In stock
2 LP + CD
MACIUNAS ENSEMBLE
“YoplaBoum + Permanent Wave”
Third release by the Maciunas Ensemble on Edition Telemark after 1976 (2015) and the self-titled 50th anniversary LP from 2018. The group had been founded in Eindhoven, The Netherlands, in 1968 with the aim of realizing the score "Music for Everyman" by Fluxus initiator George Maciunas, which they interpreted as allowing total freedom in the sounds being produced. The group met regularly, usually once a week during their heyday, and improvised on instruments that were at hand. Every session was recorded to be played back and discussed before the next session. This method meant that small changes and subtle new ideas could be integrated from one session to the next, eventually leading into completely new directions over a longer course. Paul Panhuysen linked this approach to the oral traditions of folk music.
One of their most productive periods were the early 1980s where, after settling on a stable line-up of Paul Panhuysen, Jan van Riet, Leon van Noorden and Mario van Horrik, the group developed their own brand of minimalist rhythmic music, inspired in equal parts by rock, post-punk, drone and minimal music of the time. A selection of named pieces had crystallized from the improvised sessions that were worked on and refined, many of them having long durations and featuring wordless vocals by Paul Panhuysen that added another unique rhythmic layer to the music. Phill Niblock, while visiting the ensemble's home base Het Apollohuis in Eindhoven, called some of these pieces "rhythmic drones", drones produced by repetitive rhythmic strokes, simultaneously on various instruments. Some recordings from this period can be heard on the LP "Music for Everyman 861" (released in 1986 on Apollo Records) and the above-mentioned self-titled LP.
Virtually unknown until now have been five more pieces that were released by the band in 1983 and 1984 on two cassettes named "YoplaBoum" and "Permanent Wave", in editions of 25 and 30 copies, respectively. They are re-released here for the first time, with a double LP featuring the whole "YoplaBoum" cassette – the 43-minute title piece split across the first two sides, the two others on sides C and D – and a CD including the two tracks from "Permanent Wave".
The double LP is housed in a single sleeve with two printed inner sleeves featuring liner notes by Leon van Noorden and Mario van Horrik, and a selection of photos and artwork from the period. The CD comes in its own cardboard sleeve and is attached to the outer LP sleeve with a removable glue dot. Edition of 300.
33,00€
In stock
LP
William ENGELEN
“32 bpm”
After "Today, the organ has played beautifully again", released earlier in 2019, Edition Telemark presents the second instalment of what will become a series of LPs of sound works by Dutch artist William Engelen. "32 bpm" was recorded at Kunsthalle Mannheim for an exhibition in summer 2019 and is a slowed down version of "38 bpm", previously released on Engelen's double LP "Partitur Belval" in 2016.
The piece – played here by Mannheimer Schlagwerk – is written for 8 percussionists, each using a set of 9 different instruments varying in their timbre and in the duration of their resonance. The composition is played in a monorhythmic pulse of 32 beats per minute and in unison. To determine the order in which the instruments are played, each percussionist draws their own path through the score consisting of a 32x32 grid of dots of different sizes, with larger dots representing instruments with long resonance and smaller dots those with short resonance. Because each musician has chosen their own path, different instruments are played at each pulse. Neither does the pulse ever change nor do the musicians play out-of-sync at any time. As the piece progresses through its 5 parts, more and more dots are skipped, leaving only 64 beats per musician in part 5, as opposed to 320 in part 1.
The composition "38 bpm" was written in 2016 and now adapted by Engelen to take into account the acoustic qualities of the atrium of the Kunsthalle Mannheim, leading to the slower tempo and a different selection of instruments, now focusing on more resonant ones. The instruments played are mokushos, wood blocks, bongos, reyongs, crotales, triangles, timpanis, gongs, and tubular bells. For the performance, each player stood at a different spot and the audience moved freely between them, feeling out the space by listening to the resonance. The piece thus turned into a sound sculpture inside the architecture of the museum.
The LP is a co-release between Edition Telemark and Kunsthalle Mannheim and comes in a full-color gatefold sleeve with a 12-page LP-sized booklet with photos, a reproduction of the score, and extensive liner notes by Björn Gottstein, director of the Musiktage festival in Donaueschingen, and Sebastian Baden, curator at Kunsthalle Mannheim.
Original price was: 21,50€.12,00€Current price is: 12,00€.
In stock
2 LP
The OVAL LANGUAGE
“Waldkonzerte”
Second LP release by The Oval Language on Edition Telemark after "Hibernation" in 2017, this time showcaseing Klaus-Peter John's Waldkonzerte (woodland concerts), recorded in 2016. The Oval Language is an autonomous art project founded in 1987 in Leipzig, East Germany, by Klaus-Peter John and Frank Berendt. Since Berendt left in 1995, it has been continued by John, sometimes with collaborators, but recently mostly for solo activities. Its fields of activity have included sound-noise performances, conceptual works in open spaces, installations, land art projects, photography, and more.
From the beginning, the space or location itself has been a central aspect within many of their site-specific sound-noise performances. When working at a certain location, the performers tried to not bring in anything from outside, but exclusively use material already available at the space. This way, it becomes possible to thoroughly feel out and explore the site, allowing a distinct site-specific sound to emerge that is integrated into the performance. Throughout the 1990s, the sites used often were abandoned buildings in Leipzig, available in nearly unlimited quantity, from vacant factories to unused former public bathing facilities. During the recent years, Klaus-Peter John has focused on a minimisation of means and developed a unique vocal technique without amplification that he has used in a number of performances. In 2016, he attempted to integrate his voice into pure nature, in his own words the biggest challenge to date. His goal was not to perform any kind of singing or the like, but to use voice as a means similar to the site-specific tools used in previous performances by The Oval Language. He performed five concerts without audiences in a forest ravine in Döben, near Grimma, between June and November. The concerts parallel the course of the seasons and their related acoustic changes and conditions.
This double LP is presented in a die-cut single sleeve with two printed inner sleeves. The inner sleeves contain one photo made during a Waldkonzert on each side. By switching the order of the inner sleeves, four different front sleeves can be generated. Edition of 200.
