**********NUOVI ARRIVI**********
LOCKWOOD, ANNEA
Ear-Walking Woman
“Ear-Walking Woman (1996) is for prepared piano and exploring pianist and uses the classic piano preparations: dimes (to detune strings), screws, wiring insulation sheathing (to create a wood-block like sound when inserted between strings), bubble wrap, a rubber ball and cedar wood mothballs, a ceramic pestle, two round small stones (found on a beach in Greece), a bowl gong, mallets and a glass water tumbler. The interior of the piano is a rich source of sounds, as many twentieth-century musicians have found. When I started experimenting on my own piano with these objects, I found that even slight changes in the way of producing the sound evoked striking variants in the details of that sound. For example, rocking one of the stones between two sets of strings brings out several pitches and their overtones; a gentle push evokes just a few. Getting the stone to really rock hard brings out those plus higher pitches which gradually fade away as the stone comes to rest, and at times the stone will turn over, setting off a new set of strings and new pitches. Rather than creating a finished piece for Lois to learn and perform, I have set up the work as an open-ended exploration for her. I have determined the sound sources to be used in each ‘phrase’, and in performance, she is working with the variations of hand-angle, timing, pressure, etc., and changes which these produce in the sound. I think of this experience as “ear-walking,” like a hiker exploring a new landscape and with this piece I am returning to the approach I took with glass, in the Glass Concerts (1966-72). –Annea Lockwood.
Experience prepared piano from the inside – with a close-up view during performance of the detuned strings, the superball mallets, the Buddhist prayer gong, the water glass, the cedar balls, and all of the other implements that create the “otherworldly” sounds in this 1996 work that is destined to become a classic. Drawing on the prepared piano tradition of John Cage, composer Annea Lockwood has fashioned an entirely new musical terrain in which pianist Lois Svard explores a sound landscape that is mesmerizing, eerie, and remarkably beautiful.
Including: two performances (one video, one audio) / demos of piano preparations / conversations with Svard and Lockwood / rarely seen black and white photos of Lockwood’s earlier Piano Transplants and The Glass Concerts / notes.
DVD Region: All * Run Time: 68 minutes — LABEL PRESS RELEASE
– DVD; Innovera Studios; EU 18,00
KOENIG, GOTTFRIED MICHAEL
Gottfried Michael Koenig
Performers: Jan Marc Reichow, LaSalle Quartet, Trio Recherche, Gottfried Michael Koenig
Total time: CD1 77:59 | CD2 38:45
Tracklist: CD 1 / Zwei Klavierstücke 1957 (WDR 1995) 14:13 Jan Marc Reichow, Klavier Suite »Materialien zu einem Ballett« 1961 (WDR 1961) 20:48 Elektronische Komposition, Gottfried Michael Koenig
Streichquartett 1959 (WDR 1961) 10:04 LaSalle Quartet: Walter Levin, 1. Violine; Henry Meyer, 2. Violine; Peter Kamnitzer, Viola; Jack Kirstein, Violoncello
Terminus X 1967 (Institut für Sonologie in Utrecht 1967) 11:46 Elektronische Komposition, Gottfried Michael Koenig
Funktion Grün 1967 (Institut für Sonologie in Utrecht 1967) 8:25 Elektronische Komposition, Gottfried Michael Koenig
Funktion Gelb 1968 (Institut für Sonologie in Utrecht 1968) 12:43 Elektronische Komposition, Gottfried Michael Koenig
CD 2 / 60 Blätter für Streichtrio 1992 (WDR 1996) Trio Recherche: Melise Mellinger, Violine; Barbara Maurer, Viola; Lucas Fels, Violoncello
– 2CD; Edition RZ; EU 28,00
DIDKOVSKY, NICK
Tube Mouth Bow String
Music for electric guitar, string quartet, computer, and live electronics
She Closes Her Sister With Heavy Bones, for electric guitar and string quartet; Machinecore, for solo electric guitar and computer; Tube Mouth Bow String, for string quartet, talkboxes, and harmonizer pedals; What Sheep Herd, for string quartet and computer; Just a Voice That Bothered Him, for string quartet
Nick Didkovsky electric guitar, tabletop guitar, homebrew software Sirius String Quartet: Gregor Huebner, Meg Okura, violins; Ron Lawrence, viola; Dave Eggar, cello Special guest Barbara Benary – Chung Hu on What Sheep Herd
These pieces are about the details of musical evolution that emerge from rule-based compositional systems. Using electric guitar, string quartet, electronics, and computer software, we explored territories held together by systems of agreements, forms specified in software, real-time musical choices, and notation.
