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Foreign Experiences
“The original seven-voice version of the opera was recorded in my studio. It was edited by Sam Ashley to match the performance orchestra that had been used in seven-voice performances to that date. Because of the way they are treated, the seven, recorded voices are referred to in this version as the “background voices.” Later, Sam and Jacqueline Humbert suggested a “two-voice” version as a performance piece for themselves using the original MIDI generated performance orchestra. Jacqueline and Sam divided the seven-voice original score between them based on decisions about a new way to tell the story. They were recorded live in performance at the Subtropics Festival, Miami, 2002. Then this “two-voice version” CD was produced, to reflect that way of telling the story, using the Subtropics Festival recording along with newly created material and elements from the original performance orchestra and processed versions of the existing, edited “background voices.”
Many of the background voices were processed in an extreme fashion to create extra parts in the orchestra. Sometimes they can be heard as ghostly premonitions similar to “EVP” recordings (“Electronic Voice Phenomena”). “EVP” recordings, important in the 1970’s (the time situation of Foreign Experiences), frequently feature subtle “voices” that are either buried in or constructed from noise.— RA” Slipcase contains 1-CD in jewel box with 96-page libretto booklet. – LABEL PRESS RELEASE
CD; Lovely Music; EU 30,00

Zummo with an X
Arthur Russell, amplified cello and voice; Bill Ruyle, tabla, marimba; Peter Zummo, trombone; Rik Albani, trumpet; Guy Klucevsek, accordion; Mustafa Ahmed, percussion
“With accuracy and humor, Peter Zummo (born 1948) often describes his unique music as “minimalism plus a whole lot more.” He is an important exponent of the American contemporary classical tradition whose compositions explore the methodologies of not just minimalism, but also jazz, world music, and rock, while seeking to create freedom in ensemble situations. Zummo’s realization of the contemporary urge to make music that behaves like “Nature in its manner of operation” (John Cage) is to encourage spontaneous, individual decisions within a self-structuring, self-negotiating group of performers. His scores provide unique strategies (such as a “matrix of overlapping systems,” freely modulating repetition rates, etc.) and materials for achieving that aim.
Song IV (1985), a trio version of the final song from the four-song suite composed for the Trisha Brown Dance Company’s Lateral Pass, is a continuous tabla-and-amplified-cello groove with trombone (with voice multiphonics) and vocal (Russell) melodies and harmonies.
Instruments (1980) is a composition in seven movements for duet, trio and quartet. Short phrases based on intervallic jumps are repeated at individual repetition rates; the ensemble listens for a unison playing of the phrase, and reverses the phrase at that moment. Different notes sound together in unplanned ways, resulting in combination (bass) tones.
The complete version of Lateral Pass (1985) makes its first appearance on disc and features a previously unissued performance of Song IV for quintet.
Zummo with an X is an essential document for anyone interested in the multifaceted evolution of American experimental music, especially in the vibrant downtown New York scene of the 1970s and ’80s.” – LABEL PRESS RELEASE
CD; New World; EU 15,00

