Out of stock
CD
Jakob ULLMANN
“Fremde Zeit – 5”
« Solo V für Klavier » (2013/2014) by Lukas Rickli, piano. This piece ends the cycle Fremde Zeit in a very minimal way, like a close-up on all small sounds and resonance of the strings, bringing the sound close to a molecular level.
As addition to Fremde Zeit addendum Box CDs 1–4 with Booklet German/English.
"Do we hear what we know? How, if this is obscured? Sent on a journey of discovery into the audible, at first almost nothing appears here. But once the ear has become accustomed to the intermediate realm of the pianissimo, an abundance of timbres becomes apparent, everyday noises unexpectedly dispersing in their non-spatial aura, then the surprising appearances of short tonal shapes, which enter the flow of time standing still as if they were revelations of the ear itself with no possibility to guess their origin, verifiable on the instrument. After all, it is in fact the tone which is the improbable, out of all that is weaving in and out within the grounding, static sound, like a distant army of constellations below, taking place uneventfully at the level of the permanent. 'solo V' is not an instrumental piece for a soloist in the ordinary sense. The grand piano becomes an unknown sound body. Although there is a soloist, they could hardly carry out the performance on their own, requiring either pre-produced electronic playback or, as in the present recording by Lukas Rickli, the participation of three assistants sustaining a soundscape. Ullmann conceived a sonic space in which sound is subjected to the laws of a specific 'gravity'. Its meridians range continuously from noise to tone and from shortest single event to sustained continuity, but what constitutes the true aura of this space is its reduced dynamics, and a rhythmic sense that is averse to any kind of melody in the usual sense. 'solo V' is also 'solistic' in another way: there is no fixed notated score, it must first be created individually, and so hardly ever will any performance score be the same as another. Rickli and his partner Zora Marti had a variety of graphic and notated material at their disposal for the development of the temporal form. Following the composer's graphically notated glissandi, Rickli and Marti modify the sound of the centers and generate transitions with them. The piece to be heard unfolds in a pulsating, breathing pianissimo. Hardly bringing any instrument to mind, it opens up a harmonic cosmos, urging the listener into it - because other than through listening to the barely recognizable, nothing is revealed."
Rainer Schmusch
14,00€
Out of stock
CD
Turgut ERÇETIN
“Panopticon Specularities”
A native of Istanbul, Turgut Erçetin (1983) studied composition and completed his doctorate studies at Stanford University. In 2016, Erçetin was awarded with DAAD Artists-In-Berlin program for a year-long residency in Berlin, and since then he has been based in Berlin. Erçetin's works engage with issues of sound, not as colors but as sonic entities that interface with time and space. Most of his works, therefore, are involved with acoustics and psychoacoustics as well as computer aided compositional processes. "String Quartet No.2" performed by Arditti Quartet; "Im Keller" performed by Neue Vocalsolisten Stuttgart; "Panopticon Specularities" performed by Ensemble Mosaik, Ensemble Apparat, Ensemble Adapter, and Sonar Quartett.
17,50€
In stock
LP
Hermann SCHERCHEN
“Orchesterproben Ludwig van Beethoven 6. Sinfonie F-Dur, Op.68 “Pastorale””
Rehearsal with the RTSI Orchestra: 6.Symphony by Ludwig van Beethoven (Historical recording from 1965)
Original price was: 15,00€.8,00€Current price is: 8,00€.
Out of stock
2 CD
Jakob ULLMANN
“Müntzers stern / Solo II”
“Münzers stern” (2015) for bassoon solo. Dafne Vicente-Sandoval: bassoon.Between 2014 and 2016 Jakob Ullmann composed the orchestral work steine, feuer, sterne (stones, fire, stars). This work is based on a largely modular structure, with the result that individual sections can also be played outside of a complete performance, solo or in predetermined combinations. One section among these is the section for a solo bassoon, which may be performed independently under the title Müntzers stern. “solo II für Fagott” (1992 / 2010 / 2015). Dafne Vicente-Sandoval: bassoon.solo II is part of a group of works with the title Buch der Stille 1 (Book of Silence 1) trägt. This is a series of solo pieces for flute / oboe da cacchia (solo I), trombone / bassoon (solo II), organ (solo III), low string instrument (solo IV), and piano (solo V ), all of which were developed from the same compositional idea; the series is a generalisation of disappearing musics, itself a composition for three winds, two strings and two pianos written between 1989 and 1991. The individual solo compositions can be performed separately, as well as in all combinations simultaneously.
