In stock
CD
Charlemagne PALESTINE
“CharleBelllzzz at Saint Thomas”
HelllszzzBelllszzz!
alga marghen proudly presents “CharleBelllzzz at Saint Thomas”, a CD in tri-folded digipak sleeve including the original Bells Studies by Charlemagne Palestine. Sixth chapter of the “Golden Research” series, these previously unreleased tracks are both some of the earliest recordings by Charlemagne and some of his darkest and most accomplished works ever.
“Bells Carillon” and “St Thomas Bells”, both recorded at unidentified dates between 1966 and 1968, are maximal bells pure resonating frontal attacks, building up in a structure that is already anticipating the later Strumming campaigns. Unique and clashing dissonances created like a spontaneous outburst, “instinctively” and “right away”. Charlemagne played the bells right next to his body. The sounds became physical, visceral, each crack of the clapper was like a small earthquake.
In 1963 while attending the high-school of music and art in NYC, 15 years old Charlemagne Palestine was asked if he’d be interested in playing a carillon with 26 bells at Saint Thomas Episcopal Church down the street from the Museum Of Modern Art. Charlemagne decided that he loved these voluptuous Taylor bells, high up in a tower and accessible only by a spiral staircase, that clanged all over 53rd Street and 5th Avenue… every day of the week from 1963 to 1970 when he left NYC to study and teach at CAL Arts.
Charlemagne soon became known as the “Quasimodo” of Midtown NYC, and his dissonant and “klanggdedangggebannggg” style of playing attracted a diverse group of fans from Moondog to John Cage to Tony Conrad among others. Charlemagne Palestine was able to continue to play his clanging bell soap operas for seven years dinggdonggingggg every late afternoon and sunday mornings!
World premier edition of these legendary seminal works!
alga marghen proudly presents “CharleBelllzzz at Saint Thomas”, a CD in tri-folded digipak sleeve including the original Bells Studies by Charlemagne Palestine. Sixth chapter of the “Golden Research” series, these previously unreleased tracks are both some of the earliest recordings by Charlemagne and some of his darkest and most accomplished works ever.
“Bells Carillon” and “St Thomas Bells”, both recorded at unidentified dates between 1966 and 1968, are maximal bells pure resonating frontal attacks, building up in a structure that is already anticipating the later Strumming campaigns. Unique and clashing dissonances created like a spontaneous outburst, “instinctively” and “right away”. Charlemagne played the bells right next to his body. The sounds became physical, visceral, each crack of the clapper was like a small earthquake.
In 1963 while attending the high-school of music and art in NYC, 15 years old Charlemagne Palestine was asked if he’d be interested in playing a carillon with 26 bells at Saint Thomas Episcopal Church down the street from the Museum Of Modern Art. Charlemagne decided that he loved these voluptuous Taylor bells, high up in a tower and accessible only by a spiral staircase, that clanged all over 53rd Street and 5th Avenue… every day of the week from 1963 to 1970 when he left NYC to study and teach at CAL Arts.
Charlemagne soon became known as the “Quasimodo” of Midtown NYC, and his dissonant and “klanggdedangggebannggg” style of playing attracted a diverse group of fans from Moondog to John Cage to Tony Conrad among others. Charlemagne Palestine was able to continue to play his clanging bell soap operas for seven years dinggdonggingggg every late afternoon and sunday mornings!
World premier edition of these legendary seminal works!
15,00€
In stock
CD
Charlemagne PALESTINE
“In-mid-air”
The first electronically generated sounds that Charlemagne Palestine ever heard came from the machines he encountered in ordinary daily urban life. Machines like the refrigerator electric motor, or electrical generators; but it was especialy the sounds of motion (race cars, motorcycles, war planes, rocket ships) that first excited his sonic imagination as a young teenager. Then he heard the elctronic music of Tod Dockstader, Pierre Henry and Pierre Schaeffer, the famous ’Podme Electronique’ of Varese, Xenakis and ’Gesang der Junglinge’ of Stockhausen. He immediately reacted buying a cheap reel to reel tape recorder, cutting and pasting recording tape and making collage sound experiments. Then, one day, Charlemagne Palestine experienced at an electronic music studio what electronically produced sounds waves looked and sunded like through an oscilloscope and he began studying Helmholtz’s on the sensation of tone. He started dreaming of an expressive continuous evermoving, everchanging sound form; an enormous sonorous, 3-dimensional sculptural canvas in mid-air using electronically produced sounds. The first experiments were done with simple sine tone generators emitting the purest sound waves without any overtones. With access to more complex systems the sound was constructed using the sine/sawtooth/square wave oscillators in a fluid everchanging mix of adding or filtering overtones and white niose to create sonorities constantly changing timbres and weight. Five early electronic compositions including ’Sine Tone Study’ (1967); ’Open Closing’ (1968), created through speed alterations of ’Holy 1+2’; ’Seven Organism Study’ (1968); ’Negative Sound Study’ (1969) and ’Timbral for Pran Nath’ (1970). Late night electronic sonorities created on the Buchlas 100 & 200 systems available at the New York University Intermedia Centre. All compositions previously unreleased. 3-folded digipak cover with original photos and liner notes written by the composer.
