach to sound organization. The tracks for “Tazartès' Transports” were recorded in 1977 at Ghédalia’s own studio in Paris, strafing stream-of-conscious between rippling electro rhythms to outer-national singing styles, collaged field recordings and musique concrete, to chants, tape loops and exotic atmospheres with a perpetual sense of drift and magical imagination. We're spellbound from the first to last, through the deeply evocative peal of church bells and swirling synthetic textures in track 2, via humid sci-fi scenes and alien avian chatter on track 5 and the lost zones of the closing stages.
Also included on this CD are four “Assassins” tracks previously issued as “Les danseurs de la pluie”. The first two tracks were recorded around the “Eclipse totale” sessions in 1977 and consist of banking guitar feedback, unhinged hollers, and an unsettling piece of children's screams looped against droning synth tones and electronic pulses. The other two were recorded in 2005. “Assassin 3” is a mystical piece of ecstatic ululations and plangent electric guitar riffs, while part 4 feels more opulent, plush synth pads set against strange, strafing distortion, rhythmic exhortations and percussions with a surreal cinematic quality. Yet again, Ghédalia provides us with some of the most compelling, weirdly life-affirming music we've heard in ages.
The disc concludes with "Elie", a charming piano piece performed in duo with the composer's young daughter.
15,00€
Out of stock
CD
Ghédalia TAZARTÈS
“Une éclipse totale de soleil”
“The first record released by Ghédalia Tazartès in 1979. Far away from contemporary music intellectualisms or from synthetical noise purists, this was certainly one of the most original and creative records of the 70s featuring a new form of musical expression... the value of this work was underestimated and only a few people had a chance to listen to its beautiful music. Now, due to the new growing interest, Alga Marghen has taken the decision to reprint all Tazartes records, starting with his first work. Originally conceived in two parts, Une Eclipse... has been remastered and is now integrated by a 25 minute new piece (’Part III’), composed expressly for this CD”.
15,00€
Out of stock
CD
Ghédalia TAZARTÈS
“Tazartès”
New catalogue number ! New remastered version ! New bonus tracks !
New remastered CD edition of “Tazartès”, Ghédalia Tazartès forth LP, presented here in its integral original length. Also included is the first CD edition of “Whatever Works Singing Wild My Rock Ghédalia” (previously issued as side B of “Granny Awards” LP), created in the early ‘80s in his anhydridic Paris.
Immersive, transporting and deeply arresting music from the revered autodidact and audio oddity. If you’ve never encountered Ghédalia before, this is an excellent place to start, welcoming you to a whole other world of exotic, electro and acoustic sounds, composed according to a genuinely far reaching and individual agenda.
The five bonus tracks opens to a comedic, exuberant vocal set to crackly 78 backing on “Whatever” and turns blind corners into ethno-noise trance-outs on “Singing”, hyper-rhythmic experiments on "Wild" and a jarring hardcore punk-out in “My Rock Ghédalia”. The freedom of expression and taste for exotic, arabesque tonalities is a mighty revelation and we assure you we’ll be digging much deeper into Ghédalia’s catalogue at the nearest opportunity.
New remastered CD edition of “Tazartès”, Ghédalia Tazartès forth LP, presented here in its integral original length. Also included is the first CD edition of “Whatever Works Singing Wild My Rock Ghédalia” (previously issued as side B of “Granny Awards” LP), created in the early ‘80s in his anhydridic Paris.
Immersive, transporting and deeply arresting music from the revered autodidact and audio oddity. If you’ve never encountered Ghédalia before, this is an excellent place to start, welcoming you to a whole other world of exotic, electro and acoustic sounds, composed according to a genuinely far reaching and individual agenda.
The five bonus tracks opens to a comedic, exuberant vocal set to crackly 78 backing on “Whatever” and turns blind corners into ethno-noise trance-outs on “Singing”, hyper-rhythmic experiments on "Wild" and a jarring hardcore punk-out in “My Rock Ghédalia”. The freedom of expression and taste for exotic, arabesque tonalities is a mighty revelation and we assure you we’ll be digging much deeper into Ghédalia’s catalogue at the nearest opportunity.
15,00€
Out of stock
CD
Ghédalia TAZARTÈS
“Diaspora”
New catalogue number! New remastered version! New bonus track!
New remastered CD edition of “Diasporas”, Ghédalia Tazartès first LP, presented here in its integral original length. Also included is the first CD edition of “Ferme ta gueule, Zarathustra” (previously issued as side A of “Granny Awards” LP), largely based on materials pre-dating Ghédalia debut LP “Diasporas”.
In “Ferme ta gueule, Zarathustra” Ghédalia Tazartès is freely connecting the garbled “voix d'enfant” of Raphaël Glucksmann with intoxicating, slow moving and sustained synth chords, before jump-cutting into bird calls, dissonant arabesque strings and eccentric vocalizations with a blinding sense of freedom.
Ghédalia Tazartès is a nomad. He wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. He traces vague landscapes where the mitre of the white clown the plumes of the sorcerer, the helmet of a cop and Parisian anhydride collide into polyphonic ceremonies… The greatest trips were made in the deep end of the throat: the extra-European music open the ear to Ghédalia’s intra-European exoticism. Where was music before music halls? Where was the voice before it learned how to speak? Ghédalia is the orchestra and a pop group all in one person: the self is multitude and others. The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices. The permanent metamorphosis is a principle of composition, it escapes control, refuses classification. To hell with the technocrats of noise and the purists of synthetic culture. All art like all true mythology use a double clavier, playing nature and culture, feeling and the distance of the flesh, death. Off limits!
New remastered CD edition of “Diasporas”, Ghédalia Tazartès first LP, presented here in its integral original length. Also included is the first CD edition of “Ferme ta gueule, Zarathustra” (previously issued as side A of “Granny Awards” LP), largely based on materials pre-dating Ghédalia debut LP “Diasporas”.