AA.VV. (Johanna Beyer, Annea Lockwood, Pauline Oliveros, Laurie Spiegel, Megan Roberts, Ruth Anderson, Laurie Anderson)
New Music For Electronic And Recorded Media: Women In Electronic Music—1977
“The music on this album exhibits an exciting, wide-open, freewheeling approach to the medium of electronic music which has come to be typical of this genre in the late 1970s. No longer are composers obsessively concerned with the agonizing, expressionistic, and purely “electronic” (synthesized) sound formulas which marked much of this music composed between the mid Fifties and the late Sixties. Instead, today we have composers willing to mix media and sonic materials in thoroughly inventive ways to achieve ends which are new-sounding, and often more engaging, than that of the “academic” avant-garde.
This is the outgrowth of a fundamental change in concerns which has been evolving not only among the composers on this album but also in a growing segment of the musical avant-garde, of which these members are some of the most fecund and inspired. These new sources of inspiration certainly were not as widely shared fifteen years ago. Several composers represented here are deeply concerned with Eastern influences: meditation, healing, trance, states of serenity. Others are inspired by traditional (or “ethnic”) musics and their subsequent metamorphoses into such popular forms as rock and roll. Still others bring to bear a sense of wit and satire, rarely a prominent feature of avant-garde music in the early 1960s.
This first anthology of women’s electronic music demonstrates great refinement and skill at work in a variety of different styles, several of which are unfamiliar or new even to those who follow contemporary music. The fact that these pieces are more listenable than that of the Sixties avant-garde does not point to a musical regression as some critics have overeagerly assumed when discussing modern works using, say, consonant harmonic structures. Rather, and I think this is common denominator for these pieces and something which women composers and artists have been instrumental in legitimizing again for this period in time, these works signify a new consciousness of the relationship of art to human life and the important and positive interaction which can be the role of a more personalized art in our day-to-day experience.”
—Charles Amirkhanian, August 1977
Music of the Spheres (1938) (Johanna M. Beyer), World Rhythms (1975) (Annea Lockwood), Bye Bye Butterfly (1965) (Pauline Oliveros), Appalachian Grove I (1974) (Laurie Spiegel), I Could Sit Here All Day (1976) (Megan Roberts), Points (1973–74) (Ruth Anderson), New York Social Life (1977), Time to Go (1977) (Laurie Anderson) – LABEL PRESS RELEASE
CD; New World; EU 15,00

The Viola in My Life
“The music on this recording (reissued from CRI CD 620) illustrates the essential integrity of the work of Morton Feldman (1926–1987) and one of its fundamental strengths—its continuously unfolding unanimity of purpose. There are few composers of his generation whose first and last published work (in Feldman’s case Journey to the End of Night of 1949 and Piano and String Quartet of 1986) span youth and final years with such a concentrated viewpoint.
There are, however, landmarks in the music of Feldman that are largely technical and notational. There are the graphic pieces, the first from 1950 and the last from 1964, in which some parameter of composition is not specified (often pitch). There are the “free duration pieces,” both solo and ensemble, in which there is instruction either for sections of the piece or for its entirety. False Relationships and the Extended Ending (1968) is a late example of this kind, although Why Patterns? (1978) is a variant of the principle. There are also the conventionally notated works in his oeuvre, one of which is The Viola in My Life (1970).
It may be that Feldman’s music will always strike a certain kind of listener as idiosyncratic—a denial of the time-honored ways in which music articulates itself. I think that Feldman was deeply offended by this response, by this notion that his music was singular because it was, as some might say, “missing something.” Though it is true that his values of graduation can be exceedingly fine, when one enters this scale and comprehends it, something truly new and wonderful opens up in the art of music—a world in which the relative and the absolute become engaged with themselves.
Karen Phillips, viola; Anahid Ajemian, Matthew Raimondi, violin; Seymour Barab; cello; David Tudor, Paul Jacobs, Yuji Takahashi, pianos; Eberhard Blum, Paula Robison, flute; Arthur Bloom, clarinet; Arnold Fromme, trombone; Jan Williams, Richard Fitz, Raymond DesRoches, percussion; Morton Feldman, piano, conductor” – LABEL PRESS RELEASE
CD; New World; EU 15,00