15,00€
Out of stock
CD
Ben PATTERSON
“Early works”
Alga Marghen proudly presents the first record ever produced by Ben Patterson: ’This is not only my first CD, but also the first recordings of these works available to the general public.’ Starting as a virtuoso double-bass performer of classical music, Ben Patterson was one of the very first founders of the Fluxus Group in Wiesban. This digipak CD will introduce you to some American neo-avantgarde music classics, a crossover between John Cage exploding influences and the experimental art atmosphere of the early 1960s in Europe. The compact disc program includes two essential 1961 documents: ’Duo For Voice And A String Instrument’ and ’Variations for Double-bass,’ both recorded in concert at the Galerie Parnass in 1962; this event has special historic significance in that it included the first public presentation by George Maciunas of his Fluxus manifesto and plans for the Wiesbaden Fluxus Festival. ’Duo’ was Patterson’s most ambitious and lost attempt to combine graphic notation and chance operations for the realization of a performance score, while ’Variations’ represents the moment when, unexpectedly, out of some unknown place, something new entered the process -- humor! The other three tracks were recorded in Milano especially for this release; for this purpose a collaboration was asked to Philip Corner, Walter Marchetti, Davide Mosconi and a few more friends. These newly recorded pieces include ’A Simple Opera’ (1995), a repetitive hommage to Emmett Willons on his 70th birthday; ’Paper Piece’ (1960), the work that cut the umbilical cord to all of the author’s previous classical and contemporary musical training and experience, and ’Pond’ (1961), a piece that reminds of Richard Maxfield’s electronic music with voice collage. The edition includes a fold-out 16 page insert with original scores and photos.
15,00€
In stock
CD
Anton BRUHIN
“Rotomotor”
The new compact disc by Anton Bruhin issued by Alga Marghen is titled Rotomotor and covers two different areas of the artist’s research. The first one is represented by a group of works including the short and mysterious environmental recording ’Orax’ as well as ’Lange Tone’, ’Versuchpilz 6’ and ’Paul is 35’, three excerpts from the epic ’MC-10 zyklus’ created between 1976 and 1977 recording various layers of sound sources on two cassette recorders with loudspeakers. The complete zyklus consists of 12 different episodes (each one ten minutes long) which investigate the multi-layer ping-pong recording technique; the spatial illusion of the monoaural replay which moves away from the listener’s ears into the depth of space. Far away sounds coming from a cosmic dimension or from an abyssal space, moving fore and back. The loss of sound quality considered as stoned space improvement. ’r o t o m o t o r: ein motorische Idiotikon’, the title track, is a 28 minutes long reading, one of Bruhin’s major works. Rotomotor is a poetic Idiotikon of the swiss-german dialect where, instead of the straight alphabetical order, the words are organised according to the similarities of their letters (each word differ from the previous one by just one letter). For this reading a delay equipment which repeated the signal after 0.6 seconds was used and each word is superimposed to the echo of the preceding one. On one hand this echo generates the rhythm of the performance, on the other it supports the acoustic metamorphosis of the words. Again, a very simple concept perfectly accomplished. What results from the whole program is maybe difficult to describe, maybe more easily perceivable in a state of alternate consciousness. But surely a quite unique sense of acoustics approach; so no surprise to see him mentioned in the mythical Nurse With Wound reference list. Chance meeting in an Alpine chalet of a roto-Bruhin and an Akre.
15,00€
Out of stock
CD
Anton BRUHIN
“Vom Goldabfischer”
“The new compact disc by Anton Bruhin issued by Alga Marghen is titled Vom Goldabfisher and presents for the first time on cd the classic experimental folk recordings with the same title first issued on LP in 1969.”
15,00€
In stock
CD
N.A.D.M.A.
“Paura”
“NADMA was officially born between August and the beginning of September 1972 during the time spent in a little village in the Tuscan-Emilian Apennines. The identity and musical orientation of the collective centered on the convergence of heterogeneous interests and sentibilities coming from avant-garde jazz experiences liberated by post-free curents, from classical studies, or from musicians also active as visual artists, who had cultivated an instrumental practice utilising spontaneous expression. All the group members assimilated and creatively incorporated the most progressive influences of Afro-American music and the contemporary neo-avant-garde, but shifted noticeably in the direction of the contemplative and ecstatic vitality of non-European, especially African, musical cultures. The Natural Arkestra Da Maya Alta was, and still is, known to a limited group of devoted listeners on the merits of the only record released by RCA in 1973. The group, which represented one of the most innovative entities among the collectives of improvisers active in those years, perfectly expressed its musical virtues in a limited number of periodic live events. The concerts took place mostly in Milan during 1973-74. The CD starting this series, “Paura”, is named after the first track of the NADMA concert at Circolo Lepetit in Milan in March 1973, presented here in its entirety. In this concert, the very first live concert preserved on tape, NADMA already performs a well-established repertoire, integrating and expanding upon the material of the RCA LP. Davide Mosconi himself documents the aesthetic and existential horizons of NADMA in a typed text and handwritten notes presented here, which also include biographical data about all members of the group. The 16 pages booklet also includes and essay by Gabriele Bonomo as well as orignal documents and photos.”