32,00€
In stock
LP
Arturas BUMSTEINAS
“Bad Weather Long Play”
"Bad Weather" is a performative sound art event of a group of performers engaging with reconstructions of Baroque theater noise machines. The project started in 2017 when Lithuanian artist Arturas Bumšteinas teamed up with theater carpenter Ernestas Volodzka to re-create wind, rain, sea and thunder imitation devices, identical to the ones whose canon settled in European theater in the 17th century. Commissioned and produced by contemporary music theater production house Operomanija, "Bad Weather" events have since been presented in Lithuania and Poland. During each performance, the ensemble plays the machines in keeping with meteorological maps and charts from various centuries that serve as scores. Contemporary artist Ivan Cheng was invited to write and perform a libretto that is integrated into every performance in different ways. In the Baroque era, the noise machines constituted only a small part of the theatrical illusion, lurking behind the scenes, invisible to the audience. Meanwhile in "Bad Weather", they take the spotlight and become generators of conceptual climate.
"Bad Weather Long Play" is a collage of sound materials from performances, rehearsals, soundchecks and other occasions related to the project, as documented with various recording devices between 2017 and 2019. The sides of the LP don't function as A and B sides but can be played in any order. The LP is presented in a full-color sleeve with a printed inner sleeve containing photos of the various stages of the project and liner notes by Salomé Voegelin. An included 8-page booklet reproduces Ivan Cheng's libretto.
"Produced from a selection of recordings made at rehearsals, workshops and performances with an alternating team of seven performers, Bumšteinas convokes a work that sounds its process on the mobile blueprint of meteorological maps as scores. Creating a mis-en-scène of invisible occurrences that talk with each other in the language of a storm that is brewing, raising and petering out, and that leaves a trace in our ears, an imprint and a movement that might only clear the next day." (from the liner notes by Salomé Voegelin)
Arturas Bumšteinas (b. 1982 in Vilnius, Lithuania) is an artist working within the intersections of sound, music and art. His practices include performative sound art, radio art, exhibitions, experimental acoustic and electronic music. He started exploring theater noise machines in 2012 when he was commissioned by Deutschlandradio Kultur to compose "Epiloghi. Six Ways of Saying Zangtumbtumb".
21,50€
Out of stock
2 LP
Ernstalbrecht STIEBLER
“Zwischen den Tönen”
Ernstalbrecht Stiebler (b. 1934) is a German composer of minimalist and reductionist contemporary music. Since the early 1960s, he has been developing a unique compositional style that draws on minimalist structures and repetitions, though not in any way related to the so-called Minimal Music, but rather influenced by Minimalism in visual art and characterized by long static tones that slowly change and evolve over the course of a piece.
Stiebler has composed for solo instruments as well as for different chamber musical and orchestral line-ups. Many of his ensemble pieces are built around long tones coming together in specific intervals, often alternating between dissonance and harmony, sometimes involving microtonal structures. Often, the single instruments are hard to distinguish, instead the musical space opened up by the complex harmonies, disharmonies and pulses of interference becomes the focus of listening.
This double LP collects four live recordings of pieces journeying "between the tones" ("zwischen den Tönen"): "Intervall 19" and "Slow Motion", composed in 1997 and 2003, respectively, are apt examples of Stiebler's style employed for chamber ensembles, with static tones putting every tonal nuance under microscopic view, and slow movement allowing for observation of the slightest variations. The third piece, "Zwischen den Tönen" (1997) is an anomaly in his oeuvre in that it makes use of his distinct techniques but is written for women's choir. The edition is rounded off by a recent recording, "ortung" (2018), again for chamber ensemble, that displays a newfound ease and compositional intuition that has become apparent in his recent work. All recordings are previously unreleased.
"With great concentration the essence of sound becomes clear in Stiebler's late work, here in the heyday of his advanced age, and this has brought his music to the listeners and locations of the alternative avant-garde of noise, ambient and the real-time music scene, in which a culture of heartfelt dedication to sound has long existed. The fact that Stiebler's initiation of precise listening also constitutes a challenge to the cultivation of classical music (he is a great admirer of Mozart) has not yet been properly recognized." (from the liner notes by Matthias R. Entreß)
Edition of 300 in single sleeve with two printed inner sleeves. Liner notes in German and English by Matthias R. Entreß and Ernstalbrecht Stiebler.
31,00€
In stock
LP
Barbara PROKSCH
“OPTO_PHON”
Barbara Proksch (born 1943 in Berlin, living in Salching, Lower Bavaria) is a German visual artist. After having studied Lettering and Illustration, she first worked in graphic design and theatrical painting before in 1982 deciding to become a freelance artist, concerning herself mainly with drawing. Her works are characterized by her long lasting fascination for letters and geometrical figures, and often incorporate signs, characters and writing as well as calligraphic elements. Another thread of influence stems from her background in theatrical painting: the body language and the physical aspects of painting which come to the fore when working on huge canvas with large brushes and liters of paint.
From the beginning, a further aspect has drawn her attention, namely the sounds that occur while drawing and writing, and the way they influence the resulting work. She noticed that the sounds made by the tools she uses feed back into her drawing process, and that just like speech and writing – in a linguistic sense – cannot be decoupled from each other, drawing and listening cannot either: Eye and ear become partners, drawing becomes a performance with the specific tools and materials used as musical instruments.
This observation has led to the development of her group of works called OPTO_PHON, a name which, from the 1990s onwards, Proksch uses for performances that draw upon this synaesthetic process: Usually, Proksch works on large sheets of paper mounted like drumheads and treated with various tools (scrapers, brushes, pens, knives, twigs, etc.), the sounds amplified through contact microphones. The early OPTO_PHON performances were made with herself standing in front of the paper sheets, visible to the audience while drawing. Later, she decided to stand in the back of the paper with a spotlight behind her, so that light shines through it while it is being cut and ripped.
Side A of this LP contains excerpts from OPTO_PHON performances, the first made in a church in Cheb, Czechia, in 2003, led by the strong echo emerging in the hall, the others recorded in her studio. They are contrasted on side B with a very different performance that is, however, conceptually related to OPTO_PHON: While travelling on the Trans-Siberian Railway, Proksch experienced a similar synaesthetic process while listening to the repetitive rattling of the train and watching the landscape passing by. In 2010, this experience was transformed into a sound piece for amplified sewing machine. Edition of 300 in full-color sleeve with printed inner sleeve and insert, containing images of optophonic tools and drawings, and extensive liner notes.
Original price was: 21,50€.13,00€Current price is: 13,00€.
Out of stock
LP
Robin HAYWARD
“Words of Paradise”
Robin Hayward (b. 1969 in Brighton, England) is a tuba player and composer based in Berlin. Since the 1990s, he has been concerning himself with experimental and radical playing techniques on brass instruments, initially through the discovery of the "noise-valve", later through development of the first fully microtonal tuba in 2009. In 2012, he invented the Hayward Tuning Vine as an interface for exploring the harmonic space implicit within the instrument, which exists both as a software version and as a physical prototype. Hayward's microtonal tuba and, on some occasions, the tuning vine have appeared on numerous recordings with various ensembles, e.g. Tonaliens – who have released a double LP on Edition Telemark in 2017 –, Chora(s)san Time-Court Mirage, and Microtub.