In “Ferme ta gueule, Zarathustra” Ghédalia Tazartès is freely connecting the garbled “voix d'enfant” of Raphaël Glucksmann with intoxicating, slow moving and sustained synth chords, before jump-cutting into bird calls, dissonant arabesque strings and eccentric vocalizations with a blinding sense of freedom.
Ghédalia Tazartès is a nomad. He wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. He traces vague landscapes where the mitre of the white clown the plumes of the sorcerer, the helmet of a cop and Parisian anhydride collide into polyphonic ceremonies… The greatest trips were made in the deep end of the throat: the extra-European music open the ear to Ghédalia’s intra-European exoticism. Where was music before music halls? Where was the voice before it learned how to speak? Ghédalia is the orchestra and a pop group all in one person: the self is multitude and others. The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices. The permanent metamorphosis is a principle of composition, it escapes control, refuses classification. To hell with the technocrats of noise and the purists of synthetic culture. All art like all true mythology use a double clavier, playing nature and culture, feeling and the distance of the flesh, death. Off limits!
15,00€
Out of stock
CD
Dick HIGGINS
“The thousand symphonies”
“Alga marghen presents the first edition ever issued of Dick Higgins’ music. Fluxus founding member, in 1958 Dick Higgins studied Composition and Experimental Music with John Cage in his class at the New School for Social Research in New York together with, among others, La Monte Young, Richard Maxfield, Toshi Ichiyanaghi, George Brecht, Allan Kaprow, Al Hansen, Jackson Mac Low. In the Spring of 1968 Geoffrey Hendricks and Robert Watts told Dick Higgins of a project that was afoot at Douglass College, where both were teaching at the time, to organize a show around guns. At that time the USA police seemed to have nothing better to do than to chase down teenagers for possessing miniscule amounts of marijuana and throwing them in jail, thus ruining their lives. Dick Higgins decided it would be more worthy if one could set all the policemen in the USA to composing symphonies themselves. So he proposed that the beautiful music paper be machine gunned and that symphonies be derived from the result. Geoffrey Hendricks arranged for Captain Toby of the South Brunswick Police to do this, which duly happened with a 9mm MP40 Schmeisser submachine gun, filmed by Alison Knowles. A volunteer orchestra, conducted by Philip Corner and including Charlotte Moorman, performed nine of the resulting symphonies at Douglass College on December 9th. The Douglass concert was taped, but the only copy disappeared when the Ars Viva! Gallery in Berlin, Germany, went bankrupt in 1984. The whole situation was documented with photographs in Source Magazine in 1970. As Philip Corner, conductor of the recordings presented here, said: “Leave it to Dick Higgins to come up with the most spectacular way to generate a page of patternless notes. Once over this dramatic gesture with machine-gun bullets leaves a stack of paper full of holes. I had not thought of this before but there must have been a conscious connection to the social turmoil of the 60’s - all too unfortunately, come back around to high relevance these days”. First press limited to 500 copies with digipack sleeve, also including a 16 page booklet with full documentation presenting 2 texts by Dick Higgins from the 1960s as well as a Philip Corner testimony, original photos and original scores.”
15,00€
Out of stock
CD
David BEHRMAN
“Wave train”
New remastered CD edition of David Behrman “Wave Train” CD, featuring Sonic Arts Union. A digipak CD with David Behrman experimental music from 1959 to 1968. “The CD starts with the short piece called “Canons” a product of a 3 weeks stage in Darmstadt (summer 1959) featuring David Tudor on piano and Christoph Caskel playing percussions. ’Ricercar’ is a prepared piano piece made in 1961 and has the flexible form of the kind favoured by European composers in the early 1960s, but also reflecting the work of Cowell and Cage. “Wave Train” (1966) marked the moment when something radical happened, in which established techniques were thrown away. A powerful feedback piece live performed with Gordon Mumma. “Players with Circuits” (1966) is an exploration of raw materials, here a combination of live electronics and amplified acoustic sound. “Sounds for a Film by Bob Watts” for outdoor environment recording and homemade synthesizer, was recorded at Stony Point, the artists’ cooperative which John Cage, David Tudor, Sari Dienes and other friends had established. The last piece, “Runthrough” was made for performance by members of the sonic Arts Union: Alvin Lucier, Gordon Mumma, Robert Ashley and, of course, David Behrman; two of them working the dials and switches of homemade synthesizers, and two others distributing sound in space with homemade photocell mixers; Time Records released a different version of this piece in 1969. All others are previously unreleased. The edition includes a 12 page booklet”.
15,00€
Out of stock
CD
Charlotte MOORMAN
“TV cello”
Of the famous “TV Cello”, conceived by Nam June Paik for Charlotte Moorman as a living sculpture, this CD offers an in-situ recording released on one of the three days inaugurating the Paik retrospective at the Museum of Contemporary Art in Chicago, on the 11th, 12th and 14th September 1982.
This version contains respectively the “TV Cello Duets” with Paul Garrin and the “Concerto for TV Cello and Videotapes”, largely improvised, including a tape collage by Ornette Coleman prepared for Charlotte, also talking with audience.
Charlotte Moorman World Music Theatre!
One of the four Charlotte Moorman CDs originally included in the “Cello Anthology” box, now individually available for the first time.
This version contains respectively the “TV Cello Duets” with Paul Garrin and the “Concerto for TV Cello and Videotapes”, largely improvised, including a tape collage by Ornette Coleman prepared for Charlotte, also talking with audience.
Charlotte Moorman World Music Theatre!
One of the four Charlotte Moorman CDs originally included in the “Cello Anthology” box, now individually available for the first time.
15,00€