24,00€
Out of stock
CD
Jakob ULLMANN
“Voice, books and fire 3”
“Voice, books and fire is the result of my reflections about the relationships between music and language: language as sound and language as text, the numerous relationships between texts of different cultural and religious traditions, between the work of the human spirit in the present and in the past and the questions arising from the problem of understanding these different traditions, languages and texts and representing them in a present, which has lost knowledge about substantial parts, even of its own tradition and history.” Ensemble für experimentelle Musik 2006. Stimmen: Susanne Friedrich, Judith Geier-Leisch, Daniela Hornung, Ida Maria Kastner, Anja Kienborn, Annegret Kornmann, Christina Reis, Corinna Schmid. Instrumente: Leif Bergerhoff (Saxophon), Isabelle Fontius (Querflöte), Tobias Keck (Viola), Philipp Thimm (Violoncello). Einstudierung: Hans-Peter Schulz. Aufnahme, Mischung und Schnitt: Hans Lorenzen. Mastering: Timour Klouche.
15,00€
In stock
3 LP
Ferdinand KRIWET
“Hörtexte”
“Six radio texts by Ferdinand Kriwet in a beautifully designed 3 LP Picture Discs Luxury Box. Ferdinand Kriwet (born in Duesseldorf in 1942) is a multimedia artist and poet who has produced many seminal films and sound works for radio and television, in particular throughout the 1960’s and 1970’s. His works ’Apollo Amerika’ 1969 and ’Campaign’ 1973, rank today as outstanding artistic documents of these spectacular events in the history of mankind. Kriwet created the work ’Apollo Amerika’ whilst in America at the time of the moon launch, his aim being to compose a work of perception derived from all information he gathered on radio and television about the Apollo 11 launch. He describes these as "Hörtexts, Radio Texts" - radio pieces composed of noise and sound bite and samples. Kriwet’s works are an attempt at communicating an idea of listening to something that constantly surrounds us on short, medium and long wave frequencies. His politically engaged and avant-garde approach was influenced by aesthetic and Conceptual currents in Constructivism, New Music, Beat Generation and Pop. Six of Kriwets legendary ’Sehtexts’ (visual texts) reproduced on six picture disc LPs combined with six of his legendary Hörspiel works / sound collages originally broadcast on German radio and previously unreleased: ’Apollo America’ (1969), ’Voice of America’ (1970), ’Campaign’ (1973), snapshots of American media at the beginning of the 1970s; ’Radioball’ (1975) and ’Ball’ (1974), reflecting soccer sports in Germany in the 1970s; and ’Radio’ (1983)”.
55,00€
Out of stock
2 LP
Michael MOSER
“Antiphon Stein”
“Antiphon Stein” is a site-specific sound installation in the nave and choir of Minoritenkirche in Krems-Stein that engages with the architecture and sound of this church space. The material used are hanging and lying flat objects of glass and metal that are played with sound pressure transducers. These objects thus become membranes that resonate in their entire surface and mass, exuding sound to the surrounding space. The initial sounds for the installation are largely generated using a special four-channel recording technique; after the digital editing, they are left in their special four-channel arrangement, since capturing the sound from various spatial perspectives and distances allows an acoustic image of the existing space to emerge. The sound of the specific space thus plays a central role in the overall acoustic image. By way of the stringency of the early Gothic architecture, the placement or hanging of the surface objects leads to the bipartite, responsorial form of the work. Below in the nave, the eight glass plate objects, each hanging between the powerful columns, above in the former choir the tripartite metal work, arranged on the floor on white felt, thus not visible, but only audible from below. The intimacy of the apse with its triptych of metal objects contrasts with the expansiveness of the nave, with the glass surfaces hanging at a great distance. The light design, from the dark nave to the apse flooded in light, seeks to continue this dialogue. The sounds - small compositional miniatures of a duration of three to seven minutes, above more organ, below more cymbal sounds, percussion, resonant glass - are combined by the computer on the basis of a precise score into ever new constellations: aleatory in part, sometimes in fixed series and interrupted by interludes that represent in temporal intervals of thirty minutes the only moment in which an individual sound file can access all surface objects in both spaces.