"Words of Paradise" is a 2016 recording performed by Zinc & Copper, Hayward's long-running brass chamber ensemble, featuring himself on tuba and tuning vine, Hilary Jeffery on trombone, and Elena Kakaliagou on horn. The piece was inspired by the ideas of 16th-century Dutch linguist Johannes Goropius Becanus, who thought he had shown the Flemish dialect Brabantic to be the original language spoken in Paradise. Observing Brabantic to have a higher proportion of single-syllable words compared to other languages, he reasoned that as the first language must have been the simplest, all languages must be derived from it. The composition draws on the sound of 13 single-syllable words that Becanus used to support his theories. Using half-valve and muting techniques, the inflections of speech and vowel sounds are imitated on the brass instruments, to which the Hayward Tuning Vine is played as a harmonic reference.
LP Picture Disc replicating the multi-coloured circular scores of the horn and trombone parts of "Words of Paradise", housed in a black die-cut sleeve with liner notes on the rear side. Edition of 300.
26,00€
In stock
LP
Werner DAFELDECKER
“Small Worlds”
"Small Worlds" (2004) a is 42-minute composition for improvising sextet by Austrian double bassist, composer and improviser Werner Dafeldecker. The score is written for any instrument and divides the players into two virtual trios whose constellations change every 3 minutes. No restrictions are made regarding material or playing techniques, the only specification is that in each 3-minute trio, one player has the role of the "dynamic leader" which means that no other player within the trio should play louder than the one on that leading position. Apart from that, the only other restriction concerns how pauses are to be made when two players interchange their positions within the trios.
According to Dafeldecker, the object of the piece is to provide a structure that doesn't curtail the qualities of the musicians, yet forces them to listen very closely to each other and make focused decisions about parameters that are often overlooked in completely free improvisation. Especially, the given structure avoids the emergence of certain clichés that are often present in Free Improvisation, while retaining a very high level of openness with regard to how the piece is performed.
The first published recording of "Small Worlds", by Australian ensemble Quiver, was released in 2017 on CDr by Tone List. This LP contains a recording made in 2004 at Taktlos Festival in Basel, Switzerland, that features the line-up that Dafeldecker originally had in mind when he wrote the piece: Burkhard Beins (percussion), Martin Brandlmayr (percussion), Werner Dafeldecker (double bass), Klaus Lang (organ), Michael Moser (cello), and John Tilbury (piano). Partly, this constellation later also played together in the long-running avant-garde group Polwechsel.
Edition of 300 in regular sleeve with three inserts: two featuring an extensive conversation between Werner Dafeldecker and Matthias Haenisch discussing "Small Worlds", Polwechsel and Free Improvisation in general (German and English), the third reproducing the score of the piece.
21,50€
In stock
2 LP
William ENGELEN
“Today, the organ has played beautifully again”
William Engelen (born 1964 in Weert, The Netherlands) is a sound and visual artist living and working in Berlin. After having studied visual arts, his focus shifted over time from solely visual to multi-disciplinary works that oscillate between sound and visual arts, between exhibition and performance, and incorporate installational, sculptural and compositional elements. He now considers himself a conceptual artist who works with sound. Many of his works are site-specific and have been presented and performed in museums, galleries, concert halls, private apartments, parks, urban spaces, a.o. Unlike other sound artists, Engelen does not primarily try to make a space sound, but rather to develop works that resonate and reflect the specific surroundings where they are presented.
"Today, the organ has played beautifully again" (2018) is Engelen's second LP release after "Partitur Belval" in 2016. The piece was written for his solo exhibition "Heute hat die Orgel wieder schön gespielt" at Kunsthalle Osnabrück in Lower Saxony, Germany. The Kunsthalle building was once a Dominican monastery which, in 1713, became home to a pipe organ made by the famous Klausing workshop in Herford. In 1819, after the monastery had been secularized, the organ was moved to St. Matthäus church in Melle where it continues to be played to the present day. For the exhibition, Engelen decided to virtually bring back the organ to its original place. The piece was performed first for an audience at St. Matthäus church on October 14th, 2018, then turned into an 8-channel sound installation for the Kunsthalle exhibition from November 2018 to January 2019. During the rehearsals and the concert, video recordings were made that were compiled into a 2-channel work. The fourth iteration of the piece is this double LP album, recorded in the night of October 18th, 2018, and presented in a full-colour gatefold sleeve with printed inner sleeves. Co-released by Kunsthalle Osnabrück and Edition Telemark.
"The air supply for this historic instrument can either be pumped by a motor or by sheer force, literally by stepping or pressing on the large bellows. Together with Stephan Lutermann, the church's regular organist, I explored and pushed the sonic boundaries and possibilities of the Klausing organ – from the barely audible to the astonishingly raucous. While Stephan played the console, I served as the so-called calcant, or bellows blower, and in this role could decide the length and force of the air supply. Only four of the twelve parts are played with the help of the motor." (William Engelen)
30,50€
In stock
2 LP
Takako SAITO
“Spontaneous Music”
Takako Saito (born 1929) is a Japanese artist closely related with Fluxus. In the 1950s, she participated in the "Creative Art Education" movement where she met later Fluxus fellow Ay-O. In 1963, she moved to New York where she was introduced to George Maciunas and became an important member of the Fluxus movement. She remained part of it throughout the 1960s and 1970s and collaborated with numerous Fluxus artists. Since 1968, Saito has been living mostly in Europe. In 1979, she moved to Germany and now lives in Düsseldorf.
Much of her work revolves around everyday life and everyday things, to which she adds her unique artistic gesture through small but deliberate and carefully crafted interventions. Many of her pieces involve the participation of viewers and only become complete when the audience fills a co-designing role. A sense of playfulness is evident throughout her work, seen in many of her performances and particularly in her various "free" chess games that come in a multitude of different shapes and moreover display a high level of craftsmanship.
In line with her general artistic approach, Saito recorded a number of musical pieces between 1982 and 1992. Retrospectively, she called these recordings "Spontaneous Music" because they involved very simple actions with voice and everyday objects that happened spontaneously. Some recordings have become part of sound pieces in her exhibition "Games" at Emily Harvey Gallery in New York in 1990, but none of them have been released so far. A selection from the recordings is published here for the first time.
