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Eccoci di ritorno. Dopo il lungo black-out estivo ecco che vi presentiamo un bel gruzzolo di succose novità . C’è l’imbarazzo della scelta, fra titoli storici, scoperte, conferme, sorprese. Tutti i titoli ci sembrano veramente degni di nota, ma vogliamo invitarvi a cercare anche fra i nomi meno noti (Anla Courtis, Dan Joseph, Matt Rogalsky). Certo le opere dei maestri non mancano (Nuova Consonanza, Ivese, Harrison, Johnson, Eastley, Zaffiri, AMM, Tilbury, Burt), per cui…. E vi ricordiamo sempre il recente “Rational Melodies/Bedtime Stories” di Tom Johnson su ants. Beh.. a voi l’arduo compito! (e attenzione anche ai ritorni in Stock -con vari titoli che non tornavano da tempo- e Usati/Offerte…)
**********NUOVI ARRIVI**********

Ives Plays Ives – The Complete Recordings of Charles Ives at the Piano, 1933–1943
Charles Ives, piano and voice
“The invention of sound-recording devices late in the nineteenth century made possible the preservation of definitive performances played or led by some important composers of the first decades of the twentieth century. Elgar, Rachmaninoff, Richard Strauss, and Stravinsky, among others, left a significant legacy of recordings of their own works. Charles Ives, however, did not approach recording in order to leave a legacy. At least at first, he simply wanted an opportunity to listen to some of his music with advantageous detachment (and possibly to shortcut supplying to Henry Cowell and others variants of his music). With virtually no performances of his important music occurring during the first two decades of the century, Ives certainly had a backlog of curiosity about the sound of his own compositional efforts, and the need to judge them as such.
By 1933 Ives had retired from his insurance business and had largely finished writing his autobiographical Memos. He had heard some performances of his instrumental works (mostly in very disappointing efforts), but none of his piano works. While on an extended European vacation, he introduced himself to recording, at the Columbia Graphophone Company in London. Over the course of a decade that included four such sessions, Ives recorded seventeen different pieces, ranging from the early March No. 6 and rejected Largo for Symphony No. 1 to the “improvisations” that indeed may have been freshly created in front of the microphone in 1938. But most of the music recorded—the Four Transcriptions from “Emerson,” the Studies Nos. 2, 9, 11, and 23, and the “Emerson” movement of Sonata No. 2 for Piano: Concord, Mass.—is related closely to Ives’s early, unfinished Emerson Overture for Piano and Orchestra (circa 1910–11).
This meticulously re-mastered reissue restores this historic recording, originally issued by CRI, to the catalogue. The booklet includes complete tracking information and extensive historical notes and documentation.” – LABEL PRESS RELEASE
CD; New World; EU 15,00

Pioneers of Electronic Music – Works by Vladimir Ussachevsky, Otto Luening, Pril Smiley, Bülent Arel, Mario Davidovsky, Alice Shields
“In 1950, the Columbia University Music Department requisitioned a tape recorder to use in teaching and for recording concerts. In 1951, the first tape recorder arrived, an Ampex 400, and Vladimir Ussachevsky, then a junior faculty member, was assigned a job that no one else wanted: the care of the tape recorder. This job was to have important consequences for Ussachevsky and the medium he developed. Electronic music was born.
Over the next ten years, Ussachevsky and his collaborators established the Columbia-Princeton Electronic Music Center, which Ussachevsky directed for twenty years. It was the first large electronic music center in the United States, thanks to the path-breaking support of the Rockefeller Foundation and encouragement from two of the country’s leading universities. The Center became one of the best-known and most prolific sources of electronic music in the world. All of the music on this historic reissue (originally released on CRI) is the result of the pioneering work of the Center and its composers.
The guest composers and Columbia-associated composers who have produced pieces at the Center include Bülent Arel, Luciano Berio, Mario Davidovsky, Jacob Druckman, Arthur Kreiger, Daria Semegen, Pril Smiley, and Edgard Varèse. Ussachevsky’s own students at the Center included Jon Appleton, Wendy Carlos, Charles Dodge, Robert Moog, Alice Shields, Harvey Sollberger, and Charles Wuorinen. Of the seven composers most closely associated with the Center from its early years, six are present on this disc.
Vladimir Ussachevsky: Sonic Contours (1952), Piece for Tape Recorder (1956), Computer Piece No. 1 (1968), Two Sketches for a Computer Piece (1971); Otto Luening: Low Speed (1952), Invention in Twelve Notes (1952), Fantasy in Space (1952), Moonflight (1968); Otto Luening–Vladimir Ussachevsky, Incantation (1953); Pril Smiley: Kolyosa (1970); Bülent Arel: Stereo Electronic Music No. 2 (1970); Mario Davidovsky: Synchronisms No. 5 (1969); Alice Shields: The Transformation of Ani (1970) – LABEL PRESS RELEASE – ATTENZIONE: Si tratta della ristampa del vecchio CD della CRI ormai fuori catalogo.
CD; New World; EU 15,00

Tell the Birds
Lisa Bielawa, voice; MATA Ensemble; Roger Rees, voice; Jessica Gould, soprano (“Gloria”); Paul Dresher Ensemble Electro-Acoustic Band; Corey Dargel, voice; Margaret Lancaster, piccolo; Eve Beglarian, voice and electronics; Bill Ware, vibes solo; FlamingO Ensemble, Brad Lubman, conductor
“One of new music’s truly free spirits” and a “remarkable experimentalist,” Eve Beglarian (b. 1958) is a composer and performer whose music has been described as “an eclectic and wide-open series of enticements.” Tell the Birds is her latest sampler plate of ideas, a set of pieces both cohesive and pleasingly eclectic. Four of the six pieces here deal with texts, from such disparate writers as William Blake, Polish poet Czeslaw Milosz, and American poets Linda Norton and Stanley Kunitz. Musically, Beglarian charts her progress in finding ways to combine her use of samplers and electronics with breathing, real-time musicians, extant new music ensembles and an orchestral showpiece for good measure.
The compositions contained here—The Marriage of Heaven and Hell (1994), Creating the World (1996), Robin Redbreast (2003), Wonder Counselor (1996), Landscaping for Privacy (1995), FlamingO (1995, revised 2004)—represent a range of ideas and vintages in the Beglarian oeuvre, from the mid-nineties forward, with some revision of older works and a generally gleaming account of her continuing artistic saga. Beglarian continues to carve out a path in music not quite like any other in contemporary music, not so much breaking rules as ignoring the ones she has no use for, and nurturing ideas or combinations she finds useful and appealing. – LABEL PRESS RELEASE
CD; New World; EU 15,00