Two of the compositions here, She Closes Her Sister With Heavy Bones and What Sheep Herd, are process pieces whose scores fit very economically on one page. Each score specifies melodic material and a short set of rules.
The music precipitates from the interaction between the score¹s specifications and the decisions that the musicians make during performance.
By contrast, Tube Mouth Bow String is a through-composed piece which notates foot pedal movements, vocal behavior, and bowed string performance, overflowing very uneconomically onto many pages which we pasted onto large poster boards and set before each player. Though this piece leaves no real-time performance decisions to the ensemble, Tube Mouth is a process piece in a very real sense, as the process was first specified, executed, and auditioned in software, and finally transcribed to common music notation for live performers. Improvisation (simultaneously the easiest and the most difficult of all real-time process pieces to perform) is included here as well, with a solo MachineCore performance providing a bridge between She Closes and Tube Mouth. Closing the CD, Just a Voice That Bothered Him sounds like it could have been composed systematically but evades rules instead, being composed intuitively by ear. The piece emerged in opposition to one vividly
frustrating weekend of fruitless systematic composition, and for that, gets the last word.” –LABLE PRESS RELEASE
– CD; Pogus; EU 15,00
VOUDOURIS, DIMITRI
NPFAI.1/Palmos/NPFAI.3/Praxis
South African composer Dimitri Voudouris (b.1961 Athens, Greece) began composing in the 90¹s. He composes for acoustic instruments, electronic sound sources, multimedia, including dance and theatre. He bases his technical and theoretical compositional approach in research of cognitive psycho-acoustic behavioral patterns in humans and the behavior of sound in relationship to continued environmental changes. His socio-cultural interests have led him to research the survival of music in the 21st century and the impact that media and technology have on the composer.
NPFAI. 1 (New Possibilities for African Instrument) is an electro-acoustic composition for kundi and m’bira with computer assisted processing. Kalimba or m’bira is a finger piano made of wood and metal strips used in ceremonial music. In Western Africa this instrument is known as m’bira and in Eastern Africa it is called a kalimba. The kundi a bowed harp is a ceremonial instrument originating from the Mangbetu tribe of the Congo. In NPFAI.1, working with each individual layer gave Voudouris better control in the change of sound characteristics as some sound phenomena changed, disappeared and new sound phenomena surfaced creating new possibilities.
In Palmos, Voudoris chose three Western instruments – the Hammond organ, oboe, and the bandoneon – whose overtone and harmonic capabilities allowed for interlocking moments to take place, a phenomenon that is ever present in African traditional music. Spectrographic analysis of sounds produced by each individual instrument was carefully monitored which allowed for a deeper understanding of timbre [harmonic content], attack, decay and vibrato. Subtractive synthesis further allowed for the isolation of certain inaudible frequencies to be enhanced to an audible level and the elimination of others. These compositional elements allow the listener to perceive the sound as stable individual tone and noise spectra, frequently of surprising purity.
NPFAI. 3, third in a series of electro-acoustic studies, is for African marimba and computer assisted processing. The African marimba used in this work is a tenor marimba, used traditionally as a rhythm instrument. The marimba is tuned in Xhosa tuning with just intonation in Eb (with added A’s). The instrument was played with traditional mallets; the recording was processed and constructed on computer. Granular, algorithmic and subtractive sound syntheses were used in the construction of NPFAI.3. These procedures were not to defamiliarize the sound of the instrument but rather to explore the deeper analogies of organic identity in the construction of micro sound environments, focusing on capturing the physical properties of the instrument and its organic sound textures PRAXIS is a four-channel tape piece using a recording of Christian Orthodox Greek male choir and computer assisted processing. 566 sound compartments were created that ranged from 10 to 40 seconds in time duration. Each sound compartment was constructed and manipulated individually, allowing for better control in maintaining individuality in the sound structures. The computer further allowed for the individual micro-rearrangement of pitches in each sound compartment, leading to the notion of continuous macro-timbre.