15,00€
In stock
4 CD
Charlotte MOORMAN
“Cello anthology”
4 CD with book and inserts in splicase. New edition of 250 copies!
It is certainly surprising that until now an exhaustive recognition of the work of Charlotte Moorman has not been undertaken. The cellist can be numbered among the most charismatic and influential protagonists to have appeared on the avant-garde or experimental music scenes since the early '60s. A documentation of her activities as a performer is generally available only in various catalogues which document the crucial intersection with the work of Nam June Paik, or the association with manifestations and events connected with the so exquisitely realistic gestures of the Fluxus movement. To have accepted the transformation of herself into a 'living icon' through the works realised in collaboration with Paik, has perhaps contributed to obscure a part of her individuality. As Giuseppe Chiari correctly noted, in a text which is authoritatively integrated into the documentation provided by the present publication, Charlotte Moorman's œuvre can in fact be sympathetically felt only in the absolutely 'unique' character of her interpretative gesture, a character which justly identifies her originality, her capacity of an authentic 'author'. The presence of Charlotte Moorman as catalyst must be realised in such an evaluation.
“Cello Anthology" is a collection of documents—sonic and photographic—as well as original texts and testimonials, made available for the first time in a unitary form, which permits a complete recognition of Charlotte Moorman's work. The biography and chronology faithfully reproduce the materials that the artist herself had ordered in booklet form. The range of her activity not only as an interpreter, but also as a promoter of the avant-garde artistic research progressively open to intersecting with the most varied disciplines—from music to sound and concrete poetry, form visual and plastic art to cinema and to video art—is moreover reconstructed through an unpublished text with which Charlotte Moorman meant to review the history of the fifteen editions of the New York Avant Garde Festival she organised between 1963 and 1980. At the core of her uninterrupted performative activity, here documented across a rich iconographic apparatus ordered chronologically, the works realised in collaboration with Nam June Paik doubtless represent a culminating moment in her striking career. It therefore seemed appropriate to also integrate the transcription of the primary texts and documents pertaining to them, to better perceive to what extent the aesthetic project of the Korean artist was indissolubly bound to the peculiar 'corporeality' of the cellist's performance 'gesture' and to her absolutely unique capacity of translating the musical experience within the limits of her own non-exchangeable physical presence. Giuseppe Chiari's affectionate testimony dedicated to the faithful interpreter of some of his most important works of the early '60s—works which affirmed the Florentine artist on the international scene—and the reprint of Gisela Gronemeyer's poignant essay dedicated toCharlotte Moorman, likewise offer a useful explanatory setting for the introduction of these copious texts and documents.
Indeed, for the first time, the work of Charlotte Moorman can be appreciated by means of a significant selection of vintage recordings. The first two CDs highlight a pair of exceptional documents—a performance recorded by radio station WBAI in New York on 12 September 1964, and a concert from 25 July 1966 in the Theatersaal in Aachen, Germany. These events superbly represent the type of repertoire that Moorman and Paik cultivated and proposed in the US and Europe, in the years following their meeting, in their memorable 'duo' exhibitions. The programs of the two concerts present several homogeneous choices and others more clearly divergent. The Aachen event, in fact, is testimony to the progressive and always more pronounced emergence of meta-musical elements deliberately turned toward the demystification of 'ritualistic' meanings of a concert, even while consciously accepting it as an exhibition frame. It is for this reason that the Aachen recording can document, with respect to the comprehensive programme, only those works in which the sound matrix constitutes the prominent factor. This is particularly evident, beyond several tried and true war-horses of their exhibitions which recur or are distributed equally in both concerts (26'1.1499" for a String Player by John Cage, Duet II by Toshi Ichiyanagi and two works by Giuseppe Chiari: Per arco and Ave Maria di Schubert, both of which were written for the cellist and dedicated to her), in the premiere of Earle Brown's Synergy, a rare and delightful duet with Terry Jennings on saxophone, an almost systematic version of Plus Minus by Karlheinz Stockhausen aided by Paik's Robot in the WBAI concert, as well as, in the Aachen concert Sonata No. 1 for Adults Only and especially the first performance of Opera Sextronique, both by Paik, in addition to other pieces by Earle Brown and Sylvano Bussotti. The second disc includes another unspecified rendering of Ichiyanagi's Duet II and an abbreviated version of Cage's 2'1.1499" for a String Player. Of the famous TV Cello—conceived by Paik for Moorman as a 'living sculpture'—the third CD offers an in situ recording realised on one of the three days inaugurating the Paik retrospective at the Museum of Contemporary Art in Chicago, on 11, 12 and 14 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”. The fourth CD restores three other documents, collateral but definitely not secondary. One happy example is a choral work performed on 3 September 1964, during the second New York Avant Garde Festival, a performance of Jackson Mac Low's composition The Long Hot Summer, sees in an exceptional reunion the names of Charlotte Moorman, Nam June Paik, Benjamin Patterson, Philip Corner, and Malcolm Goldstein, as well as Mac Low himself. On the relevance of this performance, distinguished by a marked ethico-political intonation and valence, Philip Corner dwells extensively in an unpublished text printed here as an attachment to the sonic documentation. The voice of Charlotte Moorman, characterised by her unmistakable vital charge, is brought back to us through a long and meaningful interview conducted by Harvey Matusow in October of 1969 in the BBC New York Studios. The soundtrack of the video Waiting for Commercials, realised by Paik in 1972 in collaboration with Russel Connor, whose sound collage integrates musical insertions by Charlotte Moorman and David Behrman, completes the anthology put together and offered here.