Chamber and Gamelan Works
Daniel Kobialka, violin; Machiko Kobialka, tack piano I; James Barbagallo, tack piano II; Patricia Jennerjohn, celesta; Don Marconi, percussion; Jerome Neff, percussion; Robert Hughes, conductor; Scott L. Hartman, French horn; Susan Bates, violin; Lou Harrison, suling player; Gamelan Sekar Kembar; Kronos Quartet; The Manhattan Percussion Ensemble; Paul Price, conductor
Lou Harrison (1917–2003) believed fervently in music’s power to create cultural bridges. To this end he applied his prodigious skills and creative energies to creating syncretic works that link diverse musical languages. Faulted at times for his eclecticism, Harrison responded with a vibrant defense of hybridity, cultivating a musical multiculturalism long before that term—or even the concept—held the currency it now enjoys.
Harrison’s major contributions to twentieth-century American music lie in three main areas: (1) the development of the percussion ensemble as a viable performance medium; (2) the linkage of Asian and Western musical styles; and (3) the exploration of just intonation tuning systems. All three are represented in the works on this disc.
The influences manifest in the works on this disc remained with Harrison for the rest of his career. He ultimately composed over three dozen gamelan pieces and the estampie became one of his favorite forms (he used it in a dozen works, ranging from solo keyboard to full orchestra). Nor did his advocacy of just intonation systems diminish: he called for pure intervals in works in all genres. But the most distinctive characteristic of Harrison’s music lies in its inherent plurality. He was drawn to community, both in performance groups such as the gamelan and the percussion ensemble, and in the compositions themselves, which unite elements from various times and places. Harrison’s originality lay in the way he creatively combined these elements to produce novel syntheses. His fervent advocacy of hybridity led to a type of transethnic music that truly foreshadowed the post-modern celebration of diversity.
The reissue of this long-unavailable release from the CRI catalog features extensive new liner notes by Harrison biographer Leta Miller.
Concerto in Slendro (1961), Main Bersama-Sama (1978), Threnody for Carlos Chavez (1979), Serenade for Betty Freeman and Franco Assetto (1978), String Quartet Set (1978–9), Suite for Percussion (1942)
LABEL PRESS RELEASE – ATTENZIONE: Si tratta della ristampa del vecchio LP/CD della CRI ormai fuori catalogo.
CD; New World; EU 15,00

“This deluxe boxed edition presents some of the most compelling improvisations of this extraordinary improv group active in the 60s and featuring such names as Ennio Morricone, Ivan Vandor, Roland Kayn, Franco Evangelisti, Walter Branchi, Mario Bertoncini and John Heineman. Spanning from free-jazz to total abstract noise and wild electronic sounds, these pieces were recorded between 1967 and 1969 are released here for the first time. The enclosed video DVD, shot in a stunning black and white, is a unique document that captures the rehearsal of the thrilling concert that the group gave in Rome in 1967. It features both english and Italian subtitles. The cloth-covered box contains three individual digipak, a 72-pages italian-english booklet and a poster.
“Il Gruppo was a brilliant and prolific composer’s collective exploring extended techniques and new sound sources through the medium of improvisation. Although very much a product of its time, their music remains timeless. They were instrumental in founding a radical tradition of western musical improvisation that owed little or nothing to anybody and created some of the strangest music ever made. They were utterly unique.” – John Zorn, NYC 2006 – LABEL PRESS RELEASE
2CD+DVD video; Die Schachtel; EU 44,00

“Ã… is a young italian trio on violin, exotic percussions, theremin, synth and piano, who created a remarkably original world of sound. Although one can hear occasional influences from kraut rock style and the early minimalism, this music is unique in its sense of sound, space and time. An imaginative, nostalgic, meditative, bizarre, and courageous music. This is the first title in a new Die Schachtel series dedicated to the most innovative and intelligent music coming out of Italy.” – LABLE PRESS RELEASE
CD; Die Schachtel; EU 15,00

Montreal Sound Matter/ Montréal matières sonore
Works by Francisco López / Louis Dufort / Steve Heimbecker / Hélène Prévost / Mathieu Lévesque / a_dontigny / Chantal Dumas / Tomas Phillips
“Montreal Sound Matter / Montréal matières sonore brings together eight Canadian and international sound artists. The project began with a workshop on environmental sound collecting by Francisco López and led to the development of a collective sound project including an album, a sound installation, and a concert. This is the recording.
“Yet it is not about the city as a conglomerate of soundmarks or stereotyped symbolic elements–it does not aim at making a sound portrait or a representational creation. My proposal to all the participating artists involved in the project was to foresee the city –both outdoors and indoors, both the public and the private spaces– as a constantly-changing generator of sound matter. The original source environmental recordings were carried out by the participating artists in Montreal during April 2006, and we all shared the common pool of sound matter thus generated to create the individual pieces. I believe this is an interesting way of setting up a challenging situation in which we are dealing with a limited and intentionally restricted universe of sonic extractions of reality, and also -and more importantly-a straightforward way of proceeding to reveal the creative individual substance of each one of us.” – Francisco López  LABEL PRESS RELEASE
CD; Pogus; EU 15,00

