Out of stock
CD
Olivia BLOCK
s/t
New work for piano and organ (2017).
“How did you develop the work on your CD? Was it through-composed or improvised, or was it a combination of the two? And is the method you used for this piece fairly typical of your compositional practice?”
OB : “This suite was created over a span of several years. I developed techniques inside piano through rehearsals and performances, sketched the basic ideas out--the motives, physical materials, etc., leaving a lot of room for improvisation between the composed bits. I think of the suite as somewhat modular. I can switch sections around while key features, like patterns on the keys in each section, are composed.
There are certain aspects that are unpredictable by nature. For instance, the resonant notes inside the piano, amplified through the contact mics and mini speaker, lead the note choices I play in the keyed patterns.
So in terms of live performance, each piano and the materials I place inside the piano become key factors. The score sets these processes in motion, but leaves room for my spontaneous reactions to the natural acoustic phenomena within certain boundaries.”
“How did you develop the work on your CD? Was it through-composed or improvised, or was it a combination of the two? And is the method you used for this piece fairly typical of your compositional practice?”
OB : “This suite was created over a span of several years. I developed techniques inside piano through rehearsals and performances, sketched the basic ideas out--the motives, physical materials, etc., leaving a lot of room for improvisation between the composed bits. I think of the suite as somewhat modular. I can switch sections around while key features, like patterns on the keys in each section, are composed.
There are certain aspects that are unpredictable by nature. For instance, the resonant notes inside the piano, amplified through the contact mics and mini speaker, lead the note choices I play in the keyed patterns.
So in terms of live performance, each piano and the materials I place inside the piano become key factors. The score sets these processes in motion, but leaves room for my spontaneous reactions to the natural acoustic phenomena within certain boundaries.”
13,00€
Out of stock
CD
Morton FELDMAN
“Piano, Violin, Viola, Cello”
Feldman’s last work, played by Mark Knoop, piano, Aisha Orazbayeva, violin, Bridget Carey, viola, Anton Lukoszevieze, cello.
“I’ve been slowly working through the late Feldman works over the past 10 years or so, including several performances of For John Cage with Aisha Orazbayeva, and she suggested we do Piano, Violin, Viola, Cello at a Café Oto gig in September last year. The concert turned out to be on one of the hottest days of the year and was an exhaustingly wonderful experience of combined concentration from both audience and performers in a sweltering Café Oto. Shortly afterwards, Simon Reynell mentioned that he would like to record the piece, which we did on one of the coldest days in early January!” Jack Sheen interviews Mark Knoop.
“I’ve been slowly working through the late Feldman works over the past 10 years or so, including several performances of For John Cage with Aisha Orazbayeva, and she suggested we do Piano, Violin, Viola, Cello at a Café Oto gig in September last year. The concert turned out to be on one of the hottest days of the year and was an exhaustingly wonderful experience of combined concentration from both audience and performers in a sweltering Café Oto. Shortly afterwards, Simon Reynell mentioned that he would like to record the piece, which we did on one of the coldest days in early January!” Jack Sheen interviews Mark Knoop.
13,00€
Out of stock
CD
Melaine DALIBERT
“Ressac”
Two modular pieces for solo piano, composed and played by Melaine Dalibert.
“En abyme” (2014), “Ressac” (2015). Melaine Dalibert, piano and composition
“En abyme” (2014), “Ressac” (2015). Melaine Dalibert, piano and composition
13,00€
Out of stock
CD
Martine ALTENBURGER-John RUSSELL
“Duet”
“As a teenager in the 1970’s John Russell took guitar lessons with Derek Bailey, and his playing is firmly in Bailey’s tradition: an exemplary instrumentalism which combines unconventional techniques with an unashamed love for the natural sounds and resonances of the instrument. Duet consists of a complete set played at a 2008 festival in France with Martine Altenburger, a much under-rated cellist who has performed in both improvised and contemporary classical settings with musicians such as Le Quan Ninh, Thomas Lehn, Michel Doneda and Frédéric Blondy.” label info
12,00€
In stock
CD
Martin ARNOLD
“The Spit Veleta”
The second CD in the Canadian Composers Series contains three recent works by the Toronto-based composer Martin Arnold, played by Mira Benjamin (violin) and Philip Thomas (piano). Three linked pieces by the maverick Toronto-based composer who says that his music aspires to sound like “slow-motion dance music recorded underwater in a methadone clinic”. Solos for piano and violin, plus a duo for both instruments, played by Mira Benjamin and Philip Thomas. In his introductory essay to the booklet accompanying the Canadian Composers CDs, Nick Storring quotes a comment that Arnold made about one of his earlier works, highlighting a quality which Storring feels applies to a large part of Arnold’s compositional output: “The piece is not intended to be demonstrative but rather placidly elusive; it is not meant to sound recognizably innovative but rather disorientingly (but quietly and good-naturedly) perverse.”
“Points & Walzes” (2012) performed by Philip Thomas, piano. “Slip Minuet” (2014) performed by Mira Benjamin, violin. “The Spit Veleta” (2015) performed by Mira Benjamin, violin and Philip Thomas, piano.
“Points & Walzes” (2012) performed by Philip Thomas, piano. “Slip Minuet” (2014) performed by Mira Benjamin, violin. “The Spit Veleta” (2015) performed by Mira Benjamin, violin and Philip Thomas, piano.
