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Settembre 2007
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NOVITA’
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BROWN, EARLE
Tracer
Tracer for ensemble and 4-channel tape (1985) (13:24) for flute, clarinet, bass clarinet, violin, cello, bass
Folio (1952-54)
October (1952) (0:51) for pianos
November (1952) (2:08) for voice, 2 violins, viola, cello, saxophone, trumpet, trombone, piano
December (1952) (3:36) for voice, saxophone, trumpet
March MM = 87 (0:48) March MM = 135 (0:27) for piano, vibraphone
March (1953) (1:53) for violin, cello, piano
“Trio for Five Dancers” (June 1953) (1:02) for violin, cello, piano
Special Events (1999) (18:34) for cello, piano
Octet 1 (1953) (3:29) for 8-channel tape
Music for Violin, Cello & Piano (1952) (3:04) for 8-channel tape
Four Systems (1954) (4:00) for voice, 2 violins, viola, cello, saxophone, trumpet, trombone, piano, percussion
String Quartet (1965) (11:38)
New Piece (1971) (6:24) for voice, 2 violins, viola, cello, bass, flute, clarinet, bass clarinet, saxophone, trumpet, trombone, 2 pianos, percussion
For Neil (1975) (1:59) for violin
Earle Brown first encountered the work of Alexander Calder in 1948, whose mobile sculptures Brown saw as a visual embodiment of the variable (impermanent) aesthetic that he was striving to create. This “Calder aesthetic” stayed with Brown throughout his several stylistic shifts. Whether he was writing twelve-tone serial music (Music for Violin, Cello, and Piano), conceptual graphic scores (Folio and Four Systems), composed material/open form scores (String Quartet, New Piece and Tracer), or “spontaneously composed” music (Special Events), all of his music shares Calder’s sense of integral but “floating” variations, which Brown described as, “the construction of units and their placement in a flexible situation that subjects the original relationships to constant and virtually unpredictable, but inherent, change (the movement of the units as well as the movement of the viewer).”
Brown belonged to a group of composers that today is referred to as the “The New York School” (the group active in New York in the 1950s that included Brown, John Cage, Morton Feldman, and Christian Wolff.)
The works recorded on this disc represent several of Brown’s compositional styles. At least one piece was selected from every decade of his career, from the 1950s to the 1990s. The ensemble size varies from one player to fourteen.
Performers include Christian Wolff and vocalist Joan La Barbara, both of whom knew and worked with Brown for many years.
Several works call for spatialized ensembles spread throughout the hall, perfect for the surround-sound medium.
The classic tape piece Octet is presented in new high-resolution transfers from analogue tapes provided by The Earle Brown Foundation in its 4-channel mix by the composer.
The release of this DVD marks Ne(x)tworks’ recorded debut. Ne(x)tworks is a collaborative ensemble of musicians creating and interpreting work that features a dynamic relationship between composition and improvisation. In performance and recordings, the group locates pathways into various types of notation systems and interfaces, striving for a meaningful dialogue with the past, present, and future of creative music.
Additional features on the DVD:
This is the first DVD of Earle Brown’s music.
All performances captured with full video.
36-minute video interview with Susan Sollins (Brown’s wife and an expert on his music), Cornelius Dufallo (founder of the Ne(x)tworks ensemble and Brown’s godson), and Micah Silver (former director of The Earle Brown Foundation) on Earle Brown’s life and work. The interview, filmed in HD (high-definition) is presented in 16:9 widescreen aspect ratio.
Hi-resolution 24-bit 5.1 surround recording in DTS and Dolby Digital.
DVD; Mode; Eu 17,50
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CAGE, JOHN
The Complete John Cage Edition, Volume 36: One11 with 103
One11 (1992)
a film without subject by John Cage, produced and directed by Henning Lohner
with
103 (1991)
for large orchestra
the WDR Sinfonieorchester Köln or Spoleto Festival Orchestra
Arturo Tamayo and John Kennedy, directors
(90 minutes)
THE FIRST COMMERCIAL RELEASE OF CAGE’S ONLY MAJOR FILM.
“One11 and 103’ is very strong, very daring, and finally completely mesmerizing.”
— Louis Malle, Los Angeles, 21 October 1992
John Cage created his only feature-length film in the year he died. A sublime performance for camera person and light, One11 is a film without subject, in black and white. There is light but no persons, no things, no ideas about repetition and variation. The final impression is of another, timeless place – freely roaming the clouds or, perhaps, under the sea. Chance operations were used with respect to the lighting, camera shots and the editing of the film. The light environment was designed and programmed by John Cage and Andrew Culver. The orchestral work 103 musically accompanies One11. Like the film, 103 is 90-minutes long, divided into seventeen parts – its density varies from solos, duos, trios to full orchestral tuttis.