This double LP is released in an edition of 300 and includes two solo vocal pieces – "Tarori Po Po Po" and "Isokono Pasokono" –, two more vocal pieces in which Saito's voice interacts with the sounds of an everyday event – "Toro während des Naturreiskochens" (Toro while cooking brown rice) and "Mit Elektrohammer" (With electric hammer) –, and two non-vocal sound pieces: "Kugeln" (Balls) and "Am Rhein mit Hammer" (At the Rhine with hammer). It is housed in a full-color sleeve and includes one insert with liner notes by Saito, a poster, and four postcards. The sleeve, the poster, and the postcards were designed by Takako Saito specifically for this release and relate to the notion of the music having been created simply with one's mouth and hands. All recordings have been carefully digitized and mastered by Dirk Specht.
"Around me, there are many things that make beautiful sounds. When I look outside through the window in front of my desk, I see a big Platanus tree whose leaves are shaking. When you stick a microphone into the leaves, it should made beautiful sounds. Then sometimes a dog passes by and barks. [...] That is music to me. No matter if one notices it or not: it's different but it's there." (from the liner notes by Takako Saito)
31,00€
In stock
LP
Paul PANHUYSEN
“Twenty-Three Carillon Sudokus (Number Made Visible – Number Made Audible)”
“Carillon Sudokus” is the sonic counterpart to “Oog & Oor” (Eye & Ear), the last work that Dutch sound and visual artist Paul Panhuysen (1934–2015) realized. Oog & Oor was a design made with his daughter Sappho Panhuysen for a temporary installation in the lighted column of the Rietveld bus shelter next to the town hall of Eindhoven. It is a further development from “Eight Double Sudokus”, a series of large-scale prints exhibited at Museum De Pont in Tilburg in 2012. Both designs were created using sudoku puzzles and comprise various shapes of different colors whose structure was derived from the number sequences present in individual sudokus. Panhuysen used number systems such as magic squares, the Fibonacci series and the Golden Ratio in much of his art because he felt that instead of limiting his artistical freedom, such systems allowed him to make new discoveries and realize works that transcended his own imagination.
“A system is evidently at work behind the order of colours and shapes in these prints. On the other hand it is far from obvious what the underlying order actually is. Coloured bands and arcs converge in a rhythmic play of lines. Some originate from the same point, joining to form a right angle or part of a circle. Others touch only at the point or remain loose ends in a wave of motion. The orderliness of the structure and the erratic behaviour of the straight and curved lines strive for predominance in the series.” (from the liner notes by René van Peer).
These principles can also be applied to pitch and musical phrases. For Eight Double Sudokus, Panhuysen composed eight pieces for piano that were heard during the exhibition. For Oog & Oor, he envisioned music for the carillon on the roof of the Eindhoven town hall. The original idea was to generate 365 sudoku-based pieces, one for each day of the year that the installation was to be shown. In the end, around 50 pieces were realized in collaboration with town carillonneur Rosemarie Seuntiëns. Side A of this LP contains 11 pieces played live by Seuntiëns on the ceremonial ending of Oog & Oor on August 28, 2015. Side B features 12 pieces played mechanically by the carillon. Edition of 300 in full-color gatefold sleeve with printed inner sleeve. Liner notes by René van Peer.
“A system is evidently at work behind the order of colours and shapes in these prints. On the other hand it is far from obvious what the underlying order actually is. Coloured bands and arcs converge in a rhythmic play of lines. Some originate from the same point, joining to form a right angle or part of a circle. Others touch only at the point or remain loose ends in a wave of motion. The orderliness of the structure and the erratic behaviour of the straight and curved lines strive for predominance in the series.” (from the liner notes by René van Peer).
These principles can also be applied to pitch and musical phrases. For Eight Double Sudokus, Panhuysen composed eight pieces for piano that were heard during the exhibition. For Oog & Oor, he envisioned music for the carillon on the roof of the Eindhoven town hall. The original idea was to generate 365 sudoku-based pieces, one for each day of the year that the installation was to be shown. In the end, around 50 pieces were realized in collaboration with town carillonneur Rosemarie Seuntiëns. Side A of this LP contains 11 pieces played live by Seuntiëns on the ceremonial ending of Oog & Oor on August 28, 2015. Side B features 12 pieces played mechanically by the carillon. Edition of 300 in full-color gatefold sleeve with printed inner sleeve. Liner notes by René van Peer.
Original price was: 21,00€.14,00€Current price is: 14,00€.
In stock
LP
MACIUNAS ENSEMBLE
s/t
The Maciunas Ensemble was founded in Eindhoven, The Netherlands, in 1968 as a free improvisational music group that set out to realize the score "Music for Everyman" by Fluxus initiator George Maciunas, which they interpreted as allowing total freedom in the sounds being produced. In the mid-1980s, after a number of personnel changes, the group settled on the line-up of artists Paul Panhuysen and Mario van Horrik, musician Jan van Riet, and scientist Leon van Noorden, which remained stable until Panhuysen's death in 2015. The group met and played on a regular basis, usually improvising on instruments that were at hand and recording every session. Before playing the next session, the previous recording was listened to and discussed. In 1980, the Eindhoven art initiative Het Apollohuis, also the home of Panhuysen and his family, became their home base, a place that subsequently gained fame for being one of the first and longest-running venues for sound art and experimental music in Europe.
In the recent years, the Maciunas Ensemble has begun to go through its vast archive of recordings and to select material for publication that remained unreleased so far. The first bundle of archival recordings, dating from 1968 to 1980, was released on an 11-CD set on Apollo Records in 2012. For their 50th anniversary in 2018, the second part of archival recordings is to be published, its first instalment being this LP on Edition Telemark comprising unreleased tracks recorded between 1982 and 2012. More archival material will be released in digital format by the ensemble.
This LP allows a glimpse into the musical directions the Maciunas Ensemble has been undergoing during those 30 years. Side A features "Ice Cream Man" and "Toxic Metals", two repetitive, thundering tracks from the early 1980s played on guitar, piano, and cello, and heavily inspired by minimalist rock and post-punk music. Side B contains four shorter tracks: "Russolution" (1985), played on self-built aluminium monochords, "Stamples" (2002), employing sampled voices, and "ZENder" (2009) and "Dèdeboum" (2012), both improvised tracks on vocals and a number of instruments.
Regular edition of 250 in brown Kraftpak sleeve with printed inner sleeve containing various photos of the ensemble and liner notes by Mark van de Voort and Werner Durand.