14,00€
Out of stock
CD
Marc SABAT
“Harmony”
The fifth CD in the Canadian Composers Series is also the debut appearance on Another Timbre by the Jack Quartet. It features chamber music for strings by the Berlin-based composer Marc Sabat, whose compositions explore the world of Just Intonation. But, as Nick Storring argues in the booklet accompanying the Canadian Composers Series of CDs, “to fixate upon this aspect of his music conceals at least half of what makes it so beguiling and beautiful. From an aural perspective, what is most salient about his work is not the system itself but his fluency within it. Part of this is attributable to his deep insight and compassion surrounding performance. Prior to his shift from to Toronto to Berlin, Sabat was revered as a violinist, and in his Euler Lattice Spirals Scenery quartet one hears the fruits of his tireless exploration of pitch. But his music never comes across as a dry academic study. Rather his rich treatment of the string quartet as medium brings the listener into close proximity with the palpable joy Sabat experiences in discovering these sonorities. It’s anchored in a reflective, unhurried temporality, but full of radiant blossomings of sound, wild sparkling eruptions in the instruments’ uppermost registers.”
“Euler Lattice Spirals Scenery” (2011). “Claudius Ptolemy” (2008). “Jean Philippe Rameau” (2012). Chamber music for strings using Just Intonation tuning. Played by the Jack Quartet.
“Euler Lattice Spirals Scenery” (2011). “Claudius Ptolemy” (2008). “Jean Philippe Rameau” (2012). Chamber music for strings using Just Intonation tuning. Played by the Jack Quartet.
14,00€
In stock
CD
Lucio CAPECE
“Awareness about”
Four recent pieces by Berlin-based instrumentalist, composer and improviser, Lucio Capece, all focusing on the process of listening. One piece performed by Konzert Minimal, the others all solo performances, including Lucio’s extraordinary piece at the Halle des Expositions in Evreux, France, using speakers hanging from helium balloons and location recordings through cardboard tubes.
13,00€
In stock
CD
Linda Catlin SMITH
“Dirt Road”
An extraordinary journey for violin and percussion, stretching across 15 movements and over 68 minutes. Canadian composer Linda Catlin Smith is one of the best-kept secrets of experimental music, and ‘Dirt Road’ is one of her few concert-length pieces. Brian Olewnick writes “this striking, gorgeous album from Linda Catlin Smith is wonderfully played by Mira Benjamin (violin) and Simon Limbrick (percussion)… definitely check it out.”
14,00€
In stock
CD
Lee PATTERSON – Vanessa ROSSETTO
“Temperament as waveform”
Long-awaited duo, assembled over a period of two years as a result of file exchanges between Manchester UK and Austin Texas between 2010 an 2012. Four tracks of powerful electro-acoustic composition from two like-minded musicians who have never met in person. “This fascinating album manifests both the frustration and invention that can emerge from inter-continental collaboration. It is an album of sacrifice - one that subsumes existent tendencies into the creation of a whole beyond individual identity”. Matthew Revert, Surround.
14,00€
Out of stock
CD
Jürg FREY
“Circles and Landscapes”
Works for solo piano played by Philip Thomas.
78 minutes of wonderful piano music by Jürg Frey: five new or recent pieces together with “In Memoriam Cornelius Cardew” from 1993.
“Philip Thomas presses the keys with such resonating deliberation that I felt I was at the piano with him. There is not only vibrant life in this music, but maturity….[Frey] is beyond the need to prove something, or make a point. His music just is.” (Debra Richards, Swissvibes)
14,00€
Out of stock
CD
John CAGE
“Four4”
“Four4 for four percussionists (1991). By Simon Allen, Chris Burn, Lee Patterson, Mark Wastell. A unique realisation of one of Cage’s late “number pieces” by an ensemble of musicians better known for their work as improvisers. The 72-minutes piece uses a system of flexible time brackets which were determined randomly according to a computer programme. Each musician chooses a number of sounds and assigns each of them them a number. Every time that number occurs above one of the time brackets, they play that sound.” label info
12,00€
Out of stock
CD
John TILBURY – John LELY – Dirar KALASH
“Seaside”
John Tilbury recording on clavichord for the first time, playing compositions by Christian Wolff (two of his ‘Tilbury’ pieces) and John Lely, plus improvising with the young Palestinian musician Dirar Kalash on oud, and John Lely on electronics.
14,00€
In stock
CD
John CAGE
“Winter Music”
“Winter Music” (1957). Version for four pianos. With Mark Knoop, Catherine Laws, Philip Thomas & John Tilbury.
Winter Music was written in 1957 at a time when Cage was exploring different ways of using chance procedures in his composing. He was also interested in producing scores that were indeterminate and which required the performer to interpret and work out many aspects of how the music might actually sound in performance. Winter Music consists of 20 unbound pages, which can be played by any number of pianists from 1 to 20. Any number of pages can be used in a performance, and in any order. Each page contains notes, chords and clusters which are positioned in accordance with the imperfections in the paper on which Cage was working.
The pages of Winter Music are less a score in themselves than a means for producing a score. The pianists are required to make some form of realisation, usually in advance, as to pitch selection and points of occurrence.
For this realisation chance procedures were used to assign each of the pianists five of the twenty pages. The pianists agreed an overall duration of 40 minutes and prepared their parts independently. At the recording there was no rehearsal and the piece was played once only.
Winter Music was written in 1957 at a time when Cage was exploring different ways of using chance procedures in his composing. He was also interested in producing scores that were indeterminate and which required the performer to interpret and work out many aspects of how the music might actually sound in performance. Winter Music consists of 20 unbound pages, which can be played by any number of pianists from 1 to 20. Any number of pages can be used in a performance, and in any order. Each page contains notes, chords and clusters which are positioned in accordance with the imperfections in the paper on which Cage was working.
The pages of Winter Music are less a score in themselves than a means for producing a score. The pianists are required to make some form of realisation, usually in advance, as to pitch selection and points of occurrence.
For this realisation chance procedures were used to assign each of the pianists five of the twenty pages. The pianists agreed an overall duration of 40 minutes and prepared their parts independently. At the recording there was no rehearsal and the piece was played once only.