The methods used allowed for greater control in spacial differentiation of each sound. The distorted nature of the sound source was not eliminated but was build into the composition.” — LABEL PRESS RELEASE
– CD; Pogus; EU 15,00
BRAASCH, JONAS
Global Reflections
“The core of the project “Global Reflections” is a collection of Binaural Soundscapes which were recorded between the years of 1998 and 2006. They are presented on the odd tracks of this CD. What has fascinated me most about these pieces is nature’s ability to align independent events to form interesting patterns. For this, I took the standpoint of the observer; my credits are merely due to choosing the time and place of the recording. Consequently, the effect is often similar to aleatoric works of music. I hope you will share my enthusiasm about the variety of auditory icons in each Soundscape, which makes a city identifiable. All even tracks contain pieces of my own work. The solo improvisations in Tracks 2, 6, 10, and 14 can be seen as an abstract transformation of my perceived environment. Only the beginning theme in Track 2 was fixed before the recording. In Track 10, you might be able to notice my affection for repetitive and machinery like sounds.
Tracks 4, 8, and 12 consist of ensemble recordings with soprano saxophone, Moog bass, and Soundscape fragments. One goal was to preserve the original character of each instrument or environmental sound opposed to making their origin unidentifiable through extensive electronic processing. Indeed in some cases, the lengthy Soundscapes shape the character of the piece, and again I am surprised how often their aleatoric elements tend to fit perfectly into the music. “A Night in Battambang” was written in 1995 while visiting my parents in Cambodia. The piece was performed using the classic rock trio formation of lead instrument, bass and drums when I arranged the song for this CD. “Time to Move On” is based on a Turkish 9/8 rhythm, the Karsilama.
Originally, the piece had a theme but in the end, I liked the track better without it. I decided to counterpoint the long, circular-breathed saxophone phrases with abrupt changes for the remaining instruments. The ballad, “Blues Me,” started as an experiment while wondering why tenor saxophone ballads are usually slower than alto and soprano saxophone ballads. At 50 beats per minute, this ballad is at the lower end of most Tenor Ballads.Long Soundscape passages were chosen to reflect the lethargy.
Jonas Braasch is a soprano saxophonist, improviser/composer, acoustician and a dedicated collector of binaural soundscapes. He grew up in the Ruhr Area, Germany’s cultural melting pot, and Pusan, South Korea. His saxophone style expands the traditional repertoire [in both Classical Music and Jazz idioms] by incorporating various non-western elements, as well as original extended techniques.
Another aspect of his work is the integration of soundscapes and other concrete elements, a clear reflection of his personal relationship with the environment. This sensibility has inspired him to create complex synthetic sound fields which he then integrates into his compositions. To improve the control over the spatial parameters of these sound fields, he developed a virtual environment to simulate sound recording techniques based on Virtual Microphone Control (ViMiC).