21,50€
In stock
LP
die ANGEL
“Yön Magneetti Sine”
Edition Telemark presents the ninth album by die ANGEL (pronounced [diː ˈaŋl̩], previously called Angel), an improvisational noise and electro-acoustic project founded in 1999 by Dirk Dresselhaus and Ilpo Väisänen. Dresselhaus, a.k.a. Schneider TM, is based in Berlin and has been active in electric and electronic music since the late 1980s in various bands and projects ranging from rock music to electro-acoustic improvisation. Väisänen has been playing in Finnish electronic duo Pan Sonic in the 1990s and 2000s, and, more recently, in a number of solo projects.
die ANGEL's music meanders between the poles of improvised noise and electro-acoustic music, encompassing processed electronic sounds, instruments, and field recordings, with some tracks featuring guest musicians. Yön Magneetti Sine can be considered their most stripped-down album to date, completely recorded in July 2017 in Väisänen's cottage near Karttula, Finland. It contains five improvised tracks featuring only processed acoustic signals from two self-built one-string resonance instruments and an acoustic guitar. Both one-stringed instruments were built by Väisänen from parts of a weaving loom, a bench, and two barbecue bowls.
All tracks were recorded live without overdubs and, according to Dresselhaus and Väisänen, relate directly to the surrounding landscape and the special atmosphere of the white nights that occur in central and northern Finland during summer. To them, the music heard here is to be called blues, albeit with non-standard instrumentation and structure. Thus, their working title has been "The Electro-Acoustic Blues Album". Edition of 300 on blue vinyl in full-colour sleeve with various photos of the recording process and the surroundings.
21,50€
Out of stock
LP
Ben PATTERSON
“The Lost Tape & The Three Required Musics”
“Radiophonic minutes of the search for a probably lost tape piece, and a reconstruction thereof with real instruments.” Produced by Hessischer Rundfunk (Hessian Broadcasting Corporation), Germany, in 2015. When future Fluxus artist Ben Patterson (1934–2016) traveled to Germany in 1960 in order to study with Karlheinz Stockhausen, he brought along a tape piece that he had produced in Hugh Le Caine’s electronic studio in Canada and that he wanted to show to Stockhausen. They met briefly in the context of the World Music Days of the International Society for Contemporary Music (ISCM) in Cologne, but Patterson immediately sensed that their aesthetic ambitions and viewpoints differed too much, and in the end, he didn’t even present him his piece. Instead, his attention was drawn to the Contre Festival at Mary Bauermeister’s studio, a counter event to the ISCM festival presenting works by George Brecht, La Monte Young, John Cage, a.o. Virtually overnight, Patterson’s aesthetic thinking changed radically, and the cornerstone was laid for his coming role within the Fluxus movement. In 2013, Stefan Fricke, editor for new music at Hessischer Rundfunk, approached Patterson about a broadcast of that old tape piece. Patterson didn’t know its whereabouts, so Fricke and him together with Cologne-based composer hans w. koch set out for a journey through Patterson’s large collection of tapes, some labeled, some unlabeled, sometimes the labels not matching the contents. The journey was recorded with Patterson inserting and ejecting various cassettes, always commenting on what was being heard. In the end, the electronic piece couldn’t be found, so it was decided to re-record it using various toys, instruments, and small devices. For the new recording, Patterson brought a score titled “The Three Required Musics” which he considered to be related to the tape piece and which required preparatory work in the form of cutting out colored pieces of paper and pasting them into a time grid. This LP contains the recording of the search on side A and the new recording of the score on side B. It is presented in a full-color sleeve showing a detail of hans w. koch’s paper time grid, with liner notes by Stefan Fricke and hans w. koch, and two inserts: the first containing the original score “The Three Required Musics” with new notes by Ben Patterson, the other reproducing koch's complete paper score in A2 format. Edition of 300.
Original price was: 21,50€.12,00€Current price is: 12,00€.
In stock
LP
Joe JONES
“Solar Music Tent”
LP reissue of the cassette edition ”Solar Music Tent” documenting an installation and performance in Hagen, Germany, originally released by Joe Jones in 1982 in an edition of 10 copies.
From the early 1980s onwards, Joe Jones released a handful of self-recorded music machine performances on tape under his own record label “Tone-Deaf Music”. Most tapes came in a standard xeroxed sleeve with a handwritten title and instrument listing. A few, including “Solar Music Tent”, were released in combination with a book: The cassette was included in a red ring binder that held a handwritten photo documentation of the performance of the same name at Karl-Ernst-Osthaus-Museum in Hagen on April 1, 1982, a handwritten music notebook, and an invitation card. The recording itself was titled “Solar Music
5” and was made on March 16, 1982, with the instrument ensemble of the Solar Music Tent at Jones’ apartment in Düsseldorf.
Like the previous Jones releases on Edition Telemark, this reissue is limited to 200 copies and comes in a gatefold PVC sleeve: The right-hand side holds the LP, the left-hand side holds A4-sized facsimiles of all artwork that was included in the original edition.
34,00€
In stock
LP
Hans W. KOCH
“The Lost O. theorem”
hans w. koch (b. 1962) is a Cologne-based composer, performer, and sound artist. His work encompasses pieces for chamber and large orchestra, experimental scores for instruments, computers and everyday objects, sound installations, electronic music, etc. He summarizes his art as being about sculpting thoughts in diverse material and prefers conceptual approaches: “more thought, less material”. koch studied composition with Johannes Fritsch and currently is professor for sound at the Academy of Media Arts Cologne. Since the 1980s, koch has been concerning himself with the concept of “total harmony” (harmonie totale) introduced by Russian composer Nikolai Obouhow (1892–1954) where all twelve tones of the Western tonal system – in different octave ranges – are stacked into chord complexes, thus articulating the idea of a vertical twelve-tone music, as opposed to the horizontal twelve-tone music after Schönberg. Less than the mystical connotations expressed by Obouhow, koch is interested in the conceptual potential of this approach: a self-contained harmonic system in which every chord is an inversion of every other. koch has made several works relating to total harmony and calls this work group “the O. theorem”. This LP presents two pieces within this group: “stele fuer n.o.” for large orchestra (2010) was premiered at the festival MaerzMusik in Berlin in 2010 with the Konzerthausorchester Berlin. “clock of fifths [totensonntag]” (2017) is an electronic piece where a field recording of church bells is filtered through a smartphone app developed by koch: The microphone signal is divided into twelve tone pitches that are heard in accordance with a timer that moves through the circle of fifths shown on the smartphone display.
