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The live electronics that Nono worked with for the first time in the early 1980?s at the Freiburg Experimental Studio also serves the musical displacement: the music moves away from clear spatial and timbral assignations. Due to electronic processing, the sonic characteristics of both instruments, bass flute and cello, can hardly be recognized. Tones and gestures are lengthened into seeming infinity and move in space
** Original 1990 edition LP, comes with a black and white 12-page booklet ** Edition RZ’s vinyl edition of three works by Luigi Nono - a pivotal figure of the Italian avant-garde - all composed and recorded in the mid ‘80s. A lesson in fine-tuning acoustic perceptions, meant for focussed reception in keeping with Nono’s concept of “new listenings”: "This no longer means revolutionizing the entire linguistic system ie. a subversive attack on the institution of music; rather it means progressively…
The idea of bringing together Rencontres fortuites, Didascalies and Tautologos III - two recent works for piano, viola and electronics, and one open-ended work - imposed itself at a concert at the Boendael Chapel in Brussels, where Collard-Neven and Royer performed Didascalies, with Ferrari attending. A few months later, we found ourselves in the legendary Brème studios, having to deal with the waiting, the Tonmeister's mood swings, and Luc, sick, having a hard time with long commutes and schedu…
Luc Ferrari -- along with Pierre Schaeffer, Pierre Henry, François Bayle, and others -- is one of the pioneers of the particular style of tape music known as 'musique concrète'. More significantly, he must be counted as one of the most complexly, most idiosyncratically compelling of post-War composers. Ferrari has time and again ranged far afield of musique concrète, and Interrupteur/Tautologos 3 is one such foray into instrumental music. But what a setting-forth! Mon dieu! These particular real…
We were saddened to learn of the passing of Lou Harrison as this disc just entered production. It is perhaps fitting that it provides an overview of Harrison's work, from 2 movements of a mass composed in 1939 to 3 vocal arias composed in 2000. Mass to St. Anthony was begun when Hitler invaded Poland; a mass for voices and percussion expressing both outrage and hope. Harrison completed the Gregorian-like chant for the entire 5 movements of the work, but only finished the percussion accomp…
This retrospective double CD gives examples of Coxhill's early to recent work involving elements of improvisation including R & B, formally structured jazz, electronics, spontaneous music, an open rendition of an old play, and the odd bit of singing. An enormous variety of music ranging from straight-ahead jazz, to a concerto performance with the London Improvisers Orchestra, to an underwater slide saxophone solo recorded using a microphone in a condom. 135 minutes -- mostly previously unissued.
On Simoom we hear three of Lois V. Vierk's works for "big instruments," that is, multiples of the same instrument, treated more like single entities than like groups of voices: Go Guitars for five electric guitars tuned microtonally around "E," Cirrus for six trumpets, and Simoom for eight cellos. All three works employ what Vierk describes as "Exponential Structure," which utilizes exponential relationships to control time, pitch movement and rates of change. Within this system, Vierk creates v…
Austrian composer in a work for flute, viola, percussion, and voice aboout the inner state and flow we perceive when listening and concentrating on a piece of music.
Documentation '20 Years Inventionen', CD III. 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.
Two compositions by the young Austrian composer/organist Klaus Lang who currently lives in Berlin/Germany. Der Wind und das Meer for viola (Barbara Konrad, viola) The Sea of Despair for String Quartet (Amras Streichquartett)
John Cage's Freeman Etudes are the modern equivalent of Paganini's virtuoso solo violin etudes. Each etude is completely notated down to the smallest detail, and the composer states "...are as intentionally as difficult as I can make them...So I think that this music, which is almost impossible, gives an instance of the practicality of the impossible." The detail and complexity of these etudes give them a unique and unusual spot in Cage's oeuvre.
These first two books (there are 8 etudes p…
A major discovery and first recording of an important Cage piece from 1944. In 1944, John Cage was invited to participate in “The Imagery of Chess” exhibition at the Julien Levy Gallery in New York City. The artists included Calder, Noguchi, Motherwell, Breton, Duchamp, Ernst, Man Ray, Tanning and other leading surrealists.Cage contributed a painting entitled “Chess Pieces”. It was purchased at the show and went into a private collection. For decades it was deemed lost and was (almost) forgotten…
This landmark recording of John Cage’s prepared piano works performed by Mario Bertoncini was recorded back in December 1991. The sonatas are divided into four groups, each divided by the less overtly structured, rhapsodic interlude pieces. Bertoncini sensitivity to the displaced sonic characteristics of the piano is remarkable and suggests a rigorous dedication to Cage’s work.
The Sonatas and Interludes enjoy a well deserved reputation as a masterwork and as a repertoire piece. But this is not a masterwork in the sense of other keyboard masterworks: Bach's Goldbergs, Beethoven's Diabelli Variations, Ives' Concord Sonata.
John Cage's masterwork is quite different -- a big piece with a quiet voice. The prepared piano operates entirely by muting: by attaching objects to the strings of the piano. Cage alters their sounds in various ways, turning the piano into a percussio…
This CD presents the first recording of the second half of John Cage's Freeman Etudes for violin. Those familiar with the previously-released volume of this work will already know what to expect: the bewildering complexity of the Etudes and the astonishing virtuosity of Irvine Arditti's performance.
Convinced that the later, more complex etudes were unplayable, Cage abandoned work on the Freeman Etudes in 1980, after completing the first sixteen and beginning the eighteenth Etude. It wasn't…
Originally released as a 4LP set back in the early days of Mode Records, the first two discs of this 3CD set document the two live performances of John Cage's 1961 orchestral work Atlas Eclipticalis played simultaneously with 1957's Winter Music (in a version for three pianos) recorded at Seattle's Cornish Institute on December 11th 1983. Disc three presents what the label rather grandly describes as an "all-star" recording of all 86 instrumental parts of Atlas Eclipticalis, (the first of its ki…
The Complete String Quartets Vol. 2. “String Quartet in Four Parts” (1949-50). “Four” (1989). The Arditti Quartet. The second volume of Cage's String Quartets features his first and last works in this repertoire. The well known and exquisitely beautiful, serenely Zen-like early quartet receives its first new recording in 16 years. It is a pivotal work in Cage's oeuvre, showing the composer's transition between the rhytmically complex percussion works before it and the chance works of the 1950s. …
The complete short prepared piano works collected on 2-CDs. John Cage's works for prepared piano expose his earliest experimentations in finding new and exotic sounds.Brief and attractive, they are among his most accessible work. This release marks the first time all of his short works for prepared piano have been made available in one set. All the prepared piano works are included aside from the magnum opus, Sonatas and Interludes. Pianist Philipp Vandr´e has recorded Sonatas and Interludes for…
The 35th volume in Mode's Complete John Cage Edition is also the second release in Ulrich Krieger's series of interpretations for solo saxophone and saxophones with other instruments. Ensemble pieces of comparatively large dimensions were gathered on A Cage of Saxophones: Vol. 1, so this follow-up disc presents pieces for smaller combinations and solos, though with no less originality or charm. Even though most of these works were composed for open instrumentation, saxophones suit Cage's …
Cage's "44 Harmonies" were originally written to form part of the sprawling bicentennial commission "Apartment House 1776", and take as their starting point late 18th century anthems and hymn tunes by William Billings, Jacob French, Andrew Law, James Lyon and the wonderfully-named Supply Belcher. Cage's compositional - or rather decompositional - method was to remove certain tones and extend others, and as James Pritchett points out in the (excellent as always for Mode) liners, he was delighted …