Cage started to address the perception of emptiness and at the same time the random quality of what happens in a prescribed space as early as 1952 in his piece 4:33, which consisted entirely of silence. Forty years later he said: “Of course the film will be about the effect of light in an empty space. But no space is actually empty and the light will show what is in it. And all this space and all this light will be controlled by random operations.”
This simple concept was implemented professionally and with a great deal of technical input in a Munich television studio under the direction of Henning Lohner.
The film One11 and the musical piece (“soundtrack”) 103 are of the same duration and run in parallel, without relating directly to each other, but each has 17 parts. Each of the parts is based on approx. 1200 random operations devised by a computer and determining how the lighting is controlled and the movements of a crane-mounted camera.
The result, aided by the distinguished cameraman Van Theodore Carlson, is a film entirely without plot or actors, which Cage hopes will enable viewers to find themselves.
Two distinct soundtracks are offered of 103 for large orchestra to accompany the film: one taken from the premiere of the piece by the prestigious WDR Symphony Orchestra of the German Radio in Cologne, the other by the Spoleto Festival Orchestra.
This release marks the first in a series of Henning Lohner’s films to be released on Mode Records, including additional films on Cage.
ADDITIONAL FEATURES:
Choice of two orchestral soundtracks performed by the WDR Sinfonieorchester Köln and The Spoleto Festival Orchestra.
The Making of One11: a 43-minute documentary on the creative process and realization of the film made for television by Henning Lohner at that time – with new narration by Joan La Barbara.
Interview with Van Carlson & Henning Lohner discussing their work with Cage and the film, the technical challenges, and more. Filmed for this DVD in 2006. (33 minutes).
DVD; Mode; Eu 17,50
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LUCIER, ALVIN
Ever Present
Piper (2000) (13:05) Matt Welch, bagpipe
Fan (2003) (12:05) Miki Maruta, Ryuko Mizutani, Kayoko Nakagawa, and Yoko Nishi, kotos
947 (2001) (7:40) Jacqueline Martelle, flute
Silver Streetcar for the Orchestra (1988) (16:36) Brian Johnson, triangle
Ever Present (2002) (15:27) Drescher-Okabe-Armbruster Trio: Erik Drescher, flute; Akiko Okabe, piano; Sascha Armbruster, alto saxophone
Alvin Lucier’s (b. 1931) works on this CD, for solos and trios, continue to explore his unique sound world, exploration of microtones, and use of unusual instrumentation.
Piper is probably one of the few avant-garde pieces composed for the bagpipe. The piper is asked to walk slowly around the performance space, sounding his instrument as he does so. From time to time he detunes the chanters, creating beating patterns of slightly varying speeds and minor spatial disturbances (imaginary dopplers).
In Fan, 4 koto players play a long series of plucked tones over a 12-minute time span, gradually stepping up to 4 semitones above the starting tone and slowing down to 1 beat every 2, 3, 4, and 5 seconds. As they do so, audible beating at various speeds occurs among the plucked sounds of the instruments.
During the course of 947, 4 pure tones are sounded in all their combinations. As they do so a flutist sustains closely tuned long tones against them, creating audible beats at speeds determined by the distances between her tones and those of the pure waves. The farther apart the faster the beating. At unison no beating occurs. Occasionally the flutist bends her pitches a few cycles per second causing the beating patterns to slow down and speed up.
In Silver Streetcar, the player dampens the triangle with the thumb and forefinger of one hand while tapping the instrument with the other. The performance consists of moving the geographical locations of these two activities and changing the pressure of the fingers on the triangles as well as the speed and loudness of the tapping. During the course of the performance, the acoustic characteristics of the folded metal bar are revealed.
Ever Present is inspired by Robert Irwin’s garden at the Getty Center in Los Angeles. Tone waves in constant motion sweep up and down as the players sustain long tones across them, creating beating patterns at speeds determined by the closeness of the tunings.
Liner notes by the composer.
Four first recordings.
CD; Mode; EU 16,00
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MONAHAN, GORDON
Theremin in the rain
‘A theremin controls a MIDI interface that manipulates several sound sculptures. The results range from abstract atmospheres to heavy low-frequencies and driving rhythm, with nary a dull moment. Long piano strings are beaten senseless by metallic strikers while water droplets fall in rhythmic patterns onto amplified percussive plates suspended above the ground, blurring the borders between the electronic and the organic. This piece, which had its premiere at the 2003 Open Ears Festival, is, in the professional opinion of the C3R staff, Gordon Monahan’s most dynamic piece to date. We defy you not to love it.’