Tape Works
Asma de Tía de Alga (1994); Rastrillo-Termotanque (1995);  Jarabe de Llanura (1996); Respiré un Cordero (1994);  Reducido a Hemorragia de Merluzas (1995); Studio for Wire Plugs (1991); Invisible Clown Sonata (1998);  Encías de Viento (1996)
“Anla Courtis continues to produce music and was even quite prolific during his time in Reynols. It goes without saying that Courtis learned a thing or two from his experience in Reynols; and there’s a fundamental constant to all of his work: the cassette. One of Reynols’ most infamous albums Blank Tapes was pieced together from the endemic hiss from, you guessed it, blank tapes. Far from being an empty album of silences, Blank Tapes is extraordinarily dynamic, amplifying the magnetic energy of the tape hiss into undulating fluctuations that mirror the somatic patterns of the human body. Reynols’ tapes have a heart beat, blood pumping through their veins, and oxygen rushing through their lungs.
This crudely build anthropomorphism continues in Courtis’ work today, as the cassette and the tape deck remain primary tools in his compositional sensibility. Courtis himself explains: “Well to be honest for many years the cassette was the only medium I had to record music. Maybe this is because Argentina is always a bit behind in technology, or because I was never interested in having “the new thing.” It might sound ridiculous but mainly my overdubbing work until now has been basically in a Portastudio. Maybe, this is just an old friend I don’t think is necessary to leave; but on the other hand, there is a lot you can do with 4 channels… I mean there is no sense to discard old technology because you have a new one. A pen is technology; you don’t need to kill the pen because now you have a mouse! In fact there are some things you can do with my old reel-to-reel that you cannot do with a disk drive, I mean pushing the tape, changing the aleatory speed…  there are a bunch of unpredictable irregular things you can do with this old machine. In this sense, I think we should find a way to make different technologies live somehow together.”
It is in this context that Anla Courtis presents Tape Works, a collection of material that dates back to the early ’90s. Here, Courtis splatters dense slabs of petrified tones with spasmodic algorithms, dissembodied vocal samples that spiral into a electric chorale, and hot-wired musique concrete techniques, all buried under the weight of the mighty distortion pedal. Once again, all things are possible for Anla Courtis. ‹ Jim Haynes (from the liner notes) – “Talking about a tape-works record in the Å’90s might sound rather anachronistic but, be it because of Argentina¹s technology lag or for some other mysterious reason, I did not get hold of a computer to work with sound until 1999. That¹s why the sound experiments I¹ve worked on throughout the last decade are mainly tape explorations. This CD contains a selection of re-mastered tape-works dating from the period 1991-1998.” – Anla Courtis  LABEL PRESS RELEASE
CD; Pogus; EU 15,00

Quasi in contemporanea con il nostro “Rational Melodies / Bedtime Stories” esce per una piccola etichetta belga, questo Symmetries che raccoglie le 49 composizioni di Johnson basate sul principio di “simmetria” ed elaborate in forma di disegni basati sulla notazione musicale. Dal semplice disegno i brani sono stati “riconvertiti” in 49 miniature per pianoforte a quattro mani, qui nell’esecuzione del duo Dante Oei e Samuel Vierzen. Perfetto!
CD; Karnaticlabs; Eu 12,00

Hydrophony for Dagon
release notes: “when a couple of years ago michael posted a couple of cdrs to listen to couldn’t imagine that i’d ever saw myself issuing a mprime / max eastley CD… or better to return to the story… i listen to the cdrs, the negative entropy one is already history, guess now the enthusiasm (called ‘wet pants’) when michael asked whether i’d love to do the ‘hydrophony for dagon’ as a CD on absurd… how can you say ‘no’ for a release that’s a collaboration between 2 of your all time faves… on one hand max being a legend of england’s 60’s improv scene, already in absurd’s tiny universe, participating in absurd’s beloved records like ‘music for new and rediscovered musical instruments’ on obscure or the epic ‘circadian rhythm’ on incus or the stunning ‘doll creature’ cd with david toop and on the other michael not only for being a cool pal for long but also being a member of my beloved ‘morphogenesis’ combo needless to say ‘bout solo works… and for an underwater recording done in 96 in copenhagen crafted with tapes, motors, objects, hydro-arc, fans where slowly a liquid web is woven with sounds coming and going, getting a feeling as if you are not only seeing the spider creating its web but you have the chance not only to listen its creation but also listen it at its slightest detail, of such delicate & adventurous electroacoustics this cd is being made…celebrating the outbreak of absurd’s mark III…”. – LABEL PRESS RELEASE
CD; Absurd; EU 12,00

Memory Like Water
“The six (or seven) pieces on these CDs document live performance works which span 1996 to the present. Most of the solo pieces are structured improvisations, in that they have a broad form which is repeated from performance to performance while the detail is always quite different. The collaborative pieces are less formalized and depend hugely upon the input of my co-performers. I am very grateful to have worked with them.
Conceived as two halves of a single piece, “Resonate (noise)” and “Resonate(tones)” seamlessly crossfade from one to the other. Both are sustained-sound pieces, the first exploring noise textures, the second exploring dense, quasi-orchestral harmonic territory. Both pieces employ original software which generates sound using a type of granular synthesis, triggering sampled sources many hundreds of times per second.
The three works entitled “Kash” are all related in that they employ the same original software instrument (of that name) initially developed in 2001 and still in use today. This software enables me to interact with live performers (or other sound sources) in fluid and lively improvisational situations, accumulating and processing fragments of low-level sounds (the “spaces between the notes”). The three performances with my Kash instrument represented here show how very different the outcomes can be, depending on who (or what) my co-performers are. In each case, all the electronic sound is derived from their real-time input.
“Kash (vln)” is a collaborative improvisation between myself and violinist Jane Henry, recorded live. Jane is a composer-performer whose performance techniques involve, among other things, use of multiple violin bows made of different abrasive materials. Kash (gtrs) is a live studio recording featuring my brothers Benjamin and Luke Rogalsky on steel-string acoustic guitars. This performance was an improvisation based on a few suggestions as to overall structure. Kash (radios) is a live recording made before an audience at Experimental Intermedia in New York City on March 8 2001. In this case, the “performers” with whom I am interacting are two radios, tuned to talk stations. The radios are faintly heard at the beginning of the piece, but soon the direct sound disappears and only the processed sound remains.
“Sprawl (western magnetics)” is a document of a live solo performance. As with Kash, Sprawl is a software instrument still in current use, which I developed to be employed in many different improvisational situations. Input from a live performer, or any other sound source, can be sampled and explored at the micro-level using a granular synthesis technique controlled by an computer graphics tablet. Many textural layers of sound can be built up to a dense wall of sound but equally delicate melodic lines can be drawn out as well. On this occasion the input sounds were provided by my brother Luke Rogalsky.
“Transform” is a manipulation of a live radio signal, tuned to any music station; the frequency content of the source radio program is brought out by a series of tunable delays which create strong harmonic resonances. These harmonies are constantly shifting throughout the piece, which is performed in two sections, the first relatively quiet and the second fairly loud, where the processing used causes the radio to take on the character of an electric guitar constantly on the verge of feedback. Overlaid on the resonant radio in the middle and end sections are sounds of a quite different character generated with electronic feedback loops. The underlying radio signal may sometimes be heard emerging from the dense processed sound.” – Matt Rogalsky LABEL PRESS RELEASE
2CD; XI records; EU 17,00