35,00€
Out of stock
CD
Luigi NONO
“20 Jahre Inventionen V”
“Quando Stanno morendo (diario polacco no. 2)” (1982) for female voices, bass flute, cello, live electronics. “Canciones a Guiomar” (1962-63) for soprano solo, chor and instruments. “Omaggio a Emilio Vedova” (1960), electronic music. Interpreters : Ingrid Ade, Monika Bair-Ivenz, Bernadette Manca di Nissa, Halina Nieckarz, Roberto Fabbriciani, Frances-Marie Uitti, Arturo Tamayo, Experimentalstudio der Heinrich-Strobel-Stiftung des SWF, Ars nova ensemble Berlin, Edelgard Neubert-Imm, Peter Schwarz. “The live electronics that Nono worked with for the first time in the early 1980’s at the Freiburg Experimental Studio also serves the musical displacement: the music moves away from clear spatial and timbral assignations. Due to electronic processing, the sonic characteristics of both instruments, bass flute and cello, can hardly be recognized. Tones and gestures are lengthened into seeming infinity and move in space.” Lydia Jeschke
14,00€
In stock
CD
Klaus LANG
“Einfalt. stille.”
Interpreters: Bettina Junge (flute), Natalia Pschenitschnikova (voice), Adam Weisman (percussion), Karen Lorenz (viola).“Flow. state.Through concentration on listening or concentration on what we are listening to we can enter a state of simplicity of mind which is a state of the highest inner clarity or inner silence. In other words:when concentrating on the flow of music we can reach an inner state: The inner silence which is the simultaneity of stasis and flow. This paradoxical situation poses the question: Is the flow of music passing us, is music flowing through us thus evoking this inner stasis or is it not a state at all what we experience: should we not most seriously take into consideration the possibility that it is us who are flowing through the sound?” (label info)
12,00€
Out of stock
CD
Jakob ULLMANN
“A catalogue of sounds”
Jakob Ullmann “A catalogue of sounds” for violin, viola, cello and ensemble (1995-1997). Performers : Ensemble Oriol Berlin, M.M. Kasper, S. Renshaw, F. Ritts-Kirby. Audio CD, Digisleeve, Booklet German/English. “Ullmann’s music realises an infinite variety of gradations in all areas of musical formation. That the music of the "catalogue" is nearly always played very softly leads to the ear noticing the smallest differentiations; the listener is put into a state of constant, acute attentiveness. The musical stream is constantly subjected to small irritations, sometimes its flow quickens, sometimes there are brief splashes like those caused by pebbles thrown into water.”
14,00€
In stock
CD
Agostino DI SCIPIO
“Hörbare ökosysteme”
Composer: Agostino Di Scipio. Title: “Hörbare Ökosysteme”, Live elektronische Kompositionen 1993-2005. Performers: Ensemble Mosaik, Prometeo String Quartet, Natalia Pschenitschnikova. Format: Audio CD, Digisleeve, Booklet German/English. “Agostino di Scipio teaches his sounds to listen to themselves. The digital sound processing algorithms associated with the pieces listen to their own results, and then modify themselves accordingly, during the course of the piece. through complicated cybernetic procedures inside the black box the software adjusts to the heard in order to create the unheard.” Frank Gertich
15,00€
Out of stock
CD
Rolf JULIUS
“Tanz für zwei blaue Rechtecke”
Small music vol.4. Music and text by Rolf Julius. Production: Saarländischer Rundfunk.
16,50€
Out of stock
CD
Patrick KOSK
“Mondweiß”
“Mondweiß” (2007-2008), “Das Kästchen und Tripitaka” (2005), “Angklung & Ice” (2004-2005), “Distrak - sillalla” (1992), “La boîte” (2005), “Transmissions in a… (system of coordinates)” (1981). Musique concrète.