CD; C3R Records; EU 14,00
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ORSELLI, MAURO
EX IT XX
Il percussionista romano in una delle sue migliori uscite soliste.
CD; ADA; EU 14,00
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DAOLIO, MASSIMO
Condizione epigonale
Daolio e’ polistrumentista attivo nell’ambito della composizione/improvvisazione con il gruppo DEK. Questo suo lavoro solista coinvolge ed intriga per l’uso intelligente dell’elettronica vista come contrappunto alle costruzioni fiatistiche pregevoli che caratterizzano la parte “acustica” del lavoro. Momenti atmosferici crepuscolari legano le parti dei sassofoni e delle percussioni in una lavoro di composizione, distante dalle metodologie dei DEK, ma vicino a certe istanze “relazionali” del gruppo. Un disco ben costruito e con molti momenti di assoluta eccellenza.
CDR; DEK/Silenzio Distribuzione; EU 10,00
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MUSICWORKS
98 summer 2007
FEATURE ARTICLES
Mike Kane: Chance and Dissonance
By Adam Khedheri
Article Summary: Composer Mike Kane has been exploring new music forms for over twenty years. He employs compositional processes and procedures, such as chance operations, and often creates music inspired from his study of dissonant counterpoint, which he studied in the music of Ruth Crawford Seeger, Carl Ruggles, Edgard Varèse, and Charles Ives. He is fascinated by juxtaposing disparate elements in music, whether it be writing a melody with dissonant harmonies, or using fragmentation to create an unusual, sometimes disjointed, flow between phrases. He teaches piano and also performs contemporary music with many Toronto groups including Neither/Nor, a collective of composers-performers.
John Oswald: A Time To Hear For Here
By Kelvin Browne
Article Summary: John Oswald’s circadian sound installation, a time to hear for here, is a permanent installation in the Spirit House in the new Daniel Libeskind Crystal at the Royal Ontario Museum, which opened in June, 2007. The Spirit House is criss-crossed on five levels by bridges that join the galleries on either side traversing an empty harp-shaped void. From these bridges, visitors hear the audio installation. Some sounds can be heard only in a specific location, others are audible from many places. Oswald creates a mobile sculpture of sounds—the timings of sound moments and their combinations are fluid. A sidebar by Anne Bourne discusses Oswald’s artistic process, the contributions of project co-ordinator Laurel McDonald, and the voicing of Qui, a twenty-four part canon that occurs once a day as part of the soundscape. Each of the parts is sung in a different language, representing the diversity of the world cultures existing in Canada.
Micheline Roi: Binaural Soundwalks and the Listener Experience
By Gayle Young
Article Summary: Micheline Roi composes music for ensembles performing on standard instruments, but she has also recently begun to create pre-recorded audio experiences to be heard through headphones as the listener walks in specific locations. Her Unearthed, presented during Toronto Nuit Blanche, an all-night festival of contemporary arts held in the fall of 2006, brought each listener an awareness of the underground waters that run beneath the city streets, waters which had in previous centuries flowed in open streams on the surface. Listeners lined up throughout the night for their turn to play back Roi’s recording while wandering the streets under which the water flows, both the water and the listeners in the dark. In 2005 Roi’s Wandering Sacred provided sound by headphones to accompany listeners as they walked a labyrinth at Toronto Island.
Trevor Wishart: The Voice and its Transformative Potential
By W. Mark Sutherland
Article Summary: Since the early 1970s, Trevor Wishart has been working with live voice, recorded voice, and vocal sounds treated electronically. He has created software and has written two books that encourage other composers to participate in this intriguing area of sound exploration. In this interview with visual artist and sound poet W. Mark Sutherland, Wishart describes his work with techniques of electronically treating voice and his teaching of extended vocal techniques to non-specialists. He describes two of his compositions, Red Bird, composed in the 1970s, and Angel, a new piece that will be premiered by New Adventures in Sound Art in August, 2007.
HPSCHD: John Cage and Lejaren Hiller’s Media Spectacle
By Joel Chadabe And David Eisenman
Article Summary: HPSCHD, by John Cage and Lejaren Hiller, is arguably the wildest composition of the twentieth century. Big, brash, exuberant, raucous, a performance is about four hours of ongoing high-level intensity. The sound is a mixture of seven amplified harpsichords playing computer-generated variations of Mozart and other composers along with fifty-one computer-generated tapes. The thousands of swirling images, overlayed and mixed, of abstract shapes and colours and of space imagery from slides and films borrowed from NASA, create a chaotic riot of shifting form and colour. In this article, Joel Chadabe describes the intentions and motivations behind documenting the extravaganza, and David Eisenman recounts his experiences preparing for and performing in the first event with Cage and Hiller.