The Animation of Lists – And the Archytan Transpositions
“There are any number of ways to hear Warren Burt¹s music for tuning forks; as many ways as there are listeners, probably. The most immediate one is simply to revel in its beauty and enjoy the music as sound. Or, to be more accurate, as clouds of sound; sonic colors that momentarily hover here and there, as they move slowly across the musical horizon.
Of course, Warren Burt¹s music may also be heard as the mature work of a major experimental composer, one secure in his craft, and still filled with a sense of sonic adventure. An explorer in sound. A composer willing to experiment with multiple versions of the same piece, not to mention one who allows chance to determine the precise placement of the composite pitches of his three individually composed lines.
For the more technically minded, these songs, for ultimately that¹s what they become on repeated hearing, can also be recognized as microtonal music.
This is music that uses pitches smaller than a half-step; music that explores the sounds between the keys of the piano‹in this case, from 19 to 53 pitches to the octave, instead of the usual twelve.  And even though most people rarely think of tuning in general, much less of microtonal tunings, it is an idea that has always been around. In the twentieth century this search for alternative tunings can be traced from Harry Partch and Lou Harrison in the first half of the century, through La Monte Young and Ben Johnston in the latter half, to Glenn Branca, Kyle Gann, and Michael Harrison today. The power of music, according to all of these composers, is, first and foremost, inherent in the tuning. So it should come as no surprise to anyone familiar with Warren Burt¹s music to learn that he, too, is a card-carrying member of this group. Warren is, after all, a composer who not only innately hears, but also cares greatly, about such minute differences in pitch.  In his music, these differences matter on a fundamental level.
But what are these sonic differences? And what is a listener supposed to hear? Ben Johnston once described the shift in experience from listening to music played in equal temperament to hearing a microtonal performance as the sudden fine-tuning of an out-of-focus TV. Ben also once said that equal temperament could sound like varying shades of grey. Others, in less subtle terms, have described hearing microtonal music as the difference between seeing a Technicolor movie, and watching one in black-and-white. For the average listener‹once they realize that the enjoyment of microtonal music is about the tinting and the shading of the sound, and doesn¹t require superhuman hearing‹what they begin to notice first are the new colors and the spaciousness of the sound.
But what do I hear in Warren¹s music that attracts me so? I listen to the combinations of tones, each aggregate of which‹because the tuning is acoustically pure and non-tempered‹sounds clearer and more colorful, with unique personalities, and, sometimes, more of an edge. In this tuning, the chance-determined pairings of the composed lines always ring true, with even the dissonances vibrating cleanly, free of acoustic distraction, and with no sonic clutter to muddy up the sound. And within this microtonal world, sounds combine without losing their individuality, as the music slowly reveals its pitch and rhythm in slow, unhurried, chance-determined clouds of sound. In Warren Burt¹s hands, these tuning forks become some strange new instrument, complete with its own exotic tuning system, singing its songs somewhere on the verge of memory” – LABEL PRESS RELEASE
2CD; XI records; EU 17,00

The Dan Joseph Ensemble: Tom Chiu (violin), Michael Lowenstern (clarinet), Danny Tunick (percussion), Marija Ilic (harpsichord), Loren Dempster (cello), Dan Joseph (hammer dulcimer)
“A major player on the New York new-music scene….” – Time Out New York
Mutable Music is pleased to announce the debut release by composer and hammer dulcimer virtuoso Dan Joseph. Entitled Archaea, the recording consists of three recent extended chamber works performed by The Dan Joseph
Ensemble: Tom Chiu (violin), Michael Lowenstern (clarinet), Danny Tunick (percussion), Marija Ilic (harpsichord), Loren Dempster (cello) and the composer on hammer dulcimer. Influenced most directly by the first generation minimalists, Joseph’s works bring a welcome new voice to the idiom with his unique sense of timbre, intricate rhythms and unexpected formal turns. Equal parts East coast and West coast, Appalachian and Balkan, Rock and Baroque, his style is characterized by its immediate beauty, positive spirit and exhilarating drive.
Dan Joseph (b. 1966) is a free-lance composer based in New York City. He began his career at 16 as a drummer in the explosive punk scene of his native Washington, DC. During the late 1980s, he was active in the experimental tape music underground producing works for independent labels in the U.S. and abroad. He moved to California in 1991 where he resided for 10 years, earning composition degrees from CalArts and Mills College. His principal teachers included Pauline Oliveros, Alvin Curran and Mel Powell. Equally influential were several workshops with Terry Riley.
As an artist who embraces the musical multiplicity of our time, Joseph works simultaneously in a variety of mediums and contexts, including traditional instrumental composition, free improvisation, sound art and popular electronica. His work has been presented in a variety of venues, including Merkin Concert Hall (NYC), Diapason Gallery for Sound (NYC), Roulette (NYC), Deep Listening Space (Kingston, NY), The Kitchen (NYC) Yerba Buena Center for the Arts (SF) and New Langton Arts (SF). Since the late 1990s, the hammer dulcimer has been the primary vehicle for Joseph’s music. As a performer he is active with his own ensemble, as well as in various improvisational collaborations and as an occasional soloist.
Recently he was Composer-in-Residence with New York’s Gamelan Son of Lion for which he composed Lion Steps for hammer dulcimer and Javanese Gamelan.” LABEL PRESS RELEASE
CD; Mutable Music; EU 15,00

