Oriental suite. The complete orchestral music 1923-1924
Between 13 and 25 December 1923 the Gurdjieff Institute gave a series of eight public demonstrations of the Sacred Gymnastics and Movements at the Théâtre des Champs-Elysées in Paris. The music, composed by Gurdjieff to accompany these dances, was orchestrated by Thomas de Hartmann and performed by an orchestra of thirty-five musicians.In January 1924, Gurdjieff and his pupils sailed to America for a series of public demonstrations in New York, Boston, and Chicago. At Gurdjieff`s request, de Har…
Coplanar
born in buenos aires, argentina, in 1941, guillermo gregorio has lived variously in europe and the united states since 1986. he was an active participant on the argentine music scene throughout the 1960s, ’70s, and early ’80s.“what affects me more than any other thing,” gregorio says, “is my involvement in visual arts, and my architectural and design experience.” in his compositions, a reinterpretation of the fundamental and structural concepts of constructivism converges with the historical exp…
Ku
The act of conjuring remarkable sound from found objects is at the very heart of this recording from American musicians Greg Davis and Jeph Jerman. Having met in Arizona some years back, Davis and Jerman commenced working together on a series of recording projects. Improvising with a range of implements and devices ranging from sticks, stones and lo-fi electronics to prepared instruments, gongs and broken percussion, the pair sought to develop a personal language that reflected their individual …
Acousmatrix 1|2
Bvhaast's Acousmatrix series was originally released around 1990; a total of 7 releases (9 discs) that acted as some of he defining documents of early electronic and tape music. They were recently reissued as a complete 9CD boxset (BVHAAST 0206), or are now also available as separate volumes (in new 2006 designs that are quite striking and appropriate). "Composing and generating sound via computer technology as early as the mid-'60s, Gottfried Michael Koenig was a pivotal force in cementing the …
Electronic music of theatre and public activity
Gordon Mumma (born 1935) has played a pioneering role in the development and evolution of 'live-electronic' music. 'Live-electronics' as a concept and practice appears to have originated in the United States in the late 1950s, outside the few institutional electronic studios and often in the context of innovative theatre activity. From its inception, it frequently involved two processes: (1) live performance with accompanying or interacting sound materials on magnetic tape; and (2) the use of el…
Studio Retrospect
A collection of six compositions made in electronic music studios from 1959 to 1984. All were composed for concert hall or theater performance with choreography, as well as for distribution on recordings. Music from the Venezia Space Theatre, The Dresden Interleaf, and Echo-D were composed for quadraphonic theater systems, and were later spatially remodeled for release on stereophonic recordings. A collection of six compositions made in electronic music studios from 1959 to 1984. All were compos…
Bellows
Giuseppe Ielasi and Nicola Ratti: guitars, percussion, turntables, electronics. Recorded and mixed in april-may, 2006. Collages by Michel Doneda. "Another gem from the Kning Disk catalogue, this album by Giuseppe Ielasi and Nicola Ratti takes up a little more bandwidth than Ielasi's recent 12k album, and over the course of these seven untitled pieces you'll hear tangles of light, impressionistic post-rock laced with microsound-style field recording examinations and feedback tones. The first coup…
Plans
Ulrich Böttcher: percussion, electronics. Uwe Buhrdorf: clarinet, electronics. Ulrich Phillipp: bass, electronics. Since 1994 Maxwells Dmon has been playing improvised music with electro-acoustic instruments. The trio works beneath the surface of cleanly structured contexts to explore the molecular structure of music. With the music on 'Stillte post', Maxwells Dmon expands their fragmentary approach extending it to the field of postproduction. The recorded music has been fragmented and re-compos…
s/t
Following last year's incredible 'Gesine' comes Italian experimental guitarist Giuseppe Ielasi's latest full-length, an album which may come as something of a surprise to fans of his earlier work. The obvious inclusion of electronic elements comes at an odd time when the majority of experimental musicians seem to be moving further away from anything electronic rather than embracing it, yet Ielasi manages to infuse a glitchy almost minimal techno frame with the most intriguing guitar structures t…
Gesine
Apparently mining his own aural Sutton Hoo, Giuseppe Ielasi is an Italian experimental guitarist and electronic botherer, who pulls all sorts of musical styles from the trench labelled 'Gesine'. Coming across as partially improvised, 'Gesine' is Ielasi's first solo work since 2003's 'Plan's, and is again witness to a veritable cornucopia of finds. Ranging from shuffling Bert Jansch folk and diet-drone, through to glitch plagued bass and waterlogged guitars, 'Gesine' is superficially sepulchral, …
Subgestuel - Diffluences - Phonophonie
A first monographic compact disc for this composer born in 1951, a pupil of Pierre Schaeffer and Guy Reibel, winner of the Villa Médicis Prize "hors les murs" in 1995, who has also contributed to the musical research activities of the IRCAM, in the Atelier de Recherches Instrumentales (1985 and taken part in the development of the Quatron, the real-time synthesis computing system of the IMCA at Auch (1989-1990).