Luxury edition including a 154 page book with original documents, full colour photos and scores; a set of 16 full colour inserts reproducing the original posters and programs of the Annual Avant Garde Festival of New York; 4 compact discs. Slipcase edition limited to 250 copies.
It is certainly surprising that until now an exhaustive recognition of the work of Charlotte Moorman has not been undertaken. The cellist can be numbered among the most charismatic and influential protagonists to have appeared on the avant-garde or experimental music scenes since the early '60s. A documentation of her activities as a performer is generally available only in various catalogues which document the crucial intersection with the work of Nam June Paik, or the association with manifestations and events connected with the so exquisitely realistic gestures of the Fluxus movement. To have accepted the transformation of herself into a 'living icon' through the works realised in collaboration with Paik, has perhaps contributed to obscure a part of her individuality. As Giuseppe Chiari correctly noted, in a text which is authoritatively integrated into the documentation provided by the present publication, Charlotte Moorman's œuvre can in fact be sympathetically felt only in the absolutely 'unique' character of her interpretative gesture, a character which justly identifies her originality, her capacity of an authentic 'author'. The presence of Charlotte Moorman as catalyst must be realised in such an evaluation.
“Cello Anthology" is a collection of documents—sonic and photographic—as well as original texts and testimonials, made available for the first time in a unitary form, which permits a complete recognition of Charlotte Moorman's work. The biography and chronology faithfully reproduce the materials that the artist herself had ordered in booklet form. The range of her activity not only as an interpreter, but also as a promoter of the avant-garde artistic research progressively open to intersecting with the most varied disciplines—from music to sound and concrete poetry, form visual and plastic art to cinema and to video art—is moreover reconstructed through an unpublished text with which Charlotte Moorman meant to review the history of the fifteen editions of the New York Avant Garde Festival she organised between 1963 and 1980. At the core of her uninterrupted performative activity, here documented across a rich iconographic apparatus ordered chronologically, the works realised in collaboration with Nam June Paik doubtless represent a culminating moment in her striking career. It therefore seemed appropriate to also integrate the transcription of the primary texts and documents pertaining to them, to better perceive to what extent the aesthetic project of the Korean artist was indissolubly bound to the peculiar 'corporeality' of the cellist's performance 'gesture' and to her absolutely unique capacity of translating the musical experience within the limits of her own non-exchangeable physical presence. Giuseppe Chiari's affectionate testimony dedicated to the faithful interpreter of some of his most important works of the early '60s—works which affirmed the Florentine artist on the international scene—and the reprint of Gisela Gronemeyer's poignant essay dedicated toCharlotte Moorman, likewise offer a useful explanatory setting for the introduction of these copious texts and documents.