Sun on Snow
“Among the many composers who have drawn inspiration from the music of Indonesia, the one whose outlook became most pervaded by the structure of gamelan music may be Barbara Benary (b 1946), co-founder and guiding spirit of New York’s Gamelan Son of Lion. A quiet, self-effacing presence on the New York music scene for almost four decades now, Benary has maintained a low profile, but behind the scenes she is well connected. A child of Manhattan’s conceptualist movement, she was the designated violinist of early minimalism, a pioneer in American gamelan, and an early example of an increasingly frequent type, the ethnomusicologist-turned-composer. Chances are you’ve never heard her music on compact disc before this, but New York’s Downtown scene has regarded her highly for a long time. Hers is a spiritual music, and the spirituality resides in the universality of her lines, universal because they are simple, particular to no one culture. Like Harrison and Virgil Thomson, Benary has a faith in the power of music’s most basic elements, which she knits into intricate patterns before letting them unravel again.
The title Aural Shoehorning (1997) refers to the listener’s tendency to confront unusual tuning systems, such as those of Javanese gamelan, by trying to “shoehorn” them into the framework of our familiar diatonic scales. Heterophony is the overall theme of the piece, and the various ways in which a gamelan and a diatonic ensemble of clarinet/bass clarinet and keyboard percussion can interact as a mixed marriage in which neither partner attempts to convert the other. Barang 1 & 2 (1975) are solo and duo explorations of a Javanese pentatonic mode called Barang. Sun on Snow (1985) is based on a poem of five lines, five one-syllable words per line, which can be read or sung both horizontally and vertically. The basic melody’s pitches are derived by assigning notes on the basis of number of letters in each word. The melody is then developed and elaborated in five variations. Downtown Steel (1993) is an adaptation for the instruments of the Downtown Ensemble of an earlier piece, Hot-Rolled Steel, written for Gamelan Son of Lion, whose keyboards are made of that material. The structure of the piece is based on an English bell-ringing permutation known as Grandsire Doubles.
Members of DownTown Ensemble & Gamelan Son of Lion:Joseph Kubera, piano; Steven Silverstein, clarinet, bass clarinet; Phyllis Clark, soprano, percussion; Barbara Benary, violin, gamelan; Daniel Goode, clarinet, gamelan; Jody Kruskal, concertina, gamelan; Chris Nappi, marimba; Nick Didkovsky, electric guitar, percussion; Jon Gibson, soprano sax; Peter Zummo, trombone; Chris Nappi, vibraphone, marimba, drum set; Bill Ruyle, marimba; Peter Thompson, clarinet; Marcus Rojas, tuba; David Demnitz, Patrick Grant, Lisa Karrer, Laura Liben, David Simons, gamelan” – LABEL PRESS RELEASE
CD; New World; EU 15,00

Piano Concerto No. 2 / Serenade n. 2 / Dreams
Philadelphia Virtuosi Chamber Orchestra / Daniel Spalding, conductor / Guy Livingston, piano
“A concert pianist and vanguard composer, George Antheil (1900–1959) became known as the “Bad Boy of Music.” The ultimate American in Paris, Antheil was an avant-garde provocateur of the first order who made his name composing iconoclastic compositions: the loudest and brashest classical music of his time. But this album gives us three new performances—two of them world-premiere recordings—which reveal another, forgotten side of Antheil, the incurable romantic.
Written in 1926, after the height of Antheil’s radical period, the Piano Concerto No. 2 (1926) is an experiment in classical form. The work contains the same sudden juxtapositions and abrupt contrasts of mood as his futurist music. But the excesses of his recent Ballet mécanique (written for 16 player pianos!) are compensated for by an almost spare, baroque orchestration and motifs that draw on Bach as much as on Stravinsky. In three movements, Antheil employs a more restrained but still exuberant style. The beautifully meditative slow movement is followed by a virtuosic and compelling toccata. Each movement ends on an overtly Bachian cadence, most obvious in the sweetly naive coda of the final movement.
The ballet Dreams (1935) had a prior existence in Paris. It was called Les Songes, and Darius Milhaud wrote the original music in 1933, later discarded in favor of Antheil’s score. The plot was based on a surrealist poem by the painter André Derain. And Balanchine choreographed the production for his company Les Ballets. Antheil plays sarcastically with contradictions: waltz vs. march; folk song vs. orchestral romanticism. This is marvelous ballet music, and the unexpected structural and melodic changes keep us on the edge of our seat: amused and entertained. The lack of a formal structure does not hamper Antheil; he seemed to thrive on it, both in this piece, and in many others he wrote. Despite the cut-and-paste exoticism and the predictable thematic material, this music sounds appealingly American—folksy, populist, and engaging. Antheil’s brilliant orchestration makes these works shine.
Not much is known about the genesis of the Serenade No. 2 (1948). As the work neared completion, Antheil wrote, the Serenade “. . . is as important, for me, as a new symphony; indeed, it can be played by a major symphony orchestra.” It’s a beautifully orchestrated, lush work. Both serenades are in three movements—the first is for strings alone while the second adds a wind section and a percussionist. Some of the themes from the first serenade re-occur in the second serenade.” – LABEL PRESS RELEASE
CD; New World; EU 15,00