COMMENTARY
Of Musical Creativity, Royalties, and the Canadian Listener
By Tim Brady
Article Summary: Shocked at the small amount—a mere $3,999.95—that earned him an award as the concert-music composer in Quebec who earned the most royalties for Canadian performances, Tim Brady began to examine the royalty system, concluding that the core problem is largely economic, not artistic. Low royalty rates make investment in the music unprofitable: “There are no publishers, no major record labels, no promotion, nothing. And why should there be? The economic structure of concert music in Canada is such that there is no room for profit. No profit means no promotional budgets. No promotional budgets means no media coverage. No media coverage means no airplay and no long-term, sustained contact with the public, our potential listeners.”
Remembering James Tenney
By John Luther Adams
Article Summary: James Tenney composed with the intellectual rigour of an experimental scientist and with an insatiable appetite for new sounds. Many of his works seem to originate with a question: What would it sound like if …? Tenney was a brilliant theoretician, but listening to his music is not contingent on understanding any theoretical secrets or complexities. It is an experience available to anyone with an open mind and open ears. Tenney had no use for musical drama or poetics. As John Luther Adams observes, “This music is not about the romantic struggle or personal feelings of the artist. It’s about something larger, something cosmic, something like what we call ‘nature’ … we find ourselves immersed at once in the physical presence of the sound and the miracle of our own perceptions.”
John Weinzweig (1913–2006): A Radical Remembered
By John Beckwith And Elisabeth Bihl
John Weinzweig, one of the first Canadian composers to adopt twelve-tone composition techniques, passed away on August 24, 2006, at the age of ninety-three. This article is based on talks given at the John Weinzweig memorial concert in Toronto, March 23, 2007. Composer John Beckwith knows Weinzweig’s music very well, and recalls that back in the 1960s at the Faculty of Music at the University of Toronto, he would sometimes eavesdrop on the piano sounds coming from Weinzweig’s studio. Beckwith describes music of simple conviction, precise, often brilliant, and exemplary as craft. Elizabeth Bihl discusses the public advocacy roles undertaken by Weinzweig in helping to found organizations to promote contemporary Canadian music in Canada.
SONIC GEOGRAPHY
Milenko Micanovic In Belgrade
CD CONTENTS
1 | HPSCHD (excerpt / extrait) (1969) 6:42 by / par John Cage and Lejaren Hiller
2 | Lis to birdsong 0:27 by / par Trevor Wishart
3 | Reasonable to water 0:08 by / par Trevor Wishart
4 | Anticredos (1980) 2:35 by / par Trevor Wishart
5 | Vox 2 2:13 by / par Trevor Wishart
6 | Vox 3 (hocket) 0:47 by / par Trevor Wishart
7 | Vox 5 0:26 by / par Trevor Wishart
8 | Voices to Water 1:56 par Trevor Wishart
9 | Fireworks 1:19 by / par Trevor Wishart
10 | Globalalia (2003–04) 4:38 by / par Trevor Wishart
11 | A Peacock Retraces Its Steps (2003) 11:18 by / par Mike Kane
12 | Courting the Will of Dread (excerpt) (2003) 2:00 by / par Micheline Roi
13 | Tengo que decir (excerpt / extrait) (2004) 2:24 by / par Micheline Roi