Indeed, for the first time, the work of Charlotte Moorman can be appreciated by means of a significant selection of vintage recordings. The first two CDs highlight a pair of exceptional documents—a performance recorded by radio station WBAI in New York on 12 September 1964, and a concert from 25 July 1966 in the Theatersaal in Aachen, Germany. These events superbly represent the type of repertoire that Moorman and Paik cultivated and proposed in the US and Europe, in the years following their meeting, in their memorable 'duo' exhibitions. The programs of the two concerts present several homogeneous choices and others more clearly divergent. The Aachen event, in fact, is testimony to the progressive and always more pronounced emergence of meta-musical elements deliberately turned toward the demystification of 'ritualistic' meanings of a concert, even while consciously accepting it as an exhibition frame. It is for this reason that the Aachen recording can document, with respect to the comprehensive programme, only those works in which the sound matrix constitutes the prominent factor. This is particularly evident, beyond several tried and true war-horses of their exhibitions which recur or are distributed equally in both concerts (26'1.1499" for a String Player by John Cage, Duet II by Toshi Ichiyanagi and two works by Giuseppe Chiari: Per arco and Ave Maria di Schubert, both of which were written for the cellist and dedicated to her), in the premiere of Earle Brown's Synergy, a rare and delightful duet with Terry Jennings on saxophone, an almost systematic version of Plus Minus by Karlheinz Stockhausen aided by Paik's Robot in the WBAI concert, as well as, in the Aachen concert Sonata No. 1 for Adults Only and especially the first performance of Opera Sextronique, both by Paik, in addition to other pieces by Earle Brown and Sylvano Bussotti. The second disc includes another unspecified rendering of Ichiyanagi's Duet II and an abbreviated version of Cage's 2'1.1499" for a String Player. Of the famous TV Cello—conceived by Paik for Moorman as a 'living sculpture'—the third CD offers an in situ recording realised on one of the three days inaugurating the Paik retrospective at the Museum of Contemporary Art in Chicago, on 11, 12 and 14 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”. The fourth CD restores three other documents, collateral but definitely not secondary. One happy example is a choral work performed on 3 September 1964, during the second New York Avant Garde Festival, a performance of Jackson Mac Low's composition The Long Hot Summer, sees in an exceptional reunion the names of Charlotte Moorman, Nam June Paik, Benjamin Patterson, Philip Corner, and Malcolm Goldstein, as well as Mac Low himself. On the relevance of this performance, distinguished by a marked ethico-political intonation and valence, Philip Corner dwells extensively in an unpublished text printed here as an attachment to the sonic documentation. The voice of Charlotte Moorman, characterised by her unmistakable vital charge, is brought back to us through a long and meaningful interview conducted by Harvey Matusow in October of 1969 in the BBC New York Studios. The soundtrack of the video Waiting for Commercials, realised by Paik in 1972 in collaboration with Russel Connor, whose sound collage integrates musical insertions by Charlotte Moorman and David Behrman, completes the anthology put together and offered here.
Luxury edition including a 154 page book with original documents, full colour photos and scores; a set of 16 full colour inserts reproducing the original posters and programs of the Annual Avant Garde Festival of New York; 4 compact discs. Slipcase edition limited to 250 copies.
98,00€
Out of stock
4 CD
Ghédalia TAZARTÈS
“Les danseurs de pluie – coffret”
New slipcase edition!
This lavish set includes the complete Ghédalia Tazartès recordings previously issued on CD by Alga Marghen. This editions is presented in a newly designed slipcase box including 4 CDs in elegant slim digipak sleeves.
“Diasporas” is the CD edition of Tazartès’ first album also including “Ferme ta gueule, Zarathustra” (previously issued as side A of “Granny Awards” LP).
“Tazartès’ Transports” is the CD edition of Tazartes' second album complete with four “Assassins” bonus tracks (previously issued as "Les danseurs de la pluie" miniCD).
“Une eclipse totale de soleil” is the CD edition of Tazartès' third album. Originally conceived in two parts, this CD edition is completed by the long bonus track “Il regalo della befana”, or “Eclipse totale de soleil (Part III)”.
“Tazartès” is the CD edition of Tazartès’ forth album also including “Whatever Works Singing Wild My Rock Ghédalia” (previously issued as side B of “Granny Awards” LP).
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!
This lavish set includes the complete Ghédalia Tazartès recordings previously issued on CD by Alga Marghen. This editions is presented in a newly designed slipcase box including 4 CDs in elegant slim digipak sleeves.
“Diasporas” is the CD edition of Tazartès’ first album also including “Ferme ta gueule, Zarathustra” (previously issued as side A of “Granny Awards” LP).
“Tazartès’ Transports” is the CD edition of Tazartes' second album complete with four “Assassins” bonus tracks (previously issued as "Les danseurs de la pluie" miniCD).
“Une eclipse totale de soleil” is the CD edition of Tazartès' third album. Originally conceived in two parts, this CD edition is completed by the long bonus track “Il regalo della befana”, or “Eclipse totale de soleil (Part III)”.
“Tazartès” is the CD edition of Tazartès’ forth album also including “Whatever Works Singing Wild My Rock Ghédalia” (previously issued as side B of “Granny Awards” LP).
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!
53,00€
Out of stock
3 CD
Henri POUSSEUR – Michel BUTOR
“Paysages planétaires”
In year 2000 Henri Pousseur was asked by Philippe Samyn, architect of Brussels who likes to work in association with other arts, to lend his support to the plan for the construction of a business complex by one of the most important building enterprises in the country. There were four low buildings arranged like different parts of a medieval castle-village, grouped around a kind of large open central court. Leaning on the suggested image, Pousseur immediately suggested that the first spinal-column be composed of an electronic carillon, sounding in variations every hour, thus making the hours between 6 a.m. and 10 p.m.