Rainforest / 4 Mographs, 2 sections from Gestures II, and Song Without Words
David Tudor and Gordon Mumma, keyboards and electronics
“This historic recording features the first-ever release of the two earliest surviving recordings of David Tudor’s seminal work, Rainforest. Sandwiched in between are six keyboard works by Gordon Mumma in recordings featuring the composer and his close collaborator, Tudor. Together, these works constitute a fascinating and historically important document of the 1960s avant-garde in America.
In early 1968, Merce Cunningham created a new dance whose apparent impetus was Colin Turnbull’s The Forest People, with its account of life among the Mbuti Pygmies of the Ituri Forest in Zaire. For the music, Cunningham turned to Tudor and for the first time asked him for an original work. When he learned that the dance was to be called Rainforest, Tudor said, “Oh, then I’ll put a lot of raindrops in it.” Raindrops were just the beginning: using audio transducers originally designed by the navy for hearing under and above water simultaneously—eight small objects programmed with signals from sound generators, phonograph cartridges, and two sets of speakers—Tudor created a world of sound in perpetual but unpredictable motion, a steady state at once abstract and evocative. The first recording, made from the Teatro Novo orchestra pit on July 30, is an excellent document of the sound character of Tudor’s Rainforest work when it was performed with the Cunningham Dance Company in those early years.
The second recording documents the first concert performance of Rainforest, in March 1969, several months after the Rio de Janeiro dance performance. The venue was a large conference space at Cornell University, Ithaca, New York. The equipment was set on tables in the center of the space, with the audience seated around the performers. Four separate channels of sound were used and widely spaced, with two in the foreground and two in the background. The sound sources had also expanded from the earlier Cunningham performances, with Tudor now adding recordings of small sounds from insects and birds, in conjunction with the previous electronic sounds, all modified by his acoustical resonant devices. The interactive circuitry was fundamentally the same as previously, but expanded with new devices and interactive connections.
Gordon Mumma’s Gestures II and the Mographs are two sets of pieces for two pianists, composed between 1958 and 1964. During the 1960s Robert Ashley and Gordon Mumma toured with their concerts of New Music for Two Pianos, including parts of Gestures II and some of the Mographs. Later, some of these two works were performed in recording experiments by Mumma and David Tudor. Two sections from the Mumma and Tudor recordings, X and 7, are presented on this CD. Each of the eleven completed Mographs includes the year of composition in its title. The first two words of each title indicate the general length of that particular composition, ranging from Very Small Size Mograph 1962 to the only solo piece, Large Size Mograph 1962. The structure and activities of each Mograph were derived from seismographic recorded P-waves and S-waves of earthquakes and underground nuclear explosions. These seismograph patterns were part of 1960s cold-war research that attempted to verify the differences between their seismic disturbance sources.” – LABEL PRESS RELEASE
CD; New World; EU 15,00