13,00€
Out of stock
CD
James SAUNDERS
“assigned #15”
The leading contemporary music ensemble Apartment House perform a new piece developing out of James Saunders’s long-term modular project “
unassigned”. The new piece, “assigned
15”, was recorded in April this year and creates a mesmeric, dense, jungle-like soundworld across its 45 minutes. Beautifully realised by Anton Lukoszevieze (cello), Bridget Carey (viola), Simon Limbrick (percussion), Nancy Ruffer (flutes), James Saunders (dictaphones & radio), Philip Thomas (piano) and Kerry Yong (chamber organ).
unassigned”. The new piece, “assigned
15”, was recorded in April this year and creates a mesmeric, dense, jungle-like soundworld across its 45 minutes. Beautifully realised by Anton Lukoszevieze (cello), Bridget Carey (viola), Simon Limbrick (percussion), Nancy Ruffer (flutes), James Saunders (dictaphones & radio), Philip Thomas (piano) and Kerry Yong (chamber organ).
15,50€
Out of stock
CD
Giuliano D’ANGIOLINI
“Cantilena”
Six excellent chamber works by the Paris-based composer Giuliano d’Angiolini. An early review in The Guardian describes it as “sublime, poised music, full of open spaces”.
“Aria del flauto eolico” (2015). Manuel Zurria (flutes).
“Finale” (2012). Melaine Dalibert (piano).
“Cantilena” (2014). Quatuor Parisii : Arnaud Vallin & Doriane Gable (violins), Dominique Lobet (viola), Jean-Philippe Martignoni (cello).
“Allegretto 94.6” (2002). Melaine Dalibert (piano).
“(suoni della neve e del gelo)” (2014). Quatuor Parisii.
“Motivetto” (2009) Ensemble Chrysalide : Baptiste Boiron (saxophone), Benjamin Boiron (cello), Melaine Dalibert (piano).
“Aria del flauto eolico” (2015). Manuel Zurria (flutes).
“Finale” (2012). Melaine Dalibert (piano).
“Cantilena” (2014). Quatuor Parisii : Arnaud Vallin & Doriane Gable (violins), Dominique Lobet (viola), Jean-Philippe Martignoni (cello).
“Allegretto 94.6” (2002). Melaine Dalibert (piano).
“(suoni della neve e del gelo)” (2014). Quatuor Parisii.
“Motivetto” (2009) Ensemble Chrysalide : Baptiste Boiron (saxophone), Benjamin Boiron (cello), Melaine Dalibert (piano).
14,00€
Out of stock
CD
Frank DENYER
“Whispers”
“Whispers” (2010) Frank Denyer (voice & ancillary instruments), Elisabeth Smalt (offstage violin). “Woman with Jinashi Shakuhachi” (2008) Kiku Day (shakuhachi, voice, small percussion). “Riverine Delusions” (2007) The Barton Workshop - Jos Zwaanenburg (bass flute), John Anderson (bass clarinet), James Fulkerson (bass trombone), Marieke Keser (muted violin), Anne Magda de Geus (muted cello), Jamie Swale (bass drum), Frank Denyer (percussion). “Two Voices with Axe” (2008) Frank Denyer & Juliet Fraser (voices), Jos Zwaanenburg (flute), Benjamin Gilmore (muted violin), Elisabeth Smalt (muted viola), Dario Calderone (muted double bass), Pepe Garcia Rodriguez (percussion), Bob Gilmore (axe), Jamie Man (conductor). “A Woman Singing” (2009) Juliet Fraser (voice).
“The experience of listening to Frank Denyer’s music is extraordinary, quite distinct from other aspects of our contemporary musical lives. His music manifests an exquisite sensitivity to sound, often unusual or fragile sounds; his compositions are more concerned with what can be heard than with an interest in systems, or drama, or “ideas”. And while these sounds sometimes seem to embody a covert narrative of sorts, as though a story is hiding, waiting to be told, any such narratives are never made explicit. This leaves the listener free to concentrate on the highly original melodic lines, the harmonies and the unique tone colours of Denyer’s work, while speculating, if desired, about possible scenarios that may lie behind. This disc, the eighth devoted entirely to his music, collects three solo and two ensemble pieces, and forms a portrait of his recent work, from the years 2007-10.” Bob Gilmore
“The experience of listening to Frank Denyer’s music is extraordinary, quite distinct from other aspects of our contemporary musical lives. His music manifests an exquisite sensitivity to sound, often unusual or fragile sounds; his compositions are more concerned with what can be heard than with an interest in systems, or drama, or “ideas”. And while these sounds sometimes seem to embody a covert narrative of sorts, as though a story is hiding, waiting to be told, any such narratives are never made explicit. This leaves the listener free to concentrate on the highly original melodic lines, the harmonies and the unique tone colours of Denyer’s work, while speculating, if desired, about possible scenarios that may lie behind. This disc, the eighth devoted entirely to his music, collects three solo and two ensemble pieces, and forms a portrait of his recent work, from the years 2007-10.” Bob Gilmore
13,00€
Out of stock
CD
Chiyoko SZLAVNICS
“During a Lifetime”
The fourth disc in the Canadian Composers Series features the music of Chiyoko Szlavnics. The CD contains three works, two of which use sinewaves in conjuncton with acoustic instruments. The title track ‘During a Lifetime’ is written for sinewaves and saxophone quartet, an instrument on which Szlavnics herself used to perform. The final piece, ‘Reservoir’, is composed for sinewaves and an unusual instrumental octet, including two accordions, two flutes and two percussionists. The middle piece ‘Freehand Poitras’ is for string trio, but like the other works on the disc it is typified by the use of long sustained tones and slow glissandi.
Three exquisite pieces by the Berlin-based composer who uses drawings as the basis for her compositions. Played by the Konus Quartett and Apartment House.
“During a Lifetime” (2015)
Konus Quartett: Fabio Oehrli (soprano & alto saxophones), Jonas Tschanz (alto saxophone), Christian Kobi (tenor saxophone), Stefan Rolli (baritone saxophone). Plus sinewaves.
“Freehand Poitras” (2008)
Gordon Mackay & Mira Benjamin (violins), Anton Lukoszevieze (cello).