Henri Pousseur imagined then a connection between the time of Nivelles (a city 40 km south of Brussels, where this large project will be situated) and the time of the entire planet and the more or less metaphoric sonic and musical realities attached to it. He made on the one hand the 16 hours of a theoretically complete day of work (from the cleaning service up to the last researches in the office) correspond to the 24 hours of a complete terrestrial revolution. And divided the globe into eight large north/south "slices", themselves divided into three perpendicular "rings": north, center, south, with the understanding that only inhabited lands were taken into consideration. To each of the 8 "great hours" of the total duration, Pousseur associated 3 regions, one of each ring (north/central/south) set out as far apart as possible on the terrestrial globe.
Over a background of a fairly continuous variety of noises which are perpetually evolving: sea, fire, city, swamp, industry, forest, etc. there are ethno-musical samples from one region or from several regions involved, more or less worked over by all sorts of numerical methods which vary their capacity to be recognized and their effectiveness as quasi-traditional music. This work once finished (realised in the Studio of the composer’s son Denis), Pousseur made a synthesis on three discs by superimposing the landscapes (a bit in the manner of the previous "Etudes paraboliques") in 16 Paysages Planetaires. The titles of the landscapes expresses by their contraction the simultaneous or alternate presence of several regions; for example, "Alaskamazonie" is self-explanatory. Something like "Gamelan Celtibere" brings out a play; between the West Coast of Europe with the Indonesian archipelago and even the northern part of Australia. Continuing like this you could find it amusing to reconstruct the circum-planetary movement of the work.
Michel Butor, for forty years accomplice of Henri Pousseur, has been willing to write the prose-verse alternating poetic structure, very luminous, which makes a global accompaniment to the procession of these landscapes. His text is included in the 60 pages documentation booklet, also featuring 2 long essays by Henri Pousseur: "Paysages Planetaires" and "Athmospheric and Cultural Sources for Each of the Landscapes".
Finally, by this work, Henri Pousseur renders homage to all the singers and instrumentalists, sound engineers, ethnic musicologists and editors who have either produced, or gathered and transmitted, all the marvellous musical invention which inspired and nourished the work and which, with the sounds of the world, of nature, of society and of industry, are supposed to represent a kind of formal summing-up of life’s multiplicity on this sailing Earth as she travels through cosmic space.
All the images, obtained through extensive digital treatments, were conceived and manipulated by Henri Poussuer.
Heavy coardboard slipcase with 3CDs and 60 pages booklet (French and English).
Henri Pousseur imagined then a connection between the time of Nivelles (a city 40 km south of Brussels, where this large project will be situated) and the time of the entire planet and the more or less metaphoric sonic and musical realities attached to it. He made on the one hand the 16 hours of a theoretically complete day of work (from the cleaning service up to the last researches in the office) correspond to the 24 hours of a complete terrestrial revolution. And divided the globe into eight large north/south "slices", themselves divided into three perpendicular "rings": north, center, south, with the understanding that only inhabited lands were taken into consideration. To each of the 8 "great hours" of the total duration, Pousseur associated 3 regions, one of each ring (north/central/south) set out as far apart as possible on the terrestrial globe.
Over a background of a fairly continuous variety of noises which are perpetually evolving: sea, fire, city, swamp, industry, forest, etc. there are ethno-musical samples from one region or from several regions involved, more or less worked over by all sorts of numerical methods which vary their capacity to be recognized and their effectiveness as quasi-traditional music. This work once finished (realised in the Studio of the composer’s son Denis), Pousseur made a synthesis on three discs by superimposing the landscapes (a bit in the manner of the previous "Etudes paraboliques") in 16 Paysages Planetaires. The titles of the landscapes expresses by their contraction the simultaneous or alternate presence of several regions; for example, "Alaskamazonie" is self-explanatory. Something like "Gamelan Celtibere" brings out a play; between the West Coast of Europe with the Indonesian archipelago and even the northern part of Australia. Continuing like this you could find it amusing to reconstruct the circum-planetary movement of the work.
Michel Butor, for forty years accomplice of Henri Pousseur, has been willing to write the prose-verse alternating poetic structure, very luminous, which makes a global accompaniment to the procession of these landscapes. His text is included in the 60 pages documentation booklet, also featuring 2 long essays by Henri Pousseur: "Paysages Planetaires" and "Athmospheric and Cultural Sources for Each of the Landscapes".
Finally, by this work, Henri Pousseur renders homage to all the singers and instrumentalists, sound engineers, ethnic musicologists and editors who have either produced, or gathered and transmitted, all the marvellous musical invention which inspired and nourished the work and which, with the sounds of the world, of nature, of society and of industry, are supposed to represent a kind of formal summing-up of life’s multiplicity on this sailing Earth as she travels through cosmic space.
All the images, obtained through extensive digital treatments, were conceived and manipulated by Henri Poussuer.
Heavy coardboard slipcase with 3CDs and 60 pages booklet (French and English).