On 'Diffluences': "The relationship between tape and piano is not the classical one…
Une Saison En Enfer
Composed in 1979 and realized at Conservatoire National Supérieur de Musique (Lyon, France) by Gilbert Amy with the assistance of Daniel Teruggi. Performed with Fusako Kondo (soprano), Edwige Parat (soloist of Maîtrise de Radio France), Jean-Pierre Drouet (percussions).
Metal notes
Metal Notes resuscitates a long-lost, decades-old cassette-only release by the great New York collective Gamelan Son of Lion and brings to the fore the incredible metallic drones of a group whose innovative minimal music has rightfully earned them a place among the likes of La Monte Young, Tony Conrad, Steve Reich & Charlemagne Palestine -- to name a few. At almost 80 minutes, this collection of eight songs is nothing if not totally spellbinding & hypnotic. Features founding members Barbara Bena…
The complete gamelan in the new world
This is the first proper re-release of two legendary recordings by the innovative Gamelan Son of Lion. This New York performance group has counted as its founding members Fluxus pioneer Phillip Corner, electronics composer Daniel Goode (Tzadik), and core member Barbara Benary. Equally inspired by the resonant decaying sounds of New York school composers like Morton Feldman, the stunning pacific gamelan music of its namesake & the wild antics of Fluxus, their sound is trancelike and beautifully i…
Defekt
Matchless Recordings presents a live performance by Furt. The album includes four tracks performed by Richard Barrett and Paul Obermayer - electronics.Track 1 - recorded in Berlin, December 2001Track 2 - produced in Watford, October 1997Track 3 - produced in AmsterdamTrack 4 - recorded in Amsterdam, 29 February 2000
Rhythm
Rhythm is neither pop nor avant-garde, but deals simply with the basic principles of any modern music: rhythm. Frank Bretschneider takes his never simple, but all the more heartfelt relationship to rhythm and its complexity to an intense inventory, and this time works less out of suspenseful abstract sounds than out of grooves. The terseness and precision of previous works remains, as well as a preference for high-voltage sounds halfway between noise and tone. What is new is the assemblage of th…
s/t
Dessus la mer composed 1995-1997. Equus - Carnet d'esquisses composed 1993, derived from a 4-seconds recording of the steps of a horse. Scènes des voyages d'Ulysse composed 1981, created as incidental music for a production of The Odyssey.
Le chemin du paradis
Another installment from the Fario label in their attempt to bring together two artists. Usually these CDs consist of three tracks: one collaborative track and one by each artist solo. For this fifth CD two Vital Weekly household names show up: Francisco Lopez and Steve Roden. Let is discuss the solo pieces first. In Roden's solo piece, the rubbing and playing of everyday objects is the central point of attention. It seems an extension to his work 'Schindler House', which was released last year…