“Reservoir’” (2006)
Apartment House: Nancy Ruffer & Gavin Morrison (flutes), Jonas Kocher & Hannes Lingens (accordions), Simon Limbrick & Richard Benjafield (percussion), Mira Benjamin (violin), Anton Lukoszevieze (cello), John Lely (technical assistance). Plus sinewaves.
Three exquisite pieces by the Berlin-based composer who uses drawings as the basis for her compositions. Played by the Konus Quartett and Apartment House.
“During a Lifetime” (2015)
Konus Quartett: Fabio Oehrli (soprano & alto saxophones), Jonas Tschanz (alto saxophone), Christian Kobi (tenor saxophone), Stefan Rolli (baritone saxophone). Plus sinewaves.
“Freehand Poitras” (2008)
Gordon Mackay & Mira Benjamin (violins), Anton Lukoszevieze (cello).
“Reservoir’” (2006)
Apartment House: Nancy Ruffer & Gavin Morrison (flutes), Jonas Kocher & Hannes Lingens (accordions), Simon Limbrick & Richard Benjafield (percussion), Mira Benjamin (violin), Anton Lukoszevieze (cello), John Lely (technical assistance). Plus sinewaves.
14,00€
Out of stock
CD
Ellen FULLMAN
“Staggered stasis”
Staggered Stasis (1989) was commissioned by the Deborah Hay Dance Company for part 1, "The Navigator" in Hay’s trilogy, "The Man Who Grew Common In Wisdom". Microtonal shifts in the coloring occur in a staggered fashion, traveling on an axis of Pythagorean intervals, (the circle of fifths). Chords created by stacking 3/2s, or fifths, are referred to as "suspended chords". There is a flatness in this drama, what I imagine it must be like in the middle of an ocean, continually moving yet appearing the same. The four part score was plotted on a timeline. Each track was recorded and performed by myself. An excerpt of Staggered Stasis was released on the Arial CD series.
"Duration" (1986) was composed as a 13-limit study for the Long String Instrument, in the key of C. The fundamental tone is continually sounded, under chords constructed with pitches from the overtone series. The intention of the piece was to listen to the variations within each chord, as it is sounded continually while the performer walked the length of the instrument. As the performer’s position changes, one clearly hears a cascade of overtones. "Duration" was never previously released.
The original recordings were made direct to a PCM digital processor using a vintage AKG C24 stereo tube condenser microphone placed about 15 feet from the resonators.
"Duration" (1986) was composed as a 13-limit study for the Long String Instrument, in the key of C. The fundamental tone is continually sounded, under chords constructed with pitches from the overtone series. The intention of the piece was to listen to the variations within each chord, as it is sounded continually while the performer walked the length of the instrument. As the performer’s position changes, one clearly hears a cascade of overtones. "Duration" was never previously released.
The original recordings were made direct to a PCM digital processor using a vintage AKG C24 stereo tube condenser microphone placed about 15 feet from the resonators.
14,00€
In stock
CD
Pauline OLIVEROS + Roscoe MITCHELL + John TILBURY + Wadada Leo SMITH
“Nessuno”
Pauline Oliveros V-Accordion. Roscoe Mitchell alto & soprano saxophone, flute. John Tilbury piano. Wadada Leo Smith trumpet. music by Pauline Oliveros, Roscoe Mitchell, John Tilbury, Wadada Leo Smith.
“In 2011 Pauline Oliveros, Roscoe Mitchell, John Tilbury and Wadada Leo Smith opened the AngelicA Festival with 3 days of concerts… they performed solos and duets (Pauline and Roscoe; John and Wadada), and finally, for the first time ever, these 4 distinct musical voices performed together, as a quartet…
Over time AngelicA (which is 26 years old) has always tried to bring together different worlds, even ones that were very far apart from each other (although distance is nothing but an illusion if it is not prescribed by cultural boundaries): through the creative forces that come alive in these encounters, if possible, to re-discover spaces for expression beyond the original contexts… A vision that comes, takes over, and pushes you in that direction, which otherwise would be hard to explore… I am very thankful for the musicians who took up the invitation as a natural possibility…” Massimo Simonini (March 2016)
13,00€
In stock
CD
Christian WOLFF
“Angelica music”
Apartment House with Andrew Sparling, clarinet, voice, Gordon MacKay, violin,
Ruth Ehrlich, violin, Bridget Carey, viola, Anton Lukoszevieze, cello, Philip Thomas, piano.
Music by Christian Wolff (1934). “Exercise 13” (1974), “Exercise 10” (1973/1974), “Duo 7” (2005), “Keyboard Miscellany: Variation on Morton Feldman’s Piano Piece 1952” (1988), “Duo For Violins” (1950), “Keyboard Miscellany
6” (1997), “Edges” (1968), “Keyboard Miscellany
12” (1997), “Winter Exercise” (2013), “Berlin Exercise” (2000).
13,50€
In stock
CD
Charlemagne PALESTINE
“Organo rinascimentale non temperato”
Charlemagne Palestine organ. “Schlingen Blängen for Organo Rinascimentale Non Temperato” (2004).
“Through my desire to find a sound form that rivaled Abstract Expressionist painters like Rothko, Newman, Still, around 1965 I attempted with the help of a 19th century treatise by Helmholtz, “On the sensation of tone”, and my own exhaustive experimentation with the pipe organ and early electronic synthesizers, to develop a constantly changing molecule like organism as a continuous sound form.
By 1977 those investigations became Schlingen Blängen, a work for electronic oscillators or pipe organ that can last from an hour to several days nonstop in sonic constant chemical acoustic + architectural evolution + transformation in space.”
13,50€
Out of stock
CD
Jean-Luc PARANT
“Partir”
Textes of jean-luc Parant. “Dix chants pour tourner en rond” and“Les yeux CIII CXXV”. Music of Marie-Sol Parant (piano), with participation of Johnny T (violin).