Ten Exercises: Exercises 18 (two versions), 7, 16, 8, 14b, 3, 1, 15, 10 (two versions), 11
Natacha Diels, Garrett List, Larry Polansky, Michael Riessler, Frederic Rzewski, Robyn Schulkowsky, Chiyoko Szlavnics, Christian Wolff.
“This marvelous recording of these elusive works features composer-supervised performances by a hand-picked group of renowned new-music exponents.
“Your first encounter with the music of Christian Wolff leaves you with the impression you’ve just heard (or played, or read) something totally strange, unlike anything else you know. And yet, upon reflection, you realize it is at the same time something completely ordinary and normal, as familiar in its way as any number of repetitive actions characteristic of everyday life, getting up in the morning, going to school, work, church, washing the dishes, performing the daily tasks of home and family.
Weird little tunes, sounding as if they had been beamed at some remote point in the universe and then bounced back again as a kind of intergalactic mutant music; recognizable melodic and rhythmic patterns, somehow sewn together in monstrous pairings, sometimes reminiscent of the demons of Hieronymus Bosch, composites of animals, fish, flowers, and common household objects: there is order, but also constant interruption, intrusions of disorderly reality upon regularity and lawfulness, combining to create an effect of both familiarity and strangeness: Shklovsky’s ostranenie.
You could say this music is surrealist—not reproducing familiar forms, but revealing, behind these, life’s unpredictability. You could say it is political; improvisatory; concerned with collaborative, non-hierarchical forms of social organization; but you can’t really say what it is like (although John Cage came close when he said, after a performance of the Exercises in New York, that it was like the classical music of an unknown civilization).” —Frederic Rzewski – LABEL PRESS RELEASE
CD; New World; EU 15,00

Eight etudes for duo sampler
Sono 8 studi (come recita il titolo) per 2 campionatori, ognuno dei quali è incentrato su un particolare “sound” tipico nella storia della musica “elettronica”, si va dalla musica concreta, al piano preparato, alle sonorità orchestrali, alla sintesi granulare, passando per i drones e la dance. David Shea / Classe 1965, cresce a New York frequentando sia la scena hip hop che quella d’avanguardia, interessandosi all’impiego di materiale sonoro preesistente. La sua musica usa giradischi e campionatori e musicisti in carne e ossa, improvvisazioni e partiture scritte.Lavori come Shock Corridor, The Tower of Mirrors, e I mostrano non solo una grande padronanza delle più svariate tecniche di collage e di giustapposizione di frammenti sonori già esistenti, ma anche il gusto per inediti equilibri formali e un ritmo del montaggio straordinariamente vicino al linguaggio del cinema.Infatti con il termine “musica cinematica “che contraddistingue parte della produzione di Shea si vuole indicare una sonorità filmica indipendente dall’immagine ma che comunque evoca una una classe di immagini o un genere di film come la Spy Story, l’Horror o il Noir o i cartoni animati.Il campionamento e il riciclaggio creativo rappresentano la creazione di una musica che usa come materiale la storia del suono registrato, combinando campionamenti specifici sulla tastiera con gruppi di strumenti acustici ed elettronici o con frammenti catturati dal vinile e dai più recenti supporti digitali. In genere il materiale viene assemblato senza manipolazioni, allo scopo di creare un contesto in cui possano essere percepite le connessioni tra i diversi frammenti. Ogni cellula di suono così realizzata diventa una rete con una propria storia, energia e referenza. Attivo a New York dal 1985 al 1999, ora vive tra Melbourne e Brussels. Tra le sue attività ci sono installazioni sonore, musica per film, opere video e brani per la danza.
Daniele Ledda  / Nato nel 1970, si occupa di composizione, sound design, improvvisazione e produzione discografica. Ha all’attivo numerose collaborazioni con David Shea, Otomo Yoshihide, David Moss, Fernando Grillo, Marco Cappelli.  Vive e lavora a Cagliari.
CD; Digitalis Purpurea; EU 14,00