This recording has been optimized for sound reproduction with headphones.” — LABLE PRESS RELEASE
– CD; Deep Listening Publications; EU 15,00
OLIVEROS, PAULINE
Lion’s Eye/Lion’s Tale
“Lion’s Eye for Gamelan was commissioned in 1985 by Barbara Benary for Gamelan Son of Lion. Lion’s Eye for Synthesizer was commissioned concurrently by Neil Rolnick for iEAR Presents at Rensselaer Polytechnic Institute. Both versions were performed in 1985. The intention to combine both pieces in order to expand the tempo range of the Gamelan was first realized in May of 1989 in performances by the Berkeley Gamelan in Oakland and San Francisco, California under the direction of Daniel Schmidt. This version of Lion’s Eye is recorded on this disc. The duration of “Lion’s Eye” is forty-five minutes. “Lion’s Tale” (1989) is composed of layered polymetrical, polyrhythmical patterns. The patterns are played at speeds ranging up to 1800 per minute. The composer designed patterns are generated by the computer program. “Lion’s Tale” may be created in a new version every time the program is run. “Lion’s Tale” also exists in a MIDI version for a keyboard performer. Both versions are available from Deep Listening Publications. Known internationally as a composer, accordionist and teacher, Pauline Oliveros’s work in improvisation, electronic techniques, teaching methods, myth and ritual, and meditative and physical consciousness raising has changed the course of American music. She left the University of California at San Diego in 1981, at the rank of full professor, in order to support her ideas, creative projects and collaborations. All of her work emphasizes attentional strategies, musicianship and improvisational skills. Oliveros’ compositions have been performed worldwide. ” — LABEL PRESS RELEASE
– CD; Deep Listening Publications; EU 15,00
FULLMAN, ELLEN
Staggered Stasis
“Over the last two decades, Ellen Fullman has been perfecting her Long String Instrument. This unique instrument of her own design is some 80 feet in length and played by literally walking through it. The resulting sounds are beautiful gliding tones with a rich harmonic content. The CD presents two works from her time in Austin, Texas in the late 1980’s which beautifully display a sound you can get inside of. These long tracks envelope you in their cascading overtones. Even though she has performed widely in the United States and Europe, this is only Ellen’s third solo CD, following previous releases on XI Records and New Albion. So hearing these gorgeous and important pieces from her archive is cause for celebration.
“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.” –LABEL PRESS RELEASE
– CD; Anomalous Records; EU 15,50
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BACK IN STOCK
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Attenzione: tornano in stock (per adesso una/due copie a tiotolo, poi vedremo) alcuni numeri della gloriosa etichetta What Next? che abbiamo avuto in catalogo… a suo tempo… consigliati per i ritardatari (o per i troppo giovani??).
AA.VV.
The Aerial: a journal in sound #3
Ellen Fullman Staggered Stasis, Marc Barreca Messier Crosses the Blue Line, Nicolas Collins Tobabo Fonio, Peter Cusack Dandelion Clock, Tom Guralnick Over Time, Johanna Beyer/Essential Music IV for Percussion, Zae Munn Interface, Myra Melford & Marion Brandis Three Interludes, William Hooker The Dream: Red, Lesli Dalaba Core Sample (Sylvan)
– CD; Nonsequitur/What Next?; EU 15,00
AA.VV.
The Aerial: a journal in sound #4
Brenda Hutchinson EEEYAH!, Peter Van Riper Heart, Erik Belgum Dick Tracy All Over His Body, Elodie Lauten Music for Trine, Part IV, Elise Kermani Spiral, Anna Homler & Steve Moshier Sirens, Joseph Weber Transformation of the Brothers Into the Sun & Moon, Patsy Rahn Trojan Horse, N. Sean William Come Window Golds Coming
– CD; Nonsequitur/What Next?; EU 15,00
AA.VV.
The Aerial: a journal in sound #5
Willem DeRidder & Hafler Trio Report, Helen Thorington In the Dark, Gustavo Matamoros Portrait: Bob Gregory, Sarah Peebles excerpts from Kai: Revolving Life, Sydney Davis Star Axis, Philip Corner Gong/Ear, Richard Klein & Mark Hosler Wildman, The Machine for Making Sense Changing the Subject, Derek Bailey In My Studio
– CD; Nonsequitur/What Next?; EU 15,00
AA.VV.
The Aerial: a journal in sound #6
Carter Scholz Talus, Hal Rammel Afterthought (sonance in limbo), Ricardo Dal Farra Xastock, Larry Polansky Study: Anna, the Long & Short of It, John Duesenberry Wave Break, Robert Carl Levitation, Mary Jane Leach Xantippe’s Rebuke, Steven Dressler Woonsocket, Yat-Kha Tundra’s Ghosts/Wanderer’s Charm, Frances White Walk Through Resonant Landscape #2, Ellen Band Railroad Gamelan
– CD; Nonsequitur/What Next?; EU 15,00
AA.VV.