13,00€
In stock
CD
Akio SUZUKI
“K7 box”
Recorded at Yokosuka Museum of Art on 9-10 January 2007. Sound artist Akio Suzuki’s brand new CD is released just now ! This CD is consisting of 9 tracks mainly his self-made sound object “Analapos” and “De Koolmees”, and 2 tracks of them are recorded for announce sound of opening and closing of Yokosuka Museum of Art. They are so clear and spacy. Booklet is written by himself, David Toop and others. Text in Japanese and English. ALM Records is well known label that has released many avant-garde LP titles in 70-80’s. Especially about Akio Suzuki, two LPs has been released - obscure
solo LP (limited 100 copies) and "New Sence of Hearing" with Kosugi.
27,00€
In stock
CD
John DUNCAN & Carl Michael von HAUSSWOLFF
“Stun shelter”
50-pages catalogue with full color photos and audio CD in DVD plastic cover. Audio and still images from the Stun Shelter installation at Galleria Nicola Fornello, Prato.
Created and composed by John Duncan & Carl Michael von Hausswolff. Installation recording by Carl Michael von Hausswolff. Mastered at Scrutto by John Duncan. Catalogue text by Daniela Cascella.
From the text of the catalogue : “John Duncan’s See is a video installation made up of four separate and simultaneous projections of sequences taken from the John See Series, a series of adult movies he directed (...). In those moments in which the sound is softer, a voice emerges, whispering Japanese phrases until it is drowned once again by the wave of louder sounds. Carl Michael von Hausswolff’s Thinner & Low Frequency Bar / Glue & High Frequency Lounge consists of two bars made of steel and glass on which lie bottles and cans containing (...) glue and thinner. On the bar two oscillators produce frequencies varying in intensity, whose sound penetrates the ears altering normal perception levels. Both works fill the space perfectly, one by means of strong images (See), the other through the substances shown. Attention level is at its maximum in attempts to grasp the Japanese whispering (See) and the ghost-sounds of the oscillators (Thinner Bar...), defying the threshold of audibility as they act on the unconscious.” Daniela Cascella
15,00€
Out of stock
CD
John DUNCAN – Mika VAINIO – Ilpo VAÏSÄNEN
“Nine suggestions”
John Duncan: shortwave, processing. Mika Vainio: oscillators, processing. Ilpo Väisänen: oscillators, processing.
Composed by John Duncan, Mika Vainio and Ilpo Väisänen. Processed and mixed in Barcelona, Berlin and at Scrutto by John Duncan, Mika Vainio and Ilpo Väisänen. Mastered at Scrutto by John Duncan.
Composed by John Duncan, Mika Vainio and Ilpo Väisänen. Processed and mixed in Barcelona, Berlin and at Scrutto by John Duncan, Mika Vainio and Ilpo Väisänen. Mastered at Scrutto by John Duncan.
15,00€
Out of stock
CD
MUSICA ELETTRONICA VIVA
“Spacecraft – Unified patchwork theory”
The MEV group was formed in September 1966 by Alvin Curran, Richard Teitelbaum, Frederic Rzewski, Allan Bryant, Carol Plantamura, Ivan Vandor, and Jon Phetteplace. In the beginning they performed compositions by themselves and others which involved the use of electronic sound produced in real time, or "live" electronic music. In the summer of 1967 they began to work more with improvisation and less with determinate structures. MEV focus more on interpreting the moment, rather than constructing repeatable programs; creating meaningful rituals, not images; becoming involved with the process, the operation, and not with the result of it, or its effects on people. MEV music is highly eclectic, resisting ready classification by combining elements of improvised music, computer music, world music, jazz and classical composition, without being clearly definable as any one of them. For the realization of "Spacecraft", recorded in Koln in 1967, MEV were Frederic Rzewski (amplified glass and springs), Alvin Curran (electric percussion, trumpet, voice), Richard Teitelbaum (moog synthesizer), Allen Bryant (homemade synthesizer), Ivan Vandor (alto saxophone). In the collective work of MEV "Spacecraft" it was stereotypes that formed the material for the improvisation. The player imagined himself as trapped within a labyrinth, whose corridors were lined with images, learned formulas, taken from the past. This was the space which he occupied, and it was indeed a trap, but then it was also all that he had. It was occupied space, he was in it, but didn’t identify with it, and the work was to transform it into created space,
to make it his. He had to penetrate through the walls of the labyrinth, through the images, whether by magic, all at once, or over a longer duration, by work, in order to come out into the open, to discover a new space which was neither his nor another’s, but everybody’s. The secret of the labyrinth is that the way out is not left, right, forwards, or backwards, but up: to get free one must fly. To fly is to risk falling, to acept this risk. As long as you are afraid to take this risk, you’ll never get off the ground, you’ll run around bashing into walls and going through the movements of flight, uselessly flapping and flopping. You will fall into stereotypes. If you accept this, however, if you open yourself to whatever is happening, suspend judgement and fall into it completely and with grace, then you will fly, and it will be transformed. "Spacecraft" is a composition, in the sense that it is based on a particular combination of ideas. In order to play "Spacecraft" it was necessary to be more or less familiar with these ideas. The performers all knew each other. Every performance was the moment of a continuous process. This process then came to an end, as it were, and the rather esoteric techniques used in the maintaining it were abandoned in favour of others which were more open, more accessible to the casual visitor or listener. This CD also includes " Unified Patchwork Theory ", recorded in
Zurich at Rote Frabrik by MEV including Frederic Rzewski (piano), Alvin Curran (sampler, synths), Richard Teitelbaum (synths), Steve Lacy (soprano sax), Garrett List (trombone, voice, electronics). This CD is included in a beatiful digipack black and white sleeve with photos and liner notes. Also included is a 8 page booklet with an essay by Frederic Rzewski titled "Plan for Spacecraft", as well as “Some MEV Memories" by Richard Teitelbaum and the chronology the “Spacecraft” performances in Europe in 1967. New edition remastered by Giuseppe Ielasi.