14,00€
Out of stock
CD
Michael von BIEL
“Streichquartett Nr. 1” (1962; WDR 2003) [Pellegrini-Quartett: Antonio Pellegrini, 1. Violine; Thomas Hofer, 2. Violine; Fabio Maarano, Viola; Helmut Menzler, Violoncello]. “Streichquartett Nr. 2” (Urfassung, 1963; WDR 2003) [Pellegrini-Quartett]. “Quartett mit Begleitung” (Quartett Nr. 3, 1965; WDR 1967) [Egon Mayer, Violine; Dagmar Apel, Violine; Johannes Fritsch, Viola; Magdalene Bröckel, Violoncello; Michael von Biel, Violoncello]. “Jagdstück für Bläserinstrumentalisten und Live-Elektronik” (1966; WDR 1968) [Franz-Willy Neugebauer, Trompete; Kurt Schmidt, Trompete; Gerhard Burdack, Horn und Tenortuba; Konrad Alfing, Horn und Tenortuba; Willy Walther, Posaune; Josef Feck, Posaune; Emil Morneweg, Kontrabaß; Wilhelm Bruck und Michael von Biel, Begleitung; Ltg. Bernhard Kontarsky]. “Fassung” (elektronische Tonbandmusik, 1964; WDR 1964) [Studio für elektronische Musik des WDR].
15,00€
In stock
CD
Klaus LANG
“Trauermusiken”
Two compositions by the young Austrian composer/organist who currently lives in Berlin/Germany. “Der Wind und das Meer for viola” (Barbara Konrad, viola). “The Sea of Despair for String Quartet” (Amras Streichquartett)
17,00€
In stock
CD
John CAGE
“Sonatas and interludes”
’Sonatas and interludes’ (1946-48) performed by Mario Bertoncini, recorded in december 1991.
15,00€
Out of stock
CD
Horatiu RADULESCU
“Streichquartett N°4 opus 33”
“String quartet No 4, opus 33 (1976-87)”. Arditti String Quartet: Irvine Arditti, Graeme Jennings, Garth Knox, Rohan de Saram.
"infinite to be cannot be infinite, infinite anti-be could be infinite" for nine string quartets or one string quartet surrounded by an imaginary Viola da Gamba with 128 strings.
17,00€
Out of stock
CD
Giuliano D’ANGIOLINI
“Simmetrie di ritorno”
“Simmetrie di ritorno” (2000) for 10 instruments. “Ita vita zita rita” (1997) for amplified piano. “Orizzonte fisso, bordoni mobili” (2007) for eight instruments. “Und’ ho d’andà” (1995) for nine horns. “Ho visto un incidente”(1991-92) for voice solo. “Notturno in progressione” (2004) for strin,g quartet. by Ensemble 2e2m, Franck Ollu, Pierre Roullier, Monique Bouvet, Barbara Morihien, Quatuor Parisii: Arnaud Vallin, Jean-Michel Berrette, Dominique Lobet, Jean-Philippe Martignoni.
“Giuliano d’Angiolini is a positively unique figure in contemporary music. His profound, well-conceived and stubborn take on music has led him to what he calls »impersonal« music — music that has fully abandoned the idea of development or form.Through successive states of presentation, which aim to elucidate, d’Angiolini wanted to leave place in sound so that music could become less voluntary«. This led him to favour the surface and present, an approach that was by no means superficial: the surface as the immediacy in the propositional content of sound and the present as the very surface of the criterion of time. In his work, musical process and material are but one and are completely laid bare. What we are to hear is non-discursive, deliberately lacking formal organization. We are even free to turn away and come back of our own will — as if the composer wanted to make positive use of the negative metamorphosis of today’s urban listeners, listeners who are constantly assailed with stimuli.” Gérard Pesson
“Giuliano d’Angiolini is a positively unique figure in contemporary music. His profound, well-conceived and stubborn take on music has led him to what he calls »impersonal« music — music that has fully abandoned the idea of development or form.Through successive states of presentation, which aim to elucidate, d’Angiolini wanted to leave place in sound so that music could become less voluntary«. This led him to favour the surface and present, an approach that was by no means superficial: the surface as the immediacy in the propositional content of sound and the present as the very surface of the criterion of time. In his work, musical process and material are but one and are completely laid bare. What we are to hear is non-discursive, deliberately lacking formal organization. We are even free to turn away and come back of our own will — as if the composer wanted to make positive use of the negative metamorphosis of today’s urban listeners, listeners who are constantly assailed with stimuli.” Gérard Pesson
14,00€
Out of stock
CD
Giacinto SCELSI
“Giacinto Scelsi”
“Pranam I” (1972) for voices, 12 instruments and tape. “Anagamin” (1965) for 12 bows, “Quattro pezzi” (1959) for Orchestra’s chamber, “Quartetto n°4” (1964) for string quartet, “Okanagon” (1968) for harp, gong and doublebass, “Quartetto n°2” (1961) for string quartet.