At The Roundhouse
“The first release from the ICES concerts from August of 1972 in London. The International Carnival of Experimental Sound, or ICES ’72 for short, was an ambitious festival sprung from the mind of Harvey “Job” Matusow (1926-2002). Jumping off from his associations with Source magazine, Harvey brought together over 300 artists from over 21 countries to perform in London, England over the course of two weeks in August of 1972. Based on the theme of Myth, Magic Madness and Mysticism, he assembled an amazing diversity of performers working in diverse range of audio-visual arts. Encompassing happenings, films, dance, a train ride, and the phantom soft pool table, the focus was on sound – specifically that of artists who were both composers and performers. Most of the concerts were held at The Roundhouse, a cavernous structure that was formerly a railroad engine house, and recorded by John Lifton and his assistants. Now, for the first time in 30 years, these recordings can be heard.
AMM was formed in 1965 by Lou Gare, Eddie Prevost, Keith Rowe, and Lawrence Sheaff. The line-up swelled to also include Cornelius Cardew and Christopher Hobbs, and sometimes composer Christian Wolff. From
1971 up until 1976, AMM found itself stripped down to the duo of Prevost and Gare. After that time, Rowe replaced Gare, and Eddie and Keith have continued making AMMusic ever since, mostly with the help of John Tilbury, and occasionally others, and are still a powerful force.  The aesthetic of AMM is that of improvised music freed from the constraints of musical style. Their sound is ever evolving and free from the ego of individual players.
“Music from half a lifetime ago – that was a very good creative time musically and maybe a new generation will appreciate what we were doing then and still are doing now. Playing with Eddie in that format, just the two of us, was my most rewarding musical experience after the break up of the AMM quartet. When Eddie and Keith tried to get it together again with the four of us I could not go back to that after the freedom of the duo.” – Lou Gare. LABEL PRESS RELEASE
CD; Anomalous Records; EU 16,00

La voce ed il sintetizzatore
“After almost forty years of creative activity, the name Enore Zaffiri still sounds “new”, as his extraordinary artistic output has remained to a great extent unreleased. Pioneer of multimedia, electronic and ambient music (he founded the Turin Studio of Electronic Music in 1964) Zaffiri used the electronic instrument to find a new musical perspective based on a structuralist principle derived from Euclidean geometrics. In this works, dated between 1973 and 1988 he approche the combination of the electronic music with the voice… the meeting of the newest instrument, at that time the arp synth, and the oldest one, the human voice.
Enore Zaffiri was born in Turin on March 29, 1928. He studied in Turin at the “Conservatorio G. Verdi”, taking a diploma in composition, choral music and pianoforte, and subsequently in Paris at the “Conservatoire National” with Tony Aubin. From 1954 to 1982 he held the Chair of General Music Culture at the “Conservatorio G. Verdi” in Turin.
In 1964, he turned his interest to electronic music and founded SMET (Studio di Musica Elettronica di Torino) which made its headquarters in Turin at the Conservatorio.
Zaffiri’s first objective was to overcome the historical elementary principles which coordinated the relationships between the sounds of traditional musical language for acoustic instruments and then concentrate his efforts on electronic means, searching for new sound perspectives originating from a structural principle based on the Euclidian plane geometrical figure by which means the various sound parameters can be coordinated and the formal and spatial dimension extracted.
In 1965, together with other operators in the visual field, he set up the Studio di Informazione Estetica and started an interdisciplinary research into sound and visual phenomena.
The main objective of the research was to generate the elements relevant to the sound and visual fields from a single basic structure. The extreme limit of the formal rigorism was achieved in 1968 with the project Musica per un anno, the purpose of which was the sonorization of environments. From 1970, Zaffiri turned his attention towards the live performance of electronic music. He combined electronic sound with the human voice – sometimes crossing the border into total theatre (Il giuoco dell’oca from the novel by E. Sanguineti and Raptus based on a text by M. Châtel). In the period, the first scores for synthesizers appeared, permitting the live performance of pieces specifically written for this instrument. At the end of the seventies, he extended his research into visuals to the video, maintaining the interdisciplinary process using the instruments that technology offered and which represented, for the author, the means and support for what he intended to express.” – LABEL PRESS RELEASE
CD; Rossbin; EU 7,50

Barcelona piano solo
Barcelona – a piano solo piece: 36:49:00 – Recorded during Improvisa 2003 Festival in Barcelona (Spain) the 3th of December at L’ESPAI de Música i Dansa de la Generalitat de Catalunya. Recorded and mastered by Ferran Conangla.
CD; Rossbin; EU 7,50

In tension
“Since a very young age, I have always been attracted to journeys and traveling to places not known to me. Last year, I watched a film from Mongolia about a dog. Once the dog dies, its soul is free to travel and wonder through landscapes and memories as a disembodied spirit. Each part of I n : : t e n s i o n : . is part of a longer journey, where you can hear, sense and discover different memories that a wandering soul revisits. Percussive, intimate, visceral, ritualistic and electrically charged, I n : : t e n s i o n : . explores tension points and internal pulses, glimpses and gestures in a non-narrative world.
Composer Laura Andel was born in Buenos Aires, Argentina. After living and working in her native Buenos Aires and for several years in Boston, Ms. Andel moved to New York City in 2000, where she currently resides. She has conducted her music in New York, Boston, Berlin, Caracas, Buenos Aires and other cities. One of Andel’s strengths is her ability to assemble large ensembles to play her compositions. She enjoys exploring diverse combinations of instruments and formats for her orchestras, as well as working with musicians from different musical and cultural backgrounds. Currently, she leads the Laura Andel Orchestra in several formations. Among the most recent are the 14-piece SomnambulisT Orchestra and the 10-piece Electric Percussive Orchestra. SomnambulisT, her previous extended work, was released by Red Toucan Records (RT9322) in 2003.
Recorded live by Mario Diaz de León at The Roulette Concert Series at Location One in New York City on December 4, 2004.
Mixed and mastered by Elliott Sharp at studio zOaR in New York City.
Performed by the Laura Andel Electric Percussive Orchestra:Kyoko Kitamura voice & electronics – Taylor Ho Bynum cornet
Carl Maguire prepared fender rhodes & accordion – Ursel Schlicht piano & prepared piano – Kenta Nagai electric fretless guitar & electronics – Joel Harrison electric guitar & electronics – Khabu Young electric baritone guitar & electronics
David Simons theremin & percussion – Andrew Drury percussion – Harvey Wirht drums – Laura Andel composer & conductor” –
CD; Rossbin; EU 7,50