Edition of 300 in full-color sleeve. Printed inner sleeve with liner notes by Volker Straebel and hans w. koch.
Original price was: 21,50€.12,00€Current price is: 12,00€.
In stock
LP
William ENGELEN
“Gebrauchsspuren”
After "Today, the organ has played beautifully again" and "32 bpm" from 2019, Edition Telemark presents three new LPs by Dutch sound artist William Engelen, released on the occasion of his exhibition "Klinkt goed" at Kunstmuseum Den Haag. All three LPs are released separately but may be listened to as a whole because they portray three work groups that are representative of Engelen's compositional methods: Falten, Verstrijken and Gebrauchsspuren.
Gebrauchsspuren (signs of wear) is a composition from 2016. It consists of the sounds of a CD player skipping on a piano track, transcribed for piano. The idea for this piece occurred to Engelen while he was listening to a CD of piano pieces by György Kurtág, Béla Bartók et al., when the CD player suddenly started skipping back and forth randomly on a track, repeating some notes and skipping others, thereby creating rhythms and additionally making its own noises. Because he was drawing, he couldn't get up immediately to remedy the situation. Rather, he was forced to listen to what became the CD player's own music. Engelen made an audio recording of the situation, transcribed the notes and noises, and asked pianist Benoît Gagnon to perform the resulting score.
This LP contains two versions of the piece, both recorded by Gagnon in 2018. Edition of 300.
Original price was: 22,00€.15,00€Current price is: 15,00€.
In stock
LP
William ENGELEN
“Verstrijken”
After "Today, the organ has played beautifully again" and "32 bpm" from 2019, Edition Telemark presents three new LPs by Dutch sound artist William Engelen, released on the occasion of his exhibition "Klinkt goed" at Kunstmuseum Den Haag. All three LPs are released separately but may be listened to as a whole because they portray three work groups that are representative of Engelen's compositional methods: Falten, Verstrijken and Gebrauchsspuren.
The Dutch word "verstrijken" means the same as its German counterpart "verstreichen": the time that passes. It is the name of a compositional method that William Engelen has been using since 2005. For a Verstrijken piece, he asks one or more musicians to keep a diary for a defined time period, usually a week. He then transforms each diary into a graphical score for the particular instrument played by each musician, where every hour is translated into eight seconds of sound. For the purposes of the composition, every activity described in the journal must belong to one of four general categories: sleeping, eating, working and free time. These will be represented by different colors in the score and later by different types of sounds. The quality of each individual sound is influenced by the quality of the particular activity, e.g. if the player slept well or not, how a particular meal tasted, etc. In this way, the musician performs a kind of self-portrait.
Due to the nature of the composition, every score belongs to the particular player who has written the underlying journal and must only be performed by themselves. It is possible to perform Verstrijken in ensembles, though in this case each musician essentially performs solo and must not listen to the other players.
Verstrijken has been realized for a large number of musicians and instruments. Some recordings have been released in 2008 on CD as part of the catalogue "Verstrijken (Audio Works 1999–2008)" by Verlag für Moderne Kunst Nürnberg. This LP pairs two unreleased solo recordings: "Verstrijken for Ko Ishikawa" (2010, played on shō) and "Verstrijken for Luc Döbereiner" (2007, for computer). Edition of 300.
Original price was: 22,00€.15,00€Current price is: 15,00€.
In stock
LP
William ENGELEN
“Falten”
After "Today, the organ has played beautifully again" and "32 bpm" from 2019, Edition Telemark presents three new LPs by Dutch sound artist William Engelen, released on the occasion of his exhibition "Klinkt goed" at Kunstmuseum Den Haag. All three LPs are released separately but may be listened to as a whole because they portray three work groups that are representative of Engelen's compositional methods: Falten, Verstrijken and Gebrauchsspuren.
In Falten (folds), Engelen asks musicians to play and interpret pieces of folded paper. Falten scores exist in different sizes, ranging from about 60cm x 30cm up to works that are 10 meters long. They consist of a piece of paper with stave-like lines drawn on it. The paper has been folded – sometimes with origami-like proficiency that adds a sculptural element to each Falten score – so that the lines collide, intersect, crisscross, disappear into folds, etc. The staves then represent sound, the parts of the paper that have disappeared represent pauses. The musician should interpret this paper environment like a choreography for their movements on their instruments. The actual notes don't count, but rather their parameters like intensity, timbre, vibration, etc. While this seems like total freedom at first sight, the staves and folds in fact give each performance a time structure that even allows for Falten to be played by ensembles.
Falten scores have been realized on numerous occasions, from performances for orchestra to solo electric guitar. This LP contains "Falten for string quartet", performed in 2012 by Sonar Quartett, and "Falten for percussion", performed in 2013 by Talujon Percussion Quartet. Edition of 300 with photos of Falten scores and liner notes by Dagmara Genda.
Original price was: 22,00€.15,00€Current price is: 15,00€.
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3 LP
Paul PANHUYSEN
“Long String Installations”
After two LPs in 2014 and 2017, Edition Telemark now turns to the group of works that is probably the most well-known within the vast oeuvre of Dutch sound and visual artist Paul Panhuysen (1934–2015): his long string installations. Using this term, he referred to all of his works involving strings and sounds. They were realized all around the world between 1982 and 2012 – until 1991 mostly together with Johan Goedhart –, each installation made specifically for the site where it was displayed.Unlike other artists working with long strings around the same time, e.g. Ellen Fullman and Terry Fox, Panhuysen’s strings were instruments or performative material only secondarily. Rather, his installations can be considered sculptural and sounding events in space, operating in between two lines of tradition, constructivism and situationism, that are evident also in many other parts of his oeuvre.The first recordings of Panhuysen’s long string installations were published in the 1980s, most famously on a 3-LP box set edited on Apollo Records in 1986.This new 3-LP set includes solely unreleased recordings made between 1982 and 2012, with one recording added posthumously in 2017. It is presented in a triple gate-fold sleeve with printed inner sleeves containing liner notes by Rolf Sachsse and Stephan Wunderlich as well as various high-resolution photos.Regular edition of 250.
60,00€
In stock
LP
The OVAL LANGUAGE
“Hibernation”
The Oval Language is an autonomous art project founded in 1987 in Leipzig, East Germany, by Klaus-Peter John and Frank Berendt, and continued to this day by John. Its fields of activity are multifaceted and have included sound-noise performances, conceptual works in open spaces, installations, land art projects, photography, etc. The Oval Language has collaborated extensively with various artists, among others Nicolai Angelov, Koyo Axel Guhlmann, and Guido Hübner of Das Synthetische Mischgewebe.