15,00€
Out of stock
CD
Clara IANNOTTA
“A failed entertainment – Werke 2009-2014”
“Intent on Resurrection - Spring or Some Such Thing” [2014] for 17 musicians. Ensemble Intercontemporain under direction of Matthias Pintscher. “Limun” [2011] for violin, viola. Ensemble Recherche with Melise Mellinger and Barbara Maurer. “D’après Talea” [2012] for 7 musicians. Talea Ensemble. “Àphones” [2011] for 17 musicians. Orchestre des Èlèves du Conservatoire National Supérieur de Paris under the direction of Tito Ceccherini. “A Failed Entertainment” [2013] for string quartet. Quatuor Diotima. “Al di là del bianco” [2009] for Ensemble. Ensemble Garage. “The people here go mad. They blame the Wind” [2013-2014] for bassclarinet, cello, keyboard and 12 musicboxes. Trio Catch.
“I am particularly interested in music as an existential, physical experience - music should be seen as well as heard. This is one of the reasons why I sometimes prefer to talk about the choreography of the sound rather than about orchestration.” Clara Iannotta
“I am particularly interested in music as an existential, physical experience - music should be seen as well as heard. This is one of the reasons why I sometimes prefer to talk about the choreography of the sound rather than about orchestration.” Clara Iannotta
14,00€
Out of stock
CD
Akio SUZUKI
“NA-GI 1997”
Composition and performance: Akio Suzuki. Production: Stadtgalerie Saarbrücken. Performance 17.10.97 & Performance 20.10.97. Composition and Performance: Akio Suzuki. “A CD of minimalist environmental sounds by this Japanese sound-artist, previously known for his fabulous Soundsphere CD on the Dutch Het Apollohuis label. "This music was recorded in Takano, Tango-cho, the northern-most coast of Kyoto, where I live. The bay surrounded by volcanic rock caves is the place where the mighty sounds of waves of the open sea have their muffled echo. Seawater flows into the hollows in the rock again and again like breathing in and breathing out. Spring water constantly drips in the cave, and now and then the wind from the meadow above the chasm brings the sounds of the crickets...the sound spaces of the coast of Takano. A site of a new encounter with the rhythm of the sounds of the sea."
14,00€
Out of stock
4 CD
Jakob ULLMANN
“Fremde Zeit – 1-4”
“Fremde zeit addendum” + “Fremde zeit addendum 4. Solo III für Orgel” now in a 4 audio-CDs box, booklet German-English.
Recordings in neuen Aufnahmen 2008-2011 · in new authorized recordings 2008-2011. “disappearing musics for six players (more or less)”, 1989-1991. Maruta Staravoitava, recorder. Pavlos Serassis, clarinet. Patrick Stadler, saxophon. Orsolya Sepsi, Éva Csizmadia, violins. Lucie Martin, Hans-Peter Schulz, keyboards. “solo I + II + III”, (1992-1993-2010). Molly McDolan, oboe. Dafne Vicente-Sandoval, fagott. Hans-Peter Schulz, organ. “komposition für streichquartett 2”, (1997-1999). Pellegrini-Quartett : Antonio Pellegrini, Thomas Hofer, violins. Fabio Marano, viola. Helmut Menzler, cello. “PRAHA: celetná. - karlova - maiselova” (2004-2007). Jardena Flückiger, voice. Christoph Bösch, recorder. Dafne Vicente-Sandoval, fagott. Helena Winkelman, violin. Oliver Margulies, viola. Ellen Fallowfield, cello. Clara Gervais, doublebass, percussion. Stephan Schmidt, voice. Leonardo Idrobo Arce, electronics. “Thus, Ullmann creates a quiet music in order to give himself and his listeners the opportunity to hear more, and better. This comes about because our ability to hear is augmented when listening to quiet music. We hear better because we make an effort to hear better. That is why Ullmann likes to locate his sound sources at the periphery, so as not to make it too easy for the ear. In order to let sounds develop and move on their own time, the pieces are usually longer than the general concert norm dictates. The opening minutes serve as the exposition of the tempo and the mode, to condition, as it were, the listening.” Bernd Leukert
39,00€
In stock
3 CD
John CAGE
“Klang der Wandlungen”
3 Audio CDs in a Box & Booklet German / English.
“Seventy-Four” (1992) for orchestra. SWR Symphonic Orchester, direction by Jonathan Stockhammer. Recorded 2011 in Paris.