The Fell Clutch
Ned Rothenberg – bass clarinet, clarinet, alto saxophone – Tony Buck – Drums – Stomu Takeishi – Fretless Bass – Tronzo – Slide Guitar
“This is a ‘jam band’ that casts its net wide but keeps a sharp focus. Its about grooves – grooves in every sense of the word. No solos in the standard framework – this is a group going for musical strength through sonic cohesion and rhythms that are both ‘tight’ and ‘loose’. Better living through better listening.
“What King Crimson did for rock and Voivod did for heavy metal, the quartet of Ned Rothenberg, David Tronzo, Stomu Takeishi and Tony Buck might one day do for improvised music if their performance at Issue Project Room (Nov. 13th) was any indication. The granite rotunda of the Brooklyn venue was transformed into a cyclotron for two stunning sets of music, beams of sound spinning around at hyperspeed. Those that know Tronzo’s slide guitar as a warm inviting presence were chilled by its bleak, almost apocalyptic message. Buck’s drums and Takeishi’s electric fretless effected bass provided searing rhythms over which the guitar and Rothenberg’s circular breathed reeds bubbled, volcanic in purpose and execution. If Ornette Coleman innovated the “time, no changes” approach to jazz, this quartet’s advance was “intensity over time”.
Andrey Henkin, All About Jazz, NY (Selected top 10 performances of the year 2005) – LABEL PRESS RELEASE
CD; Animul; EU 15,00

# 95: summer 2006
Negativland: America’s pre-eminent radio-art and satire group’s latest production / David Mott: A heart connection / Music Is Energy: The divine sound in live music / Minegishi Issui: The Japanese ichigenkin The weight of one string / 3/4hadbeeneliminated: Italian improvisers’ mind games / Kathleen Yearwood: folk music’s dance with the duende / Piano Performers of Today: Artists or music historians? John Cage as a stepping stone to new music / Music Without an Audience, part 1: The avant-garde music business – The importance of commodification of new music recordings + sezioni e recensioni. Nel CD allegato, musiche di David Mott, Aizawa Shirotomo, 3/4HadBeenEliminated, Kathleen Yearwood, Negativeland. Segui questo link per tutti i dettagli
MAG+CD; Musicworks; EU 12,00


Paul Panhuysen and the Mexican Jumping Beans
CD; Het Apollohuis; EU 15,00

Cifre / Four Systems / Cartridge Music
Bertoncini, figura di primo piano della musica contemporanea italiana, già con Nuova Consonanza, esegue, oltre a se stesso, brani di Earle Brown e John Cage.
LP; Edition RZ; EU 13,00

Clepsydra / Astray
LP; Edition RZ; EU 13,00

Music for living process / Cho-etsu
Fra i principali esponenti della musica gestuale, Ichiyanagi, propone qui un brano di forte ispirazione cageana. Il brano di Ishii risulta, da questo punto di vista, meno radicale.
LP; Edition RZ; EU 13,00

Morendo / Von hier / Vier stucke / Entloschend /Storung / Sotto voce
Brani per vari ensemble/strumenti. Si và dai tam tam al coro, dall’orchestra al quartetto d’archi.
LP; Edition RZ; EU 13,00

Guero / Pression / Gran Torso
Brani per Pianoforte, Quartetto d’archi e Violoncello Solo (Pression, in due versioni una per Werner Taube ed una per Michael Bach).
LP; Edition RZ; EU 13,00

Emmett Williams: Poems 1950 – 2003
Vinyl Picture Disc LP, spoken by Emmett Williams
LP; Edition RZ; EU 16,00

Dreaming of a major third
Un lavoro di «sound installation». L’artista tedesca si cimenta con l’orologio della torre del Massachussets Museum of Contamporary Art. Un lavoro sulla riduzione di tono, sullo sfasamento e sul diverso attacco delle sonorita dell’orologio, senza alterazioni elettroniche di sorta. Affascinante ed insolito, come gran parte della produzione della Kubisch.
CD; Edition RZ/Mass Moca; EU 16,50

Silent Music
Minard (canadese, autore di numerose installazioni sonore, già membro del gruppo Sonde, specializzato in strumenti inusuali), arriva al primo CD. I brani presenti nel CD sono due, entrambi caratterizzati da un’atmosfera di quiete. Nel primo (per vibrafono e sistema di ritardi), la tessitura minimale del vibrafono viene replicata per brevi cellule dal sistema di ritardo, producendo un tappeto sonoro continuo e cangiante, sottile e discreto. Nel secondo, Neptun, troviamo invece documentata una installazione sonora, basata sull’interazione fra dei magneti ed un altoparlante, dall’aspetto sonoro vibratile e dalle soffuse risonanze magnetiche.
CD; Edition RZ/Stadtgalerie Saarbrucken; EU 16,00

Hörbare Ökosysteme – Live elektronic compositions 1993-2005
Performers: Ensemble Mosaik, Prometeo String Quartet, Natalia Pschenitschnikova.
Agostino Di Scipio teaches his sounds to listen to themselves. the digital sound processing algorithms associated with the pieces listen to their own results, and then modify themselves accordingly, during the course of the piece through complicated cybernetic procedures inside the black box the software adjusts to the heard in order to create the unheard.
CD; Edition RZ; EU 16,00

Inventionen 98: 50 jahre musique concrete
Raccolta doppia per celebrare i 50 anni della musica concreta. Legata al Festival Inventionen di Berlino (edizione 1998), questo doppio CD racchiude opere espressamente concepite o adattate per il festival. Gli artisti rappresentati sono: Unsuk Chin, Patrick Kosk, Werner Cee, Francois Donato, Robin Minard, Wolfgang Mitterer, Frincis Dhomont, Erik Mikael Karlsson, Trevo Wishart.
2CD; Edition RZ; EU 23,00