Cassette Mythos: Audio Alchemy
A dip into the international cassette network ca. 1990, curated by Ean White and based on the book by Robin James. Bat Lenny, Ric Braden, Collapse/Relapse, Costes, Qubais Ghazala, Hope Organ, Daniel Johnston, Kitchen Table Ensemble, Fred Lonberg-Holm, Minóy, John Oswald (Mystery Laboratory), Heather Perkins, Philip Perkins, Solomonoff & von Hoffmanstahl, Jim Steele, tENTATIVELY a cONVENIENCE, Triptic of a Pastel Fern, Vosch, Gregory Whitehead, John Wiggins, YXIMALLOO
– CD; Nonsequitur/What Next?; EU 15,00
AA.VV.
Radius: transmissions from broadcast artists #1
Radio art from the New American Radio series, curated by Helen Thorington. Works by Terry Allen, Sheila Davies, and Helen Thorington.
– CD; Nonsequitur/What Next?; EU 15,00
AA.VV.
Radius: transmissions from broadcast artists #2
Radio art from the New American Radio series, curated by Helen Thorington. Works by Jacki Apple, Donald Swearingen, and Gregory Whitehead.
– CD; Nonsequitur/What Next?; EU 15,00
AA.VV.
Radius: transmissions from broadcast artists #3
Radio art from Canada, curated by Dan Lander. Works by Chantal Dumas, Kathy Kennedy, Dan Lander, Christof Migone.
– CD; Nonsequitur/What Next?; EU 15,00
AA.VV.
Radius: transmissions from broadcast artists #4
Radio art from Canada, curated by Dan Lander. Works by Algojo)(Algojo, Darren Copeland, Robert Normandeau, Hildegard Westerkamp.
– CD; Nonsequitur/What Next?; EU 15,00
GURALNICK, TOM
Broken Dances for Muted Pieces
Solo improvisations for saxophones and homemade reeds with live electronic processing.
– CD; Nonsequitur/What Next?; EU 15,00
HUNT, JERRY
Haramand Plane
Three “translation links” by the late eccentric electronic music genius from Texas.
– CD; Nonsequitur/What Next?; EU 15,00
ITO, TEJI
Meshes: Music for Films and Theater
First CD release by this under-recorded composer, featuring his soundtracks for films by Maya Deren (Meshes of the Afternoon, Ritual in Transfigured Time) and a large scale theater work by Christopher Hampton (Axis Mundi).
– CD; Nonsequitur/What Next?; EU 15,00
KRIEGER, JEFFREY
AC/DC/VC
Works for solo electronic cello by Ronald Halier, Sarah Hopkins, Alvin Lucier, Kaija Saariaho, and N. Sean William.
– CD; Nonsequitur/What Next?; EU 15,00
PETERS, STEVE
Emanations
– CD; O.O. Discs; EU 15,00
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USATI-OFFERTE
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CURRAN, ALVIN
TOTO ANGELICA
CD; I DISCHI DI ANGELICA; EU 10,00
MASADA
MASADA RECITAL – VOL. 4
MARK FELDMAN VIOLIN & SILVYE COURVOISIER, PIANO
(NUOVO CELLOPHANATO)
CD; TZADIK; EU 13,50
LACY, STEVE & LEANDRE, JOELLE
ONE MORE TIME
(NUOVO CELLOPHANATO)
CD; LEO; EU 11,00
XU FENG XIA
DIFFERENCE AND SIMILARITY
CD; FMP; EU 10,00
GORDON, PETER
STILL LIFE ABD THE DEADMAN
(NUOVO CELLOPHANATO)
CD; NEW TONE; EU 7,50
BIANCHI, MAURIZIO
MEN’S TRUE HATED
COPY 153/300
CD; MENSTRUALRECORDINGS; EU 8,00
SHARP, ELLIOTT/SOLDIER STRING QUARTET
TESSALATION ROW
come nuovo
LP; SST; EU 15,00
SEMANTICS
BONE OF CONTENTION
ottimo stato
LP; SST; EU 15,00
THE LOST JOCKEY
THE LOST JOCKEY
VG++
LP; LES DISQUES DU CREPUSCULE; EU 20,00
KUBISCH, CHRISTINA
NIGHT FLIGHTS
ottimo stato
LP; ADN; EU 15,00
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Via Filippo De Grenet, 26
00128 Roma Italy
tel & fax +39 06 508 2556
http://www.silenzio-distribuzione.it