La fossetta occipitale mediana
Daniele Ledda: Elettronica; Roberto Pellegrini: Percussioni
Il disco è un omaggio sonoro alla vita erratica e tormentata del padre dell’antropologia criminale Cesare Lombroso, ricordandolo non tanto come scienziato ma piuttosto come geniale maestro del racconto gotico italiano. Contraddittoria e paradossale, commovente e ridicola, la vita del famigerato alienista Cesare Lombroso è una delle meno conosciute, ma certo delle più sorprendenti, tra quelle degli italiani pervenuti alla celebrità a cavallo dei due secoli. Imprevedibile e visionario, munito di un’indubbia genialità che si sposa a un’altrettanto indiscutibile bizzarria, Lombroso è attore di un’avventura mentale estrema, coraggiosa quanto dissennata. Ogni brano ha il titolo di un’opera pubblicata da Lombroso ed il nome del progetto stesso si riferisce alla sua ricorrente ossessione, quando alle prese con la misurazione del cranio umano, ricercava una fantomatica fossetta occipitale mediana nel cervello! Il lavoro è stato ispirato dalla lettura de “L’Atlante Criminale” di Luigi Guarnirei, edito da Mondatori. La grafica del disco è di Attilio Baghino. – LABEL PRESS RELEASE
CD; Digitalis Purpurea; EU 14,00

Silvia Corda, piano; Adele Madau, violino; Adriano Orru’, contrabasso; Roberto Pellegrini, batteria; Giancarlo Schiaffini, trombone.
Jazz, contemporanea, classica. Le esperienze si intrecciano in un ensemble di improvvisazione e composizione musicale apparentemente antitetica, partendo dall’assunto che improvvisazione e scrittura possono convivere senza preclusioni. È la proposta originale del LABORATORIO IMPROMPTU che vede protagonisti GIANCARLO SCHIAFFINI al trombone, ADELE MADAU al violino, SILVIA CORDA al piano, ADRIANO ORRÙ al contrabasso e ROBERTO PELLEGRINI alla batteria. IMPROMPTU è improvvisazione come forma di composizione. “L’improvvisatore” a disposizione della pagina scritta e la scrittura al servizio dell’improvvisazione, sia essa strutturata o meno. In questo senso l’ensemble è un modulo sempre mutante e in continua ebollizione, senza soluzioni univoche, aperto alle “collaborazioni esterne”, come spesso capita nella musica improvvisata. Provenienti da percorsi e ricerche musicali differenti, i musicisti elaborano fusioni immaginifiche e dirompenti in un flusso di poliritmie raffinate. Impasti timbrici, guizzi ritmici e melodie, fulminee intuizioni e aperture sonore. In tutto otto composizioni originali tra cui emergono le destrutturazioni barocche tratte dal noto “AUTUM LEAVES”, magma sonori dedicati agli elementi naturali e soliloqui alternati per paesaggi zen. – LABEL PRESS RELEASE
CD; Digitalis Purpurea; EU 14,00

Criss X Cross
Jon Gibson, compositore e sassofonista, è internazionalmente conosciuto sia per la sua musica (alla frontiera fra musica concreta e musica ‘biologica’), che come membro fondatore e colonna portante del Philip Glass Ensemble con cui suona ininterrottamente dal 1968. La sua attività di compositore comprende una grande mole di lavori per solo ed ensemble. Come esecutore Gibson ha suonato con tutti i più importanti compositori americani del nostro tempo, compresi LaMonte Young, Steve Reich, Terry Riley. Sue composizioni sono state incise dalla Point Records, Lovely Music, Einstein Records, EarRational. Questo primo CD per la Tzadik è una registrazione effettuata dal vivo nel 1979 nella cattedrale alla Sorbona di Parigi, e rappresenta al meglio la grana dello stile ipnotico delle performances da solista di Gibson (alto flute, soprano saxophone, flute with harmonizer). Collana: Composer Series.
CD; Tzadik; EU 18,00

La Via Lattea (dal contrabbasso al cielo)
Disco per contrabbasso (con l’aggiunta qua e là di un violoncello e qualche voce registrata). Felice Del Gaudio ( sovraincide il suo strumento creando atmosfere che mantengono sempre un convinto attaccamento alla terra (la Basilicata, sua terra natale) e alle radici popolari, pur usando un linguaggio assai libero e creativo proprio del jazz e non disdegnando atmosfere cameristiche da sapiente compositore “colto”. Insomma un disco che segue il filone già tracciato da grandi come Renaud Gacia-Fons, Dave Holland, Eberhard Weber… E’ anche musica per il teatro, per “Anfitrione” di Molière e “Basso Napoletano” con Marco Sgrosso (produzione Le Belle Bandiere). – LABEL PRESS RELEASE
CD; RES; EU 14,00