55,00€
Out of stock
3 CD
INTERSYSTEMS
“Intersystems”
3x digipak CDs in Slipcase including a 56-page full-color booklet. First edition of 500 copies.
First historical edition!
“Number One Intersystems” (1967) CD presenting the correct sequence and featuring for the first time the original tracks sub-section divisions.
“Peachy” (1967) CD including for the first time the original tracks separations, timings and titles.
“Free Psychedelic Poster Inside” (1968) CD presenting for the first time the original double-title tracks.
All audio works re-mastered by John Mills-Cockell for this edition and presented in full-color digipak sleeves.
Also including a booklet with two texts by Michael Hayden and John Mills-Cockell situating Intersystems in the Contemporary Art and Music contexts. A text by Nick Storring about Blake Parker and analyzing the 3 original records is also included as well as the complete chronology of Intersystems Presentations. 23 full-page images illustrating the dense evolution of this short-lived and essential mixed-media collective complete the 56-page booklet.
First press limited to 500 copies.
First historical edition!
“Number One Intersystems” (1967) CD presenting the correct sequence and featuring for the first time the original tracks sub-section divisions.
“Peachy” (1967) CD including for the first time the original tracks separations, timings and titles.
“Free Psychedelic Poster Inside” (1968) CD presenting for the first time the original double-title tracks.
All audio works re-mastered by John Mills-Cockell for this edition and presented in full-color digipak sleeves.
Also including a booklet with two texts by Michael Hayden and John Mills-Cockell situating Intersystems in the Contemporary Art and Music contexts. A text by Nick Storring about Blake Parker and analyzing the 3 original records is also included as well as the complete chronology of Intersystems Presentations. 23 full-page images illustrating the dense evolution of this short-lived and essential mixed-media collective complete the 56-page booklet.
First press limited to 500 copies.
49,00€
Out of stock
3 CD
François DUFRÊNE
“Œuvre désintégrale – 3CD”
“alga marghen presents one of the most impressive sound poetry anthologies ever published, introducing you to the sound works of the Nouveau Realiste artist François Dufrene. 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. Previously issued in 2007 as a 4LP box set, this first edition on CD also includes “Crirythme pour Tinguely” as bonus track.
François Dufrene 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. Dufrene produced primitive, brutal poems opening the path of vocal sounds to contemporary composers: it’s known that Pierre Henry was deeply inspired by Dufrene. The anthology presented here includes 10 crirhythms from different periods dating from 1965 to 1976, plus “Crirythme pour Tinguely” (first issued on a 7” single included in Revue AXE No.2 in 1975 and not available on the alga marghen 4LP anthology from 2007). 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 Dufrene 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 de Pierre Larusse” 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 3 CD anthology, conceived by the Dufrene himself as a 3 cassette edition privately issued by Guy Schraenen in the mid-1970s (only a handful of copies made), includes only previously unpublished sound works that finally fully documents the creativity of such a radical artist. Edition limited to 300 copies, including 3CD as well as a 24 page booklet including two essays by Dufrene, the biography, the complete discography as well as original photos of various performances from the 1960s and 1970s.” label info
François Dufrene 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. Dufrene produced primitive, brutal poems opening the path of vocal sounds to contemporary composers: it’s known that Pierre Henry was deeply inspired by Dufrene. The anthology presented here includes 10 crirhythms from different periods dating from 1965 to 1976, plus “Crirythme pour Tinguely” (first issued on a 7” single included in Revue AXE No.2 in 1975 and not available on the alga marghen 4LP anthology from 2007). 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 Dufrene 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 de Pierre Larusse” 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 3 CD anthology, conceived by the Dufrene himself as a 3 cassette edition privately issued by Guy Schraenen in the mid-1970s (only a handful of copies made), includes only previously unpublished sound works that finally fully documents the creativity of such a radical artist. Edition limited to 300 copies, including 3CD as well as a 24 page booklet including two essays by Dufrene, the biography, the complete discography as well as original photos of various performances from the 1960s and 1970s.” label info
53,00€
Out of stock
3 CD
Charlemagne PALESTINE
“The Lower Depths”
Edition limited to 300 numbered copies.
alga marghen proudly introduce you to an historical event, the publication of “The Lower Depths”, a 3CD set of previously unreleased unique piano sonorities by Charlemagne Palestine.
In 1977 Charlemagne Palestine was regularly performing in his red and gold loft on North Moore Street in Tribeca, down the street from Magoos bar where all the local artists hung out back then. He was working on a trilogy called “The Lower Depths”, a work conceived during the crucial moment when he experienced one of the peaks of his creative power.
The trilogy takes its name from the potentials of his Bösendorfer weapon which had lower notes than any other piano. The first section starts in the middle of the piano keyboard and the second section 2 octaves below while the third section arrives till the very bottom of the instrument. It’s a deep, thunderous, rumbling world that we experience. An extreme immersion in the depths of the dark side of strumming music.