14 | Wandering Sacred (excerpt / extrait) (2005) 6:52 by / par Micheline Roi
15 | a time to hear for here (excerpts / extrait) (circa 1485–2007) by / par John Oswald
16 | Qui, eight altos test 2:10 by / par John Oswald
17 | Qui reverb demo 1:53 by / par John Oswald
18 | Extinction Gong 20:11 by / par John Oswald
MAG+CD; Musicworks; EU 12,00
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CD USATI – CD USATI – CD USATI
FELDMAN MORTON – STRING QUARTET (II) – HAT HUT – 4CD – 43,00
BATTIATO FRANCO – BATTIATO – ARTIS – 10,00
BATTIATO FRANCO – JUKE BOX – ARTIS – 10,00
BATTIATO FRANCO – L’EGITTO PRIMA DELLE SABBIE – ARTIS – 10,00
BATTIATO FRANCO – M.ELLE LE “GLADIATOR” – ARTIS – 10,00
ROBERT JOCELYN – LE PIANO FLOU – OHM EDITIONS – 17,00
NANCARROW CONLON/ENSEMBLE MODERN – STUDIES – RCA – 12,00
GÜNTER BERNHARD – DETAILS AGRANDIS – SELEKTION – 12,00
STONE CARL – FOUR PIECES – EAM DISC – 21,00
KOTIK PETR – S.E.M. ENSEMBLE – EAR-RATIONAL – 12,00
MOSCONI DAVIDE – MUSICA DEL PARADISO – CRAMPS – 15,00
NYMAN MICHAEL – OUT OF THE RUINS – SILVA SCREEN – 25,00
MERZBOW/WOLLSCHEID ACHIM – ELEVEN LIVE COLLABORATIONS – SELEKTION – 12,00
NONO LUIGI – COMO UNA OLA DE FUERZA Y LUZ/…..SOFFERTE ONDE SERENE…/CONTRAPPUNTO DIALETTICO ALLA MENTE – DEUTSCHE GRAMMOPHON – 10,00
CRUMB GEORGE – GNOMIC VARIATIONS/PROCESSIONAL/ANCIENT VOICES OF CHILDREN – COL LEGNO – 10,00
CAGE JOHN – ROARATORIO – WERGO – 12,00
WOLLSCHEID ACHIM – MOVES – SELEKTION – 15,00
DONATONI FRANCO – RIMA/ALA/ALAMARI/SPIRI/FLAG – RICORDI – 12,00
CAGE JOHN – MUSIC FOR MERCE CUNNINGHAM:FIVE STONE WIND/CARTRIDGE MUSIC – MODE – 12,00
NEILL BEN – MAINSPRING – EAR-RATIONAL – 16,00
LÓPEZ FRANCISCO – BELLE CONFUSION 966 – TRENTE OISEAUX – 12,00
LÓPEZ FRANCISCO – WARSZAWA RESTAURANT – TRENTE OISEAUX – 12,00
ERIK M – ZYGOSIS – SONORIS – 10,00
NYMAN MICHAEL – TIME WILL PRONOUNCE – ARGO – 7,00
FELDMAN MORTON – FOR FRANZ KLINE/THE O’HARA SONGS/DE KOONING/PIANO PIECE TO PHILIP GUSTON… – WERGO – 12,00
RIVET JEAN-MICHEL – EMBRASEMENT – SONORIS – 9,00
NYMAN MICHAEL – SONGBOOK – DECCA – 7,00
NYMAN MICHAEL – STRING QUARTETS 1-3 – ARGO – 7,00
NYMAN MICHAEL – THE KISS AND OTHER MOVEMENTS – EDITIONS EG – 7,00
SCOTT STEPHEN – VIKINGS OF THE SUNRISE – NEW ALBION – 11,00
DRESHER PAUL – DARK BLUE CIRCUMSTANCE – NEW ALBION – 11,00
BERIO LUCIANO – FORMAZIONI/FOLK SONGS/SINFONIA – DECCA – 12,00
GÜNTER BERNHARD/DUNCAN JOHN – HOME, UNSPEAKABLE – TRENTE OISEAUX – 12,00
LENTZ DANIEL – MISSA UMBRARUM – NEW ALBION – 11,00
BUDD HAROLD – THE SERPENT (IN QUICKSILVER) + ABANDONED CITIES – LAND – 11,00
JARVINEN ARTHUR – EDIBLE BLACK INK – O.O. – 9,00
CHILDREN P. – DOCUMENTATION 1987-1992 – DOCUMENT & EYEWITNESS – 9,00
SATOH SOMEI – LITANIA – NEW ALBION – 11,00
SATOH SOMEI – MANTRA/STABAT MATER – NEW ALBION – 11,00
NORMANDEAU ROBERT – LIEUX INOUÏS – EMPREINTES DIGITALES – 11,00
SCHEIDT DANIEL – ACTION/RÉACTION – EMPREINTES DIGITALES – 11,00
CALON CHRISTIAN – LIGNE DE VIE – EMPREINTES DIGITALES – 11,00
THIBAULT ALAIN – VOLT – EMPREINTES DIGITALES – 11,00
DAOUST YVES – ANECDOTES – EMPREINTES DIGITALES – 11,00
BLOCK OLIVIA – PURE GAZE – SEDIMENTAL – 10,00
TEITELBAUM RICHARD – CONCERTO GROSSO – HAU HUT – 10,00
CAGE JOHN/LA BARBARA JOAN – SINGING THROUGH – NEW ALBION – 11,00
STOCKHAUSEN KARLHEINZ – MANTRA – NEW ALBION – 11,00
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