20 Years Inventionen II
Volume 2 of the CD documentation of the Berlin festival “”Inventionen”” (volume 1 containing Horatiu Radulescu’s string quartet no. 4). A various artists retrospective sampler including recordings of works by the following composers: Hildegard Westerkamp, Salvatore Sciarrino, John Cage, Sainkho Namtchylak, Joe Jones, Giacinto Scelsi, Masanori Fujita, John Driscoll.
CD; Edition RZ; EU 16,00

A catalogue of sounds 1995-1997
Ensemble Oriol Berlin, M.M. Kasper, S. Renshaw, F. Ritts-Kirby. Ullmann’s music realises an infinite variety of gradations in all areas of musical formation. That the music of the “catalogue” is nearly always played very softly leads to the ear noticing the smallest differentiations; the listener is put into a state of constant, acute attentiveness.
CD; Edition RZ; EU 16,00

NA-GI 1997
La documentazione di due performance di Suzuki, già noto per il suo lavoro con strumenti inventati e le sue installazioni sonore. Questa volta il suo lavoro è volto alla scoperta del suono del mare, ripreso sulle coste giapponesi di Takano, vicino Kyoto, dove Suzuki vive. I suoi strumenti si mescolano al suono dei flutti che si rifrangono contro le coste vulcaniche e defluiscono attraverso di esse.
CD; Edition RZ; EU 16,00

Streichquartett nr. 4, opus 33
Quartetto dalla costruzione particolarissima. In pratica si tratta di nove quartetti sovrapposti, otto costruiti secondo un livello spazio-temporale univoco, il nono secondo un criterio diverso ed in parte opposto. Gli otto quartetti vengono anche descritti dall’autore come una “”gigantesca viola da gamba con 128 corde””. Esecuzione tenutasi all’IRCAM di Parigi ad opera dell’Arditti String Quartet.
CD; Edition RZ; EU 16,00

The string quartet “sei-jaku” by German composer Klaus Lang, documented on this CD, was performed on 6/30/2002 in the Großer Sendesaal of the SFB Berlin by the Arditti String Quartet during the festival Inventionen 2002.
CD; Edition RZ; EU 16,00

Brani per archi. Spazi sonori particolarmente ampi e singole note estese. Un’impatto estremamente ascetico ed attento alla “qualità ” del singolo suono.
CD; Lambeart/Edition RZ; EU 15,50

Contiene: Anagamin. Celui qui choisit de revenir ou pas für 12 Streicher, 1965 (SFB 1990) Ensemble Oriol Berlin, Ltg. Sebastian Gottschick; Pranam. I En souvenir de la perte tragique de Jani et Sia Christou für Stimme, 12 Instrumentalisten und Tonband, 1972 Fondazione Isabella Scelsi, Rom 1972) Michiko Hirayama, Stimme, Ad Hoc Ensemble, Ltg. Vieri Tosatti; Streichquartett Nr. 4, 1964 (RB 1994) Pellegrini-Quartett; Quattro pezzi su una nota sola, für Kammerorchester, 1959 (Les Disques Solstice 1982) Ensemble 2e2m, Ltg. Luca Pfaff; Okanagon. doit être considéré comme un rite et, si l’on veut, comme le battement de c¦ur de la Terre für Harfe, Tam Tam und Kontrabass 1968 (Les Disques Solstice 1982) Ensemble 2e2m, Ltg. Luca Pfaff; Streichquartett Nr. 2, 1961 (WDR 1979) Berner Streichquartett.
CD; Edition RZ; EU 16,50

Nuovo capitolo della Edition RZ, della serie dedicata ai grandi compositori moderni meno conosciuti e frequentati. Discograficamente parlando si tratta di un’opera imperdibile, che documenta il lavoro di uno dei grandi misconosciuti autori europei, il greco Jani Christou, prematuramente scomparso. Certo, per che ha già il vecchio vinile RZ, si tratta di aggiungere due pezzi a quel che già era li contenuto: Anaparastasis I, per baritono e orchestra da camera, e Praxis 12, nella prima versione del 1966.
CD; Edition RZ; EU 16,50

Von Biel
1. Streichquartett Nr. 1 (1962; WDR 2003)[Pellegrini-Quartett: Antonio Pellegrini, 1. Violine; Thomas Hofer, 2. Violine; Fabio Maarano, Viola; Helmut Menzler, Violoncello] 2. Streichquartett Nr. 2 (Urfassung, 1963; WDR 2003)[Pellegrini-Quartett]  3. Quartett mit Begleitung (Quartett Nr. 3, 1965; WDR 1967) 12:05 [Egon Mayer, Violine; Dagmar Apel, Violine; Johannes Fritsch, Viola; Magdalene Bröckel, Violoncello; Michael von Biel, Violoncello] 4. Jagdstück für Bläserinstrumentalisten und Live-Elektronik (1966; WDR 1968) 28:05 [Franz-Willy Neugebauer, Trompete; Kurt Schmidt, Trompete; Gerhard Burdack, Horn und Tenortuba; Konrad Alfing, Horn und Tenortuba; Willy Walther, Posaune; Josef Feck, Posaune; Emil Morneweg, Kontrabaß; Wilhelm Bruck und Michael von Biel, Begleitung; Ltg. Bernhard Kontarsky] 5. Fassung (elektronische Tonbandmusik, 1964; WDR 1964)13:34 [Studio für elektronische Musik des WDR] CD; Edition RZ; EU 16,50

Gruppo di Improvvisazione Nuova Consonanza
Registrazioni del periodo 1967/1975 che documentano le fasi più importanti della evoluzione della pratica improvvisativa applicata fuori dai consueti schemi di derivazione jazz.
CD; Edition RZ; EU 16,50

Feldman suonato da Feldman. Storiche registrazioni che vedono l’autore al pianoforte eseguire la sue musiche, affiancato da nomi come Cornelius Cardew, John Tilbury, Janos Negyesy. Imperdibile.
CD; Edition RZ; EU 16,50