to make it his. He had to penetrate through the walls of the labyrinth, through the images, whether by magic, all at once, or over a longer duration, by work, in order to come out into the open, to discover a new space which was neither his nor another’s, but everybody’s. The secret of the labyrinth is that the way out is not left, right, forwards, or backwards, but up: to get free one must fly. To fly is to risk falling, to acept this risk. As long as you are afraid to take this risk, you’ll never get off the ground, you’ll run around bashing into walls and going through the movements of flight, uselessly flapping and flopping. You will fall into stereotypes. If you accept this, however, if you open yourself to whatever is happening, suspend judgement and fall into it completely and with grace, then you will fly, and it will be transformed. "Spacecraft" is a composition, in the sense that it is based on a particular combination of ideas. In order to play "Spacecraft" it was necessary to be more or less familiar with these ideas. The performers all knew each other. Every performance was the moment of a continuous process. This process then came to an end, as it were, and the rather esoteric techniques used in the maintaining it were abandoned in favour of others which were more open, more accessible to the casual visitor or listener. This CD also includes " Unified Patchwork Theory ", recorded in
Zurich at Rote Frabrik by MEV including Frederic Rzewski (piano), Alvin Curran (sampler, synths), Richard Teitelbaum (synths), Steve Lacy (soprano sax), Garrett List (trombone, voice, electronics). This CD is included in a beatiful digipack black and white sleeve with photos and liner notes. Also included is a 8 page booklet with an essay by Frederic Rzewski titled "Plan for Spacecraft", as well as “Some MEV Memories" by Richard Teitelbaum and the chronology the “Spacecraft” performances in Europe in 1967. New edition remastered by Giuseppe Ielasi.
15,00€
In stock
CD
Walter MARCHETTI
“Concerto per la mano sinistra in un solo movimento”
The “Concerto for the left hand in one movement”, for piano, is the last unpublished composition of Walter Marchetti to be performed in public before the death of the author on May 12, 2015.
Performed by Reinier van Houdt, piano.
Composed in 1994, the “Concerto for the left hand” belongs to an ongoing series of works written between 1994 and 1997: “Con vista sui suoni”, “Eight or Nine Movements for String Quartet” and “La perdita del tempo” which develop from a preceding composition titled “Canonic Variations for Orchestra on Prolapsed Time From Development to Hiccup of Black Cherry Jam”. In these works Marchetti made a systematic and assertive return to conventional music notation, even while not excluding performative and installative practice and the use of pre-recorded “concrète” sounds which from the 60s had been his privileged field-of-action. A modality shared principally within the exquisitely iconoclast and desacratory activities of the ZAJ group.
What was particularly interesting to Marchetti in this recourse to musical writing is weakening the meaning of the rigid normative apparatus of a musical score with the purpose of annihilating the factual potential of his system of prescriptions.
The title alone is used to hide a paradox where the notes to the performer intervene to subvert the following paradigm: “The pianist is obliged to hold a black umbrella opened over his head in his left hand during the whole performance of this concerto”. From here the performer is confronted with two conceptually convergent possibilities in de-potentializing the apparatus of signs in the score: the restrictive imposition of the paradox where the music couldn’t manifest itself in case of respecting to the letter the enunciation which lead to the impossibility of the music’s ‘existence’ (i.e., the obligation of holding an open black umbrella in the same hand) or rather, transgressing this encumbrance, the implicit possibility of playing the score with the right hand and, definitively, the condition of the music subjected to its own manifestation to no longer be able to coincide with its own realization: “a magic made free from the lie of being truth”.
Limited to 300 copies.
CD in digipak sleeve with a full-colour booklet including photos as well as liner notes by Gabriele Bonomo.
Performed by Reinier van Houdt, piano.
Composed in 1994, the “Concerto for the left hand” belongs to an ongoing series of works written between 1994 and 1997: “Con vista sui suoni”, “Eight or Nine Movements for String Quartet” and “La perdita del tempo” which develop from a preceding composition titled “Canonic Variations for Orchestra on Prolapsed Time From Development to Hiccup of Black Cherry Jam”. In these works Marchetti made a systematic and assertive return to conventional music notation, even while not excluding performative and installative practice and the use of pre-recorded “concrète” sounds which from the 60s had been his privileged field-of-action. A modality shared principally within the exquisitely iconoclast and desacratory activities of the ZAJ group.
What was particularly interesting to Marchetti in this recourse to musical writing is weakening the meaning of the rigid normative apparatus of a musical score with the purpose of annihilating the factual potential of his system of prescriptions.
The title alone is used to hide a paradox where the notes to the performer intervene to subvert the following paradigm: “The pianist is obliged to hold a black umbrella opened over his head in his left hand during the whole performance of this concerto”. From here the performer is confronted with two conceptually convergent possibilities in de-potentializing the apparatus of signs in the score: the restrictive imposition of the paradox where the music couldn’t manifest itself in case of respecting to the letter the enunciation which lead to the impossibility of the music’s ‘existence’ (i.e., the obligation of holding an open black umbrella in the same hand) or rather, transgressing this encumbrance, the implicit possibility of playing the score with the right hand and, definitively, the condition of the music subjected to its own manifestation to no longer be able to coincide with its own realization: “a magic made free from the lie of being truth”.
Limited to 300 copies.
CD in digipak sleeve with a full-colour booklet including photos as well as liner notes by Gabriele Bonomo.