“103” (1991) for orchestra. WDR Symphonic Orchestra, direction by Arturo Tamayo. Recorded 1992. “Postcard from Heaven” (1982) for one to 20 harps. Gabriele Emde, harp. Recorded 1985. “In a Landscape” (1948) for keyboard oder harp. Gabriele Emde, harp. Recorded 1985. “Some of The Harmony of Maine” (1978) for organ. Jakob Ullmann, organ. Recorded 1990. “In retrospect, the references to the difference between Cage’s pieces and the (largely) European tradition, cultivated over years if not decades, seem to be based much more upon the creative process rather than the actual sonic results. What was important for Cage was not the “deviation” of certain sound shapes, an audible difference from European tradition, but rather liberation from restrictive bonds of interpretation and expression. Even when he was a student with Arnold Schoenberg, who he held in high esteem throughout his life, Cage had already been enquiring into traditions in music and art in this sense, in a highly productive way as it was mostly entirely non-polemic – long before
so-called “postmodernism” was in sight. Cage’s conclusion, namely to establish from Schoenberg’s principle of equality of all tones in a row their complete equivalence through chance operations also proved applicable to entirely different traditions and constellations.” Jakob Ullmann
“103” (1991) for orchestra. WDR Symphonic Orchestra, direction by Arturo Tamayo. Recorded 1992. “Postcard from Heaven” (1982) for one to 20 harps. Gabriele Emde, harp. Recorded 1985. “In a Landscape” (1948) for keyboard oder harp. Gabriele Emde, harp. Recorded 1985. “Some of The Harmony of Maine” (1978) for organ. Jakob Ullmann, organ. Recorded 1990. “In retrospect, the references to the difference between Cage’s pieces and the (largely) European tradition, cultivated over years if not decades, seem to be based much more upon the creative process rather than the actual sonic results. What was important for Cage was not the “deviation” of certain sound shapes, an audible difference from European tradition, but rather liberation from restrictive bonds of interpretation and expression. Even when he was a student with Arnold Schoenberg, who he held in high esteem throughout his life, Cage had already been enquiring into traditions in music and art in this sense, in a highly productive way as it was mostly entirely non-polemic – long before
so-called “postmodernism” was in sight. Cage’s conclusion, namely to establish from Schoenberg’s principle of equality of all tones in a row their complete equivalence through chance operations also proved applicable to entirely different traditions and constellations.” Jakob Ullmann
33,00€
In stock
2 CD
Gottfried Michael KOENIG
2CD set with electronical and software-generated compositions by pioneer G.M. Koenig. Performers: Jan Marc Reichow, LaSalle Quartet, Trio Recherche.
CD 1: Two piano pieces 1957 (WDR 1995) [ Jan Marc Reichow, piano ], Suite “Materialien zu einem Ballett” 1961 (WDR 1961), Streichquartett 1959 (WDR 1961) [ LaSalle Quartet: Walter Levin, 1. violin. Henry Meyer, 2. violin. Peter Kamnitzer, viola. Jack Kirstein, violoncello ], Terminus X 1967 (Institut for Sonology in Utrecht 1967), Funktion Grün 1967 (Institute for Sonology in Utrecht 1967), Funktion Gelb 1968 (Institute for Sonology in Utrecht 1968). CD 2: 60 Blätter for string trio 1992 (WDR 1996) [ Trio Recherche: Melise Mellinger, violin. Barbara Maurer, viola; Lucas Fels, violoncello ].
CD 1: Two piano pieces 1957 (WDR 1995) [ Jan Marc Reichow, piano ], Suite “Materialien zu einem Ballett” 1961 (WDR 1961), Streichquartett 1959 (WDR 1961) [ LaSalle Quartet: Walter Levin, 1. violin. Henry Meyer, 2. violin. Peter Kamnitzer, viola. Jack Kirstein, violoncello ], Terminus X 1967 (Institut for Sonology in Utrecht 1967), Funktion Grün 1967 (Institute for Sonology in Utrecht 1967), Funktion Gelb 1968 (Institute for Sonology in Utrecht 1968). CD 2: 60 Blätter for string trio 1992 (WDR 1996) [ Trio Recherche: Melise Mellinger, violin. Barbara Maurer, viola; Lucas Fels, violoncello ].