Around 1991, the then members of the group – John, Berendt, and Peter Schüler – were exploring the irrational impact of the Monument to the Battle of the Nations (Völkerschlachtdenkmal) near Leipzig and presented the tri-media project "Hibernation", based around their attempts at approaching the undercurrents that are conserved within the imagery associated with the monument. Hibernation comprised live performances at the Academy of Fine Arts Leipzig (Hochschule für Grafik und Buchkunst, HGB) and at the Museum of Ethnography, an event sculpture in front of the monument which involved the burning of large amounts of straw, and an installation at the briquette factory Zechau near Altenburg.
“Hibernation is about the Monument to the Battle of the Nations near Leipzig. We don't look at it through the historical prism of the 1813 Battle of the Nations, though. We are concerned with the monument as a Gesamtkunstwerk, as a manifestation of irrational German thinking in previous times and its impact on today's generation.” (The Oval Language)
This LP reproduces the sound layer of Hibernation and includes a recording of a live performance at the HGB, made in 1991. Printed inner sleeve with photos of each stage of the project and texts. Edition of 300.
Around 1991, the then members of the group – John, Berendt, and Peter Schüler – were exploring the irrational impact of the Monument to the Battle of the Nations (Völkerschlachtdenkmal) near Leipzig and presented the tri-media project "Hibernation", based around their attempts at approaching the undercurrents that are conserved within the imagery associated with the monument. Hibernation comprised live performances at the Academy of Fine Arts Leipzig (Hochschule für Grafik und Buchkunst, HGB) and at the Museum of Ethnography, an event sculpture in front of the monument which involved the burning of large amounts of straw, and an installation at the briquette factory Zechau near Altenburg.
“Hibernation is about the Monument to the Battle of the Nations near Leipzig. We don't look at it through the historical prism of the 1813 Battle of the Nations, though. We are concerned with the monument as a Gesamtkunstwerk, as a manifestation of irrational German thinking in previous times and its impact on today's generation.” (The Oval Language)
This LP reproduces the sound layer of Hibernation and includes a recording of a live performance at the HGB, made in 1991. Printed inner sleeve with photos of each stage of the project and texts. Edition of 300.
Original price was: 21,00€.14,00€Current price is: 14,00€.
In stock
2 LP
Petra DUBACH & Mario van HORRIK
“Waves”
Petra Dubach and Mario van Horrik have been working together as an artistic duo in Eindhoven since 1983. Originally, they combined dance and music in concerts, performances and theater pieces, Dubach being a dancer and van Horrik making music. He is also a long-time member of the Maciunas Ensemble alongside Paul Panhuysen et al. Dubach’s and van Horrik’s starting point was the notion that movement and sound are essentially the same: If there is no movement (vibration), nothing can be heard; if there is no sound, nothing moves.
Over the years, the boundaries between movement and sound in their work became more and more blurred while they worked out their root idea in every thinkable form ranging from installations and site-specific works to performances and concerts. In 2010, they started their ongoing research project Waves which
involves producing movement feedback using shakers, a kind of loudspeakers that reproduce sound frequencies as vibrations, attached to long strings. Over the years, they have made numerous installations and concerts based upon this concept and have experimented with all sorts of objects incorporated into the basic Waves setup, including Chinese lanterns, hooks, loose strings etc.
This edition gathers four recordings of different Waves installations, all made in Dubach’s and van Horrik’s private studio in Eindhoven. It is presented as a double 12” set (45 rpm) with a full-color gatefold sleeve and liner notes by Milo Vojt chovsk . Edition of 300.
Over the years, the boundaries between movement and sound in their work became more and more blurred while they worked out their root idea in every thinkable form ranging from installations and site-specific works to performances and concerts. In 2010, they started their ongoing research project Waves which
involves producing movement feedback using shakers, a kind of loudspeakers that reproduce sound frequencies as vibrations, attached to long strings. Over the years, they have made numerous installations and concerts based upon this concept and have experimented with all sorts of objects incorporated into the basic Waves setup, including Chinese lanterns, hooks, loose strings etc.
This edition gathers four recordings of different Waves installations, all made in Dubach’s and van Horrik’s private studio in Eindhoven. It is presented as a double 12” set (45 rpm) with a full-color gatefold sleeve and liner notes by Milo Vojt chovsk . Edition of 300.
Original price was: 29,00€.15,00€Current price is: 15,00€.
In stock
LP
Ernstalbrecht STIEBLER
“Kanon – Torsi”
Ernstalbrecht Stiebler (b. 1934) is a German composer of minimalist and reductionist contemporary music. His name is still most closely associated with his long-time position as radio editor and producer for New Music at the Hessian Broadcasting Corporation (Hessischer Rundfunk), but his own compositional oeuvre – beginning in 1955 and continuing until now – has in the recent years attracted more attention with various concerts and several releases.
Having attended the Darmstadt International Summer Courses for New Music from 1958 onwards, Stiebler decided in 1963 to leave serial music behind and instead opt for his own reductionist style built on minimalist structures and repetitions, though not in any way related to the so-called Minimal Music but rather influenced by Minimalism in visual art. In terms of composers of his time, the closest stylistic relationship that could be drawn is that to Morton Feldman. Stiebler’s approach is best summarized in his own words: “Music is too important to burden it with emotions.”
This LP pairs two organ-based works: “Kanon” (1980) for organ, electric organ and wind instruments, and “Torsi” (2002) for organ in three movements: “Torso”, “Organa minima” and “Cantus”. The latter recording, made at St. Stephen’s Church in Konstanz (organ: Hans-Peter Schulz), was previously released on CD by m=minimal. “Kanon” is so far unreleased. Edition of 300 in gate-fold sleeve including an extensive interview conducted by Jens Strüver about Stiebler's compositional views and techniques.
Having attended the Darmstadt International Summer Courses for New Music from 1958 onwards, Stiebler decided in 1963 to leave serial music behind and instead opt for his own reductionist style built on minimalist structures and repetitions, though not in any way related to the so-called Minimal Music but rather influenced by Minimalism in visual art. In terms of composers of his time, the closest stylistic relationship that could be drawn is that to Morton Feldman. Stiebler’s approach is best summarized in his own words: “Music is too important to burden it with emotions.”