Iannis Xenakis collection of historical recordings of essential works including Syrmos, Le Polytope de Montreal, Terretektorh, Nomos Gamma, ST/48-1,240162, Achorripsis, Persepolis, Polytope de Cluny. CD 1 / 1. ST/48-1,240162 for 48 Instruments, 1959-62 (8:22, WDR Sinfonieorchester Köln; Ltg. Michel Tabachnik) 2. Le Polytope de Montreal for four Orchestras, 1967 (6:18, Ensemble Ars Nova de l’O.R.T.F., Ltg. Marius Constant) 3. Nomos Gamma for large Orchestra scattered among the audience 98 Instruments, 1967-68 (15:17, Orchestre Philharmonique de l’O.R.T.F., Ltg. Charles Bruck) 4. Terretektorh for large Orchestra scattered among the audience 88 Instruments, 1965-66 (14:48, Orchestre Philharmonique de l’O.R.T.F., Ltg. Charles Bruck)  5. Syrmos for 18 Strings, 1959 (11:38, Ensemble Ars Nova de l’O.R.T.F., Ltg. Marius Constant) 6. Achorripsis for 21 Instruments, 1956-57 (5:19, Ensemble instrumental de musique contemporaine de Paris, Ltg. Konstantin Simonovic) CD 2 / 1. Persepolis “”avec mouvement”” version, 1971 (ca. 50:49) 2. Polytope de Cluny, 1972 (ca. 24:25)
2CD; Edition RZ; EU 28,00

Finalmente! Ecco, dopo lunga attesa, il CD (addirittura doppio ! ! !) curato dalla tedesca RZ e dedicato alla figura di uno dei grandi maestri della musica moderna : Franco Evangelisti.  Un lavoro di ricerca per gli archivi privati e pubblici di Italia e Germania ha permesso infine l’uscita di questo documento che non esitiamo a definire fondamentale, vista soprattutto l’assoluta mancanza di registrazioni reperibili di Evangelisti (oltre al corpus compositivo già esiguo prodotto dall’autore italiano).
2CD; Edition RZ; EU 33,00

Volume 2 della serie “Small Music”.
CD; EU 15,50

Music for a garden
Volume 3 della serie “Small Music”.
CD; EU 16,00

Tanz fur Zwei Blaue Rechecke
Volume 4 della serie “Small Music”.
CD; Edition RZ; EU 15,50

(Halb) Schwarz
Nuova prova per Julius, autore ormai abbastanza conosciuto anche fuori dagli ambiti ristretti degli aficionados più agguerriti.  Si tratta di un’opera sui livelli dei precedenti CD, dove la tensione dell’artista è sempre rivolta verso la ricerca di una poetica legata alla “minuzia” del suono, sia per la provenienza, che per la estensione dello stesso. Si tratta di piccoli apparati elettrici, micro-risonatori, complicate miniature composte da microfonini, altoparlantini ecc. Si genera così la selva quasi organica che costituisce (soprattutto quando è svincolata dalla parte visiva) l’essenza del suono di Julius. Affascinante.
CD; X Tract; EU 16,50

Air Pressure Fluctuations
Il CD già allegato al catalogo “Light as Air” edito in versione “”autonoma”.
CD; Stadtgalerie Saarbrucken/Edition RZ; EU 15,50

CD; Plate Lunch; EU 15,50

Sonatas and Interludes for Prepared Piano
“Versione” delle famosissime Sonate ed Interludi, ad opera di un grande artista nostrano ormai trasferitosi da anni in Germania: Mario Bertoncini. Primo volume (di due) realizzato per ricordare il 35° anno del Berliner Kunstlerprogramm.
CD; DAAD/Edition RZ; EU 15,50

Per il 35° anniversario del Berliner Kunstlerprogramm il DAAD ha prodotto due CD in collaborazione con la Edition RZ. Questo è il secondo e racchiude brani registrati appunto durante il programma berlinese di artisti internazionali (tutti brani altrimenti inediti): Ellen Fullman, Olga Neuwirth, Horacio Vaggione, Fast Forward, Takehisa Kosugi, Mario Verandi.
CD; DAAD/Edition RZ; EU 15,50

Inventionen 2000
Catalogo della edizione 2000 del festival di nuova musica che annualmente si tiene a Berlino, dedicato a concerti e installazioni sonore. Il catalogo contine scritti di critici Sabine Sanio – Sound Art at the Inventionen 2000 festival; Helga de la Motte Haber-Two works by Martin Riches and Tom Johnson; Markus Steffens-Wolfang Mitterer’s sound Installations; Jonty Harrison-BEAST @ Inventionen; Hans Tutschku-On the interpretation of Multi-Channel Electroacoustic Works.., più testi di presentazione delle loro opere a cura di Jose AntonioOrts, Ed Osborn, Ron Kuivila, Christina Kubisch, Wolfgang Mitterer, Riches/Johnson, Francois Donato, David Prior, Adrian Moore, MArio Verandi, Alvin Lucier. Riccamente illustrato e dalla veste grafica accattivante, il catalogo è completato da due CD che rappresentano le due anime della edizione del festival: installazioni sonore nel primo CD con lavori inediti di Johnson/Riches, Orts, Osborn, Kuivila, Kubisch, Mitterer e i concerti “”acusmatici”” nel secondo con brani di Donato, Moore, Prior, Verandi, Lucier, Kuivila. Rilegatura a spirale, formato 18 x 26, foto a Colori e B/N, 72 pagine.
CATALOGO+2CD; Daad / PFAU verlag / Edition RZ; EU 30,00


Stainless Gamelan: Inside the Drream Sindycate vol. 3
CD; Table of the Elements; EU 9,00

Solo Voice
Antologia di brani dai suoi CD.
CDR; private; EU 7,00

CD; Mutablemusic; EU 9,00

The Art of Improvisation
Leroy Jenkins, Min Xiao Fen, Denman Maroney, Rich O’Donnell.
CD; Mutablemusic; EU 9,00

The Feeling of Jazz
CD; Ambiances Magnetiques; EU 9,00

Pee Wee at moi
CD; Ambiances Magnetiques; EU 9,00

String Quartets nos. 2, 3, 4 & 9
CD; New World; EU 7,50

May 15th
CD; Fringes; EU 7,00

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