24,00€
In stock
2 CD
David TUDOR
“Music for piano”
2-CD set with recordings by the legendary 20th century avan-tgarde pianist. “With compositions by Sylvano Bussotti, John Cage, Morton Feldman, Christian Wolff. David Tudor, pianist - a profession, a vocation, a life. From 1950 until around 1965, David Tudor was the epitome of the pianist who could simply play anything. In fact, David Tudor was no longer a name, but an indication for instrumentation as dozens of pieces were written “for David Tudor”. As early as 1960, after having conquered all of the challenges posed by serial piano music, Tudor began to differentiate between composers who filled him with life and those who left him cold - the focus of his repertory became crystallized. The main criterion for his choices were shaped by the part he would play as interpreter in the composition. He distinguished carefully between having a free choice among prefabricated parts - generally called aleatoric, as for example, Stockhausen’s Klavierstück XI (dedicated, as his Klavierstücke V-VIII, to Tudor) - and indeterminate actions. In the first case, they have a tendency to “put me to sleep”, whereby pieces that are less limiting led him to say, “I feel that I’m alive in every part of my consciousness”. The program of these CDs portrays these distinctions.”CD1 : John Cage : “Music for Piano 27...” 1955 (DR 1958) (John Cage- David Tudor), “Music for Piano 22, 21, 26, 36” 1955 (NDR 1956) (David Tudor), “Music for Piano 27, 21, 32, 36” 1955 (RB 1959) (David Tudor), “Variations I” 1958 (DR 1958) (John Cage-David Tudor), “Winter Music” 1957 (WDR 1957) (John Cage-David Tudor). Christian Wolff : “Duo for Pianists I” 1957, Version 1 (RB 1960) (John Cage, David Tudor), “Duo for Pianists I” 1957, Version 2 (RB 1960) (John Cage, David Tudor), Sylvano Bussotti : “Piano Piece for David Tudor III” 1959 (RB 1959) (David Tudor). Morton Feldman: “Piece for Four Pianos” 1957 (Columbia 1959) (David Tudor, Russell Sherman, Edwin Hymovitz, Morton Feldman). CD 2 : John Cage : “Varitations II” 1961 (Sony Music 1967) (David Tudor), “Music for Piano 27, 21, 32, 35, 36” 1955 (HR 1959) (David Tudor), “Music for Piano 21, 22, 26, 29, 34, 36” 1955 (WDR 1959) (David Tudor). Christian Wolff : “Duo for Pianists I” 1957, Version 2 (DR 1963) (John Cage, David Tudor), David Tudor “O-Ton” (DR 1963).
24,00€
Out of stock
2 CD
Luigi NONO
“Seguente”
Rerelease of ed. RZ LP Luigi Nono plus three legendary recordings. “A Carlo Scarpa, architetto, ai suoi infiniti possibili” (1984) for orchestra. “A Pierre. Dell’azzurro silenzio, inquietum” (1985), for contrabass flute and clarinet and electronics. “Guai ai gelidi mostri” (1983) for voices, ensemble and electronics. “La terra e la compagna” (1957/58) for voice, choir and instruments. “Caminantes... Ayacucho” (1986/87) for voices, flute, choir and electronics. “No hay caminos, hay que caminar... Andrej Tarkowskij” (1987) for seven orchestra.
24,50€
In stock
2 CD
Josef Anton RIEDL
“Klangregionen 1951-2007”
Josef Anton Riedl born in 1929 discovered musique concrète in 1951 and started composing his own pieces in 1952. He became music director of the Siemens Studio for Electronic Music in Munich in 1959. Available for the first time on CD (after a very long time deleted LP on Wergo), a great collection of electroacoustic pieces. “Paper Music I” (1961-70), “Studie 59 I” (1959), “Zeichnen - Klatschen/Zeichnen - Zeichnen” (1979-81), “Landschaftsbeschreibung I” (1973), “Mix Fontana Mix” (1974-76-79), “Silphium” (1969-70), “Lautgedichtfolge g)” (1977-79-98), “Ausfluss, Niederschlag, Spur, Nachhall I” (2000-02-07), “Douce-Amère” (1972-74-81), “Komposition Nr. 2” (1963-65), “Polygonum” (1968-70), “Leonce und Lena” (1963-64), “Vielleicht - Duo” (1963-68-70), “Musique Concrète - Studie II” (1951-59), “Musique Concrète - Studie I” (1951-59), “Studie 62 I” (1962), “Studie 62 II” (1962). “Klangsynchronie I Studie 59” (1981), “Komposition Nr. 3” (1965-67), “Studie 61 I” (1961), “Ideir notna fesoj” (1993), “Elektronische Musik - Studie II” (1959), “Elektronische Musik - Studie I” (1958).