This LP pairs two organ-based works: “Kanon” (1980) for organ, electric organ and wind instruments, and “Torsi” (2002) for organ in three movements: “Torso”, “Organa minima” and “Cantus”. The latter recording, made at St. Stephen’s Church in Konstanz (organ: Hans-Peter Schulz), was previously released on CD by m=minimal. “Kanon” is so far unreleased. Edition of 300 in gate-fold sleeve including an extensive interview conducted by Jens Strüver about Stiebler's compositional views and techniques.
21,00€
In stock
LP
Amelia CUNI & Werner DURAND
“Diasporagas”
Amelia Cuni was born in Milan and has lived in India for more than 10 years
where she studied dhrupad singing with various renowned masters. Werner Durand has been performing his own music for saxophones, Iranian ney and self-made wind instruments since the late 70s. He started building his own wind
instruments from plexi-glass, PVC and metal tubes in the early 80s and has performed in various groups including The Thirteenth Tribe and Armchair Traveller. For more than 20 years, Cuni and Durand have been performing together as a duo as well as in collaborations such as Tonaliens and Born Of Six.
Diasporagas, sub-titled “Ancient Trends and New Traditions in Indo-European
Music”, summarizes their various musical projects in which her Indian raga singing met with his minimalist and experimental approach. In all of their collaborations, they have been creating unique forms and expanding the palette
of their sound worlds while keeping the essence of raga music, justifying the
use of the term in its original meaning. The title is meant to be understood as
a statement to provoke reflections on our ideas of cultural identity vs.
globalization, and tradition vs. experimentation.
A central Diasporagas work is “Hiss (mastered noise)” for dhrupad singing,
invented wind instruments, Indian percussion and samples of historical recordings by Indian singers. It is partly based on their earlier work “Gramophone Saraswati” which involved replicas of Luigi Russolo’s Intonarumori instead of the Indian recordings. This LP includes “Hiss (mastered noise)” and two other pieces entitled “Aqua Shiva” and “Agana Song”. Edition of 300 in a full-color sleeve with a printed inner sleeve reproducing the score of “Hiss mastered noise”.
where she studied dhrupad singing with various renowned masters. Werner Durand has been performing his own music for saxophones, Iranian ney and self-made wind instruments since the late 70s. He started building his own wind
instruments from plexi-glass, PVC and metal tubes in the early 80s and has performed in various groups including The Thirteenth Tribe and Armchair Traveller. For more than 20 years, Cuni and Durand have been performing together as a duo as well as in collaborations such as Tonaliens and Born Of Six.
Diasporagas, sub-titled “Ancient Trends and New Traditions in Indo-European
Music”, summarizes their various musical projects in which her Indian raga singing met with his minimalist and experimental approach. In all of their collaborations, they have been creating unique forms and expanding the palette
of their sound worlds while keeping the essence of raga music, justifying the
use of the term in its original meaning. The title is meant to be understood as
a statement to provoke reflections on our ideas of cultural identity vs.
globalization, and tradition vs. experimentation.
A central Diasporagas work is “Hiss (mastered noise)” for dhrupad singing,
invented wind instruments, Indian percussion and samples of historical recordings by Indian singers. It is partly based on their earlier work “Gramophone Saraswati” which involved replicas of Luigi Russolo’s Intonarumori instead of the Indian recordings. This LP includes “Hiss (mastered noise)” and two other pieces entitled “Aqua Shiva” and “Agana Song”. Edition of 300 in a full-color sleeve with a printed inner sleeve reproducing the score of “Hiss mastered noise”.
22,00€
Out of stock
2 LP
Terry FOX
“552 Steps Through 11 Pairs of Strings”
When Terry Fox went from San Francisco to Europe in 1972, he discovered the great pavement labyrinth at Chartres Cathedral. It consists of 11 concentric rings with 552 steps and 34 turns leading into the center. The discovery of the labyrinth became a revelation to him. He saw it as a metaphor for his own life, the numbers of rings and turns corresponding to cycles of health and sickness he had undergone. Thus he decided to base all of his works until 1978 on the labyrinth. These include two major sound works, one of which – “The Labyrinth Scored for the Purrs of 11 Cats” – was later released on cassette and LP, while the other has remained unreleased so far.
“552 Steps Through 11 Pairs of Strings” was a performance made in Fox’s loft in San Francisco on August 14, 1976, starting at 10 pm and lasting 4 1/2 hours. He stretched 11 pairs of piano wires of 11 different thicknesses across the floor, attached them to turnbuckles at each end which he hooked to eye-screws into the wooden floor. Each pair of wires passed over a wooden bridge at both ends. He played this instrument with a soft mallet in one hand and a score in the other. The score was a 34-foot string tied with 552 knots. Each knot represented a step in the labyrinth with the 34 turns indicated by either a piece of wire in a knot (a move to the next longer pair of wires) or a rubber band around a knot (a move to the next shorter pair). The audience was in the dark loft of the floor below.
“We were all mesmerized by the beauty of the piece and lost in its grace. Around midnight a light rain began to fall outside the windows completing the piece’s perfection. He played for another two hours or so. It also happened to be my birthday. It was the best birthday I ever had.” (from the liner notes by Alan Scarritt)
This 2 LP includes four selections from the performance. A gatefold sleeve reproduces the score, a photograph and a drawing of the instrument, and the invitation card to the performance. Texts by Terry Fox and Alan Scarritt. Edition of 300.
“552 Steps Through 11 Pairs of Strings” was a performance made in Fox’s loft in San Francisco on August 14, 1976, starting at 10 pm and lasting 4 1/2 hours. He stretched 11 pairs of piano wires of 11 different thicknesses across the floor, attached them to turnbuckles at each end which he hooked to eye-screws into the wooden floor. Each pair of wires passed over a wooden bridge at both ends. He played this instrument with a soft mallet in one hand and a score in the other. The score was a 34-foot string tied with 552 knots. Each knot represented a step in the labyrinth with the 34 turns indicated by either a piece of wire in a knot (a move to the next longer pair of wires) or a rubber band around a knot (a move to the next shorter pair). The audience was in the dark loft of the floor below.
“We were all mesmerized by the beauty of the piece and lost in its grace. Around midnight a light rain began to fall outside the windows completing the piece’s perfection. He played for another two hours or so. It also happened to be my birthday. It was the best birthday I ever had.” (from the liner notes by Alan Scarritt)
This 2 LP includes four selections from the performance. A gatefold sleeve reproduces the score, a photograph and a drawing of the instrument, and the invitation card to the performance. Texts by Terry Fox and Alan Scarritt. Edition of 300.
32,00€