Di Acqua e di Respiro
Progetto atipico nella produzione CHAOS, questo CD costituito da un unico lungo brano (20′) e prodotto in edizione limitata (70 copie in tutto), nasce come musica per i quadri della pittrice Elisa Nogarin. Di questi riflette la natura materica ed avvolgente. Dai suoni “naturali” dell’acque e del respiro, appunto, derivano le atmosfere dilatate e avvolgenti della musica, accortamente e sapientemente articolata dai (nell’occasione) sei musicisti veneti guidati come sempre da Gabriele Bruzzolo, Andrea Battaglion e Joachim Thomas (cui stavolta sAndrea Martin, Michele Palmieri e Stefano Bruzzolo). Da ascoltare!!
CD; RES; EU 8,00

“I musicisti sono al loro posto pronti per suonare, ognuno ha controllato il proprio strumento e aspetta il via generale per poter partire con la registrazione. Sembrerebbe tutto normale, ma non lo è.
Nessuno sa quello che ci aspetterà, deciderà la musica stessa la sua sorte.
Ed ecco che il momento è arrivato, e dal silenzio della partenza inizia una musica che travolge, avvolge, conquista, sorprende, colpisce e stordisce; si fa strada dal corpo per fluire lungo fiumi profondi, per scivolare giù in una cascata e schizzare in ogni direzione.
Una forza pura che travolge chi la circonda.
Zufall3177 ha riunito per quattro giorni 24 musicisti romani che usualmente non suonano insieme, incentivandoli all’apertura a nuovi mondi sonori, all’aggregazione musicale e alla crescita di una così detta “scena musicale” della capitale.
Coincidenza non è il nome di un gruppo né di una compilation, bensì di un album collettivo unico nel suo genere, nato dalla casualità: la maggior parte dei partecipanti fino a quel momento non si conosceva affatto, ma da anni operava in un panorama musicale comune. Le formazioni, create
dall’empatia del momento, hanno dato vita a brani che partendo dal terreno comune dell’improvvisazione spaziano tra free music, concreta, rock, elettronica e minimalista.” – LABEL PRESS RELEASE / Fra i muscisti coinvolti nell’esperimento lanciato dalla neonata etichetta Zufall3177 (vedi anche il loro sito troviamo alcuni noti agitatori del giro romano piu’ “scalmanato” e creativo (Renato Ciunfrini, Diego Mazzoni, Luca Miti, Tiziana Lo Conte, Michele Pellegrino, Marcello Liberato, Toni Cutrone, Alex Mendizabal, Anna Guidi ecc.)
CD; Zufall 3177; EU 13,00

Roma ad Aprile
Ideale continuazione del precedente “Compendium Musicae”, questa nuova release per il trio Hirayama/Miti/Orselli, risulta ancor più coinvolgente ed “a fuoco” del pur notevole esordio. I brani, registrati nel 2004, ben rappresentano lo spirito del terzetto, dedicato anima e corpo ad una ricerca sospesa e tesa, dove l’essenza dell’improvvisazione risiede nella “voglia di conoscersi” (sonoramente parlando) dei musicisti. Alcuni brani (Lontananza 4, la title track, Canto di Ponente) costituiscono fecondi esempi di come possa e debba evolvere la musica imrpovvisata, da semplice incontro, a confronto e creazione comune. Bello!
CD; ADA; EU 13,00