15,00€
Out of stock
CD
Walter MARCHETTI
“Vandalia”
“alga marghen very proudly presents the only authorized reissue of all Walter Marchetti original recordings previously released by Cramps Records. With “Vandalia” Walter Marchetti is focusing his concrete and radical themes. Also including an homage to John Cage. Action Music! “Vandalia”, includes “Perpetuum mobile” (1981), “Song for John Cage” (1985) and “Le secche del delirio” (1989). The 8 page booklet presents the photo of the “Perpetuum mobile” performance at Musicalia in 1981, the score of “Song for John Cage”, the photos of two “Musica da camera” installations, as well as the reproduction of the original “Vandalia” CD layout. All texts are published both in English and Italian. First included in an LP sized 4CD box set together with other 3 CDs titled “La caccia”, “In terram utopicam” and “Natura morta”, plus the new book by Walter Marchetti titled “De musica inversa”, an instruction manual of both theory and practice for the proper and improper use of music, this CD is also available now, separately from the complete box set, in a very limited number of copies.” label info
15,00€
Out of stock
CD
Walter MARCHETTI
“Natura morta”
“alga marghen very proudly presents the only authorized reissue of all Walter Marchetti original recordings previously released by Cramps Records. “A very simple sequence of piano accidents, according to Robert Ashley the one of the most beautiful piano music ever recorded. “Natura Morta”, includes the piece with the same title from 1980. The 8 page booklet reproduces original photos of the performance at Milanopoesia in 1988, as well as the text titled “In my music”. All texts are published both in English and Italian.
First included in an LP sized 4CD box set together with other 3 CDs titled “La caccia”, “In terram utopicam” and “Vandalia”, plus the new book by Walter Marchetti titled “De musica inversa”, an instruction manual of both theory and practice for the proper and improper use of music, this CD is also available now, separately from the complete box set, in a very limited number of copies.” label info
First included in an LP sized 4CD box set together with other 3 CDs titled “La caccia”, “In terram utopicam” and “Vandalia”, plus the new book by Walter Marchetti titled “De musica inversa”, an instruction manual of both theory and practice for the proper and improper use of music, this CD is also available now, separately from the complete box set, in a very limited number of copies.” label info
15,00€
Out of stock
CD
Walter MARCHETTI
“In terram utopicam”
“alga marghen very proudly presents the only authorized reissue of all Walter Marchetti original recordings previously released by Cramps Records. Walter Marchetti is one of the most original and controversial pre-Fluxus authors. In this work he frees all of his sophisticated poeticism. “In terram utopican”, includes “J’aimerais jouer avec un piano qui aurait une grosse queue” (1974/75) and “Per la sete dell’orecchio” (1981). The 16 page booklet presents the original score of “J’aimerais jouer”, photos of the performances in Milano and at the Venice Biennale, and the reproduction of the original “In terram utopicam” LP layout. All texts are published both in English and Italian. First included in an LP sized 4CD box set together with other 3 CDs titled “La caccia”, “Natura morta” and “Vandalia”, plus the new book by Walter Marchetti titled “De musica inversa”, an instruction manual of both theory and practice for the proper and improper use of music, this CD is also available now, separately from the complete box set, in a very limited number of copies.” label info
15,00€
Out of stock
CD
Robert ASHLEY
“The wolfman”
New remastered CD edition of Robert Ashley “The Wolfman”. This edition introduces us to the most extreme experimental side of the famous American composer.
The program starts with “The Fox” (1957), the first electronic music work by Robert Ashley which already displays the future electronic music theatre style. Dark atmospheres and primitive tape collage techniques recorded at home, mixing the electronic tape and the voice in a single ’live’ pass. The title track, ’The Wolfman’, was composed in early 1964 and first performed on Charlotte Moorman’s festival of the avant-garde in New York in the fall of the same year, gaining considerable reputation as a threat to the listener’s health. For the occasion instigated by Feldman, Robert Ashley composed a piece of tape music, “The Wolfman Tape”, to be played along with the vocal performance of “The Wolfman”. The idea of a tape composition, which is to come out of the same loudspeakers as the voice and the feedback (the main sound source for this composition), is to fill-in the ongoing performance sound and to transform the performance into an elaborate version of the ’drone’ under the influence of electronics. The choice of what sounds should be on the tape is determined by the need to have the whole range of frequencies brought into the feedback, but to give those sounds a short duration-in other words, a blizzard of very short sounds across the whole frequency range-so that the illusion of the sounds coming from all parts of the room is preserved. For the performance of ’The Wolfman’ recorded here, produced at the University of California at Davis, Robert Ashley used an earlier (1960) tape composition entitled ’The 4th of July’. That composition changes gradually from a parabolic-microphone documentation of a backyard party into a layering of tape loops and tape-head feedback. ’The Wolfman Tape’ (1964) is, as descibed above, a tape composition made for a short performance of ’The Wolfman’. It uses tape-speed manipulation and mixes of many layers of ’found’ sounds, both from AM radio and from recordings made using different kinds of microphones. ’The Bottleman’ was composed in 1960 as music for an experimental film by George Manupelli. The 40 minutes long version preseted here involves contact microphones on a surface that holds a loudspeaker some six feet away. The loudspeaker is broadcasting open-circuit ’hum’ (at the American standard of approximately 60 hertz). That pitch is raised slightly through tape manipulation and the result is mixed with vocal sounds and other ’found’ sounds played back at various tape speeds. All compositions previously unreleased. The digipak CD comes with a 12 pages booklet including liner notes written by the composer and the complete score of ’The Wolfman’, first issued in Source magazine."