25,00€
Out of stock
2 CD
Iannis XENAKIS
Iannis Xenakis (1922 - 2001). Collection of historical recordings of essential works : “ST/48-1,240162” for 48 Instruments, 1959-62, “Le Polytope de Montreal” for four Orchestras, 1967, “Nomos Gamma” for large Orchestra scattered among the audience 98 Instruments, 1967-68, “Terretektorh” for large Orchestra scattered among the audience 88 Instruments, 1965-66, “Syrmos” for 18 Strings, 1959, “Achorripsis” for 21 Instruments, 1956-57, and two tape pieces for 8 speakers : “Persepolis” version, 1971, “Polytope de Cluny”, 1972.
25,00€
Out of stock
2 CD
Harley GABER
“The wind rise in the north”
“This is a masterpiece composed between 1973-74 and first performed in 1976 by Linda Cummiskey, Malcolm Goldstein, Kathy Seplow, violin, Stephen Reynolds, viola, David Gibson, violoncello. Liner notes and credits from the original release on Titanic Records 1976. Digisleeve, booklet German-English.”
25,00€
Out of stock
2 CD
Christian WOLFF
“Kompositionen 1950-1972”
“Finally I realized that the kind of sound made in an indeterminate situation includes what could result in no other way; for example, the sound of a player making up his mind, or having to change it. In fact, the indeterminate notation I’ve used is, as far as I know, the only possible one for the kind of sound I should like. And don’t forget, we also like to be surprised. and the rhythm produced by that situation is like no other rhythm.”
“Most of the pieces collected for this portrait of Christian Wolff document the composer’s early activity and were mainly recorded around the time of their composition. Each recording exemplifies the sound gestures from their time.”
“For Pianist”, 1959, Version 1 Frederic Rzewski. “Duo for Violinist and Pianist”, 1961, János Négyesy & Cornelius Cardew. “Lines für Streichquartett”, 1972, for stringquartet. “For Prepared Piano”, 1951 by Frederic Rzewski. “For Piano I”, 1952 Frederic Rzewski. “For 1, 2 or 3 People”, 1964 David Tudor. “Edges”, 1968 Gentle Fire. “For 1, 2 or 3 People”, 1964 by Nelly Boyd, Robert Engelbrecht, Jan Feddersen, Jens Röhm. “Stones” (aus Prose collection), 1968. “Suite (I)” for prepared piano, 1954 by Fuat Kent. “Duo for Violins, 1950 by Biliana Voutchkova, Daniella Strasfogel. “For Pianist”, 1959 by David Tudor. “For Piano I”, 1952 by David Tudor. “Suite (I)” for prepared piano, 1954. “Edges”, 1968 by Keith Rowe.
“Most of the pieces collected for this portrait of Christian Wolff document the composer’s early activity and were mainly recorded around the time of their composition. Each recording exemplifies the sound gestures from their time.”
“For Pianist”, 1959, Version 1 Frederic Rzewski. “Duo for Violinist and Pianist”, 1961, János Négyesy & Cornelius Cardew. “Lines für Streichquartett”, 1972, for stringquartet. “For Prepared Piano”, 1951 by Frederic Rzewski. “For Piano I”, 1952 Frederic Rzewski. “For 1, 2 or 3 People”, 1964 David Tudor. “Edges”, 1968 Gentle Fire. “For 1, 2 or 3 People”, 1964 by Nelly Boyd, Robert Engelbrecht, Jan Feddersen, Jens Röhm. “Stones” (aus Prose collection), 1968. “Suite (I)” for prepared piano, 1954 by Fuat Kent. “Duo for Violins, 1950 by Biliana Voutchkova, Daniella Strasfogel. “For Pianist”, 1959 by David Tudor. “For Piano I”, 1952 by David Tudor. “Suite (I)” for prepared piano, 1954. “Edges”, 1968 by Keith Rowe.
21,50€