CD content: 1. PLAY PAPER by Alison Knowles (2003) / “Consider fragments of onion skins as musical notations. Perform with handmade musical instruments and toys.” Performed by Alison Knowles, Larry Miller and Taketo Shimada
2. MUSIC BOX (homage to FLUX MUSIC BOX by Joe Jones) by Taketo Shimada (2004) / “Modify two or more music boxes and play them simultaneously with the recording of Joe Jones FLUX MUSIC BOX, if possible use children to play the music box.” Performed by Zora Gookin and Robin Kahn + Clara Higgins Selman and Jessica Higgins on Toy Music Box: + Taketo Shimada on Turntables
3. FINGER EXERCISE by Larry Miller (1982) / “Make sounds with fingers.” Performed by Alison Knowles, Taketo Shimada, Kirby Gookin and Larry Miller
4. DANGER MUSIC #2 by Dick Higgins (1961) / “Hat. Rags. Paper. Heave. Shave” Performed by Alison Knowles and Nelson/Electric Chaircut
5. NIVEA CREAM by Alison Knowles (1962) / “First performer comes on stage with a jar of Nivea cream. The performer massages hands in front of the microphone. Other performers enter one at the time. They make a mass of massaging hands and leave one at a time following the first performer.” Performed by Alison Knowles, Kirby Gookin, Beckett Gookin, Jessica Higgins, Nancy Hwang, Noura Al-Salem on Nivea Cream: + Taketo Shimada on Turntables
6. ONION SKIN SONG by Alison Knowles (1973) / Performed by Tim Barnes playing Paper Instruments made by Alison Knowles (Bean Turner, Wrist Rubbers and Flax Paper shards) on top of bass drums.
Track 1 through 5 recorded live from a Event Score concert FLUXSWEET organized by Taketo Shimada, 02.14.2005 at Harvestworks, NYC.
DVD content: track 1 to 5 of the CD. – LABEL PRESS RELEASE
CD+DVD; Rossbin; EU 9,00

Nella rivista, gli articoli: Autorickshaw: A modern spin on a classical tradition / Naturally Eelectronic: The art of Kristi Allik and Robert Mulder /
Beyond postcards from the concert hall: An interview with Paul Dolden / Entering K-Space (Hodgkison&Hyder) / Music Without An Audience Part 2: The visual and the aural, popular and unpopular / What makes you believe in the future of art music? Why we make music. why we need it (T. Brady).
Nel CD, brani di: Autorickshaw, Paul Dolden, K-Space (Tim Hodgkinson and Ken Hyder), Kristi Allik, LEARK.
MAG+CD; Musicworks; EU 12,00

Music from the ONCE Festival 1961-1966
5CD+140 pg BOOKLET; New World; EU 65,00

Electronic Music of Theatre and Public Activity
CD; New World; EU 15,00

The Harry Partch Collection, Volume 1
CD; New World; EU 15,00

The Harry Partch Collection, Volume 2
CD; New World; EU 15,00

The Harry Partch Collection, Volume 3
CD; New World; EU 15,00

The Harry Partch Collection, Volume 4 – The Bewitched
CD; New World; EU 15,00

In the white silence
CD; New World; EU 15,00

Assassin Reverie
CD; New World; EU 15,00

Rainforest II / Mureau
2CD; New World; EU 25,00

Music for Massed Flutes
CD; New World; EU 15,00



CD; SFCR; EU 12,00

CD; SPILT; EU 12,00


CD; VICTO; EU 12,00

CD; SST; EU 12,50

CD; LEO; EU 12,00

CD; Elica; EU 11,00

Global Hockets
CD; Scratch Records; EU 5,00


Moose y Squirrel

MITCHELL, IAN (aa.vv.)
The edge of the world
CD; Black Box; EU 5,00

London Fix
CD; Mus Eek;EU 5,00

Sebastian’s Shadow
CD; Monroe Street; EU 5,00

Slybersonic Tromosome
CD; Penumbra Music; EU 5,00

Les 120 jours
2CD; Fringes; EU 9,00

CD; Small Voices; EU 7,00

A M.B. Ienh Tale
CD; Small Voices; EU 7,00

Terrore nello spazio
CD; Small Voices; EU 7,00

CD; Small Voices; EU 7,00

SILENZIO distribuzione / ants records
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