The program starts with “The Fox” (1957), the first electronic music work by Robert Ashley which already displays the future electronic music theatre style. Dark atmospheres and primitive tape collage techniques recorded at home, mixing the electronic tape and the voice in a single ’live’ pass. The title track, ’The Wolfman’, was composed in early 1964 and first performed on Charlotte Moorman’s festival of the avant-garde in New York in the fall of the same year, gaining considerable reputation as a threat to the listener’s health. For the occasion instigated by Feldman, Robert Ashley composed a piece of tape music, “The Wolfman Tape”, to be played along with the vocal performance of “The Wolfman”. The idea of a tape composition, which is to come out of the same loudspeakers as the voice and the feedback (the main sound source for this composition), is to fill-in the ongoing performance sound and to transform the performance into an elaborate version of the ’drone’ under the influence of electronics. The choice of what sounds should be on the tape is determined by the need to have the whole range of frequencies brought into the feedback, but to give those sounds a short duration-in other words, a blizzard of very short sounds across the whole frequency range-so that the illusion of the sounds coming from all parts of the room is preserved. For the performance of ’The Wolfman’ recorded here, produced at the University of California at Davis, Robert Ashley used an earlier (1960) tape composition entitled ’The 4th of July’. That composition changes gradually from a parabolic-microphone documentation of a backyard party into a layering of tape loops and tape-head feedback. ’The Wolfman Tape’ (1964) is, as descibed above, a tape composition made for a short performance of ’The Wolfman’. It uses tape-speed manipulation and mixes of many layers of ’found’ sounds, both from AM radio and from recordings made using different kinds of microphones. ’The Bottleman’ was composed in 1960 as music for an experimental film by George Manupelli. The 40 minutes long version preseted here involves contact microphones on a surface that holds a loudspeaker some six feet away. The loudspeaker is broadcasting open-circuit ’hum’ (at the American standard of approximately 60 hertz). That pitch is raised slightly through tape manipulation and the result is mixed with vocal sounds and other ’found’ sounds played back at various tape speeds. All compositions previously unreleased. The digipak CD comes with a 12 pages booklet including liner notes written by the composer and the complete score of ’The Wolfman’, first issued in Source magazine."
15,00€
Out of stock
CD
Philip CORNER
“More from the Judson years Vol. 2”
Yet not to forget that extraordinary place where so much of the new and exciting performances at that most interesting time in New York, took place. There was a Theater there; and a place for the first Happenings. An Art Gallery... and later the famous Judson Dance Theater.
There was Philip Corner first performance. The concert was in early 1962, January 2nd, to be exact. Handwritten change on typescrpt: Yoko Ono’s studio, changed at the last moment to Judson Church. A lot of players; and a lot of pieces. Some of my old friends, like Toshi Ichiyanagi or Richard Maxfield. And a lot of new names from California, Dick Higgins and Alison Knowles, the connection between the old New York and this new scene.
The creation of the Dance Theater: Philip Corner involvement with it from the beginning. (that participation documented on Alga Maghen cd "On tape, from the Judson Years", as most of Corner electronic music was made for dancers associated to the Judson).
Excerpts from the liner notes of Volume Two, written by Philip Corner:
"Everything Max Has" (1964), Max Neuhaus solo, recorded at the ONCE Festival, 1965. "A performance of Max’s taking down all of his stuff; tons of equipment filling entire stages".
"Big Trombone" (1963), Jim Fulkerson improvisation over tape collage. "Over an electronic reworking of the raw material presented by a rock band, absorbing its rhythmic vigour without falling into its banality, the trombone indulges in an orgy of uninhibited outbursts".
"Homage to Revere" (1962) for ensemble of copper-bottom kitchen utensils. "How not to use, for other than cooking, that great wedding gift of copper bottom pots, casseroles, skillets, and their covers... all sounding so good as if made for music".
"Punkt" (1961) for ensemble of staccato sounds. "Since the critics were calling us the plink plunk school, I contributed a composition favoring only those punkts for centuries having defined and inhibited Western music".
"Passionate Expanse of the Law" (1959) for ensemble, recorded at the Composers’ Forum, NY, 1972. Full lenght version.
"Expressions in Parallel" (1958) for ensemble. "From my earlies compositions I have been more enticed by an opening out towards greater possibilities, than in cheap and arbitrary limits of stylistic unity. Nevertheless, the mix here of expressively implicative phrases in no way destroys inner coherence".
Digipack first press of 1000 copies, including a 12 pages booklet with liner notes, scores and original documentation.
There was Philip Corner first performance. The concert was in early 1962, January 2nd, to be exact. Handwritten change on typescrpt: Yoko Ono’s studio, changed at the last moment to Judson Church. A lot of players; and a lot of pieces. Some of my old friends, like Toshi Ichiyanagi or Richard Maxfield. And a lot of new names from California, Dick Higgins and Alison Knowles, the connection between the old New York and this new scene.
The creation of the Dance Theater: Philip Corner involvement with it from the beginning. (that participation documented on Alga Maghen cd "On tape, from the Judson Years", as most of Corner electronic music was made for dancers associated to the Judson).
Excerpts from the liner notes of Volume Two, written by Philip Corner:
"Everything Max Has" (1964), Max Neuhaus solo, recorded at the ONCE Festival, 1965. "A performance of Max’s taking down all of his stuff; tons of equipment filling entire stages".
"Big Trombone" (1963), Jim Fulkerson improvisation over tape collage. "Over an electronic reworking of the raw material presented by a rock band, absorbing its rhythmic vigour without falling into its banality, the trombone indulges in an orgy of uninhibited outbursts".
"Homage to Revere" (1962) for ensemble of copper-bottom kitchen utensils. "How not to use, for other than cooking, that great wedding gift of copper bottom pots, casseroles, skillets, and their covers... all sounding so good as if made for music".
"Punkt" (1961) for ensemble of staccato sounds. "Since the critics were calling us the plink plunk school, I contributed a composition favoring only those punkts for centuries having defined and inhibited Western music".
"Passionate Expanse of the Law" (1959) for ensemble, recorded at the Composers’ Forum, NY, 1972. Full lenght version.
"Expressions in Parallel" (1958) for ensemble. "From my earlies compositions I have been more enticed by an opening out towards greater possibilities, than in cheap and arbitrary limits of stylistic unity. Nevertheless, the mix here of expressively implicative phrases in no way destroys inner coherence".
Digipack first press of 1000 copies, including a 12 pages booklet with liner notes, scores and original documentation.
15,00€