“The Lower Depths” is a central work within the history of musical Minimalism, stretching and expanding what we understand and expect of an already singular voice.
Edition limited to 300 numbered copies not to be missed!
alga marghen proudly introduce you to an historical event, the publication of “The Lower Depths”, a 3CD set of previously unreleased unique piano sonorities by Charlemagne Palestine.
In 1977 Charlemagne Palestine was regularly performing in his red and gold loft on North Moore Street in Tribeca, down the street from Magoos bar where all the local artists hung out back then. He was working on a trilogy called “The Lower Depths”, a work conceived during the crucial moment when he experienced one of the peaks of his creative power.
The trilogy takes its name from the potentials of his Bösendorfer weapon which had lower notes than any other piano. The first section starts in the middle of the piano keyboard and the second section 2 octaves below while the third section arrives till the very bottom of the instrument. It’s a deep, thunderous, rumbling world that we experience. An extreme immersion in the depths of the dark side of strumming music.
“The Lower Depths” is a central work within the history of musical Minimalism, stretching and expanding what we understand and expect of an already singular voice.
Edition limited to 300 numbered copies not to be missed!
41,00€
Out of stock
2 CD
Walter MARCHETTI
“Utopia andata e ritorno”
“Music: the foundation of that presence in which we find ourselves shows itself as pure negatin. Everyting is founded on a demonstration of its own negativity: as awareness of its being negative, and does not look for an escape into a future presence, that is an objective future. But, accepting its negativity, makes of this self-negation the real act, the true reality - the true foundation, the real and actual continuity: this is music’s sense.
"Utopia andata e ritorno" is the title of the new composition by Walter Marchetti, recorded in MIlano in 2005. It has two parts, each one CD long. The first part, "L’andata", puts together two former recordings of Marchetti. The recording of a real storm and a recital for solo piano. This is not the first time that Marchetti mixes a piano solo recital with the recording of a natural live event, thus creating a "piano concert". The second CD, "Il ritorno", reverses the direction of the first record and literally destroys itself.
In the first part of this work, Marchetti puts music successfully in the place it has to have today: on the road to renewal in contact with reality, a reality that is a synonym for vacuity, that is the interdependence of phenomena, music, reality, technology. There is nothing mimetic or anecdotical in this work. The storm is a real storm and the solo piano recital is a modern work of pure music, without the excesses that the society expects of a piano recital from composer and virtuoso player. Pure music, in the best sense of the word. "L’andata" is one of the great works of music of our time, or, as José Luis Castillejo remarked, "it may be the best modern piano concert since Brahms".
In the second part, "Il ritorno", sound waves are deformed when one tries a reverse hearing and the turn around trip becomes an aural nightmare. Of course, avant-gardism has made us accustomed to noises and silences and to the arbitrary idea that anything is music. "Il ritorno" announcs the end of musical avant-gardism and its technocratic aspirations. It points the end of music avant-gardism because it exposes the technological manipulation not only of technology beyond its powers, but also the manipulation of both music and sound. "Il ritorno" is such a problematic work also because its subject is failure and impossibility.
Three-folded digipack 2CD edition. It includes a 32 pges booklet with essays by Water Marchetti, Gabriele Bonomo and José Luis Castillejo. First edition limited to 500 copies.”
"Utopia andata e ritorno" is the title of the new composition by Walter Marchetti, recorded in MIlano in 2005. It has two parts, each one CD long. The first part, "L’andata", puts together two former recordings of Marchetti. The recording of a real storm and a recital for solo piano. This is not the first time that Marchetti mixes a piano solo recital with the recording of a natural live event, thus creating a "piano concert". The second CD, "Il ritorno", reverses the direction of the first record and literally destroys itself.
In the first part of this work, Marchetti puts music successfully in the place it has to have today: on the road to renewal in contact with reality, a reality that is a synonym for vacuity, that is the interdependence of phenomena, music, reality, technology. There is nothing mimetic or anecdotical in this work. The storm is a real storm and the solo piano recital is a modern work of pure music, without the excesses that the society expects of a piano recital from composer and virtuoso player. Pure music, in the best sense of the word. "L’andata" is one of the great works of music of our time, or, as José Luis Castillejo remarked, "it may be the best modern piano concert since Brahms".
In the second part, "Il ritorno", sound waves are deformed when one tries a reverse hearing and the turn around trip becomes an aural nightmare. Of course, avant-gardism has made us accustomed to noises and silences and to the arbitrary idea that anything is music. "Il ritorno" announcs the end of musical avant-gardism and its technocratic aspirations. It points the end of music avant-gardism because it exposes the technological manipulation not only of technology beyond its powers, but also the manipulation of both music and sound. "Il ritorno" is such a problematic work also because its subject is failure and impossibility.
Three-folded digipack 2CD edition. It includes a 32 pges booklet with essays by Water Marchetti, Gabriele Bonomo and José Luis Castillejo. First edition limited to 500 copies.”
20,00€