★New World Records
Pioneers of Electronic Music
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…
Chamber And Gamelan Works
Lou Harrison 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 mai…
Unjust Malaise
This three-disc set marks the first appearance on disc of the music of the African-American composer Julius Eastman (1940–1990), who died sixteen years ago under unexplained circumstances and whose musical legacy was thought lost. This comprehensive and definitive document, which comprises almost all of Eastman’s signature works, will undoubtedly be a revelation for those who have thus far been unable to hear his work. Eastman was an energizing underground figure, one whose forms are clear, whos…
Wind Shadows
The music on these CDs takes us into a new realm of music making, one that Alvin Lucier has defined for us and one that demands that we start to listen anew. His work has been more often described in terms of science than of art as if it were a series of quasi-scientific experiments, but to put the emphasis here is to miss the point, for its purpose is never “explanatory” (the goal of science) but, like all art, “revelatory.” This is not to suggest that the composer has some spiritual agenda in …
The Harry Partch Collection, Volume 4
Meticulously remastered from the original mono master tapes! The Bewitched was Harry Partch’s first work solely intended for dance (and mime-dance at that; he was not overly enamored in his lifetime of so-called “modern dance”). Drawing heavily from his deep affection for the music-theatrical performance traditions of Greek theater, as well as those from Africa, Bali, and Chinese opera, Partch conceived of a contemporary American music ritual-theater where musicians not only play, but also funct…
The Harry Partch Collection, Volume 3
The four works on this newly remastered CD are eloquent testimony to Harry Partch’s aesthetic of corporeality. The music he composed for The Dreamer That Remains, for Rotate the Body in All Its Planes, for Windsong, and for Water! Water!, was intended as only one component in the total artistic experience. In these works music joins with drama, with film, with dance, even with gymnastics, as integral parts of the composer’s vision..New World's The Harry Partch Collection, Vol. 3, as was the CRI …
The Harry Partch Collection, Volume 2
Harry Partch’s compositions of the 1940s have remained until recently an unwritten chapter in the history of American music. And yet it was these very pieces—the collection of four works he would later collectively entitle The Wayward—that brought him to the attention of the New York musical world. His concert of these pieces for the League of Composers established for him a small but permanent reputation as a musical maverick who had wandered off well-worn tracks and had developed a sort of lat…
The Harry Partch Collection, Volume 1
This newly remastered reissue marks a welcome return to the catalog of the first volume of the classic 4-CD collection that was formerly available on the CRI label. The works recorded on this disc span the first six years of what Harry Partch (1901–1974), slightly tongue-in-cheek, called the “third period” of his creative life. They show him moving away from the obsession with “the intrinsic music of spoken words” that had characterized his earlier output (the vocal works of 1930–33 and 1941–45)…
Vespers and Other Early Works
Alvin Lucier is best known for his pioneering work in the mid-sixties in the exploration of sonic environments, particularly sounds that we would never perceive under ordinary circumstances. Vespers and Other Early Works restores to the catalog several of his key works from that time. In Vespers (1969) performers with Sondols (sonar-dolphin), hand-held pulse wave oscillators, explore the acoustic characteristics of given indoor or outdoor spaces by monitoring the echoes of the pulse waves off th…
Five Works For Voices, Instruments, And Electronics
Kenneth Gaburo (1926–1993) composed works for instruments, voices, electronics, multi-media, theater, and a variety of other resources. Foremost among his many interests was a concern with the voice and with language—how we shape language and how we are shaped by it—and with making works that existed somewhere between the boundaries of music and language. Of the works on this CD, three are intensely concerned with what Gaburo termed “Compositional Linguistics” (Antiphony III, Antiphony IV, and M…
Schlingen Blängen
Schlingen Blängen is an invaluable addition to the slender but precious discography of Charlemagne Palestine, one of the legendary figures of the amazingly fertile New York and West Coast experimental music/art scene of the sixties and seventies. He is considered to be a seminal figure of early minimalism—as important as his better-documented contemporaries. His performances on the giant bells at St. Thomas Church and his evening-length Bösendorfer shows are still spoken of with awe by those who…
Ikon and other Early Works
This CD comprises the text-sound works (1974-1980) on which Ingram Marshall concentrated throughout the seventies and falls into two parts: the works from the Fragility Cycles period (Cries Upon the Mountains, SUNG, Sibelius in His Radio Corner, and IKON) and the earlier works (Cortez, Weather Report, and The Emperor’s Birthday).
“Cortez, Weather Report, and The Emperor’s Birthday
form a kind of trilogy representing my work with “text-sound” in the
early seventies. The techniques used to gener…
James Tenney: Selected Works 1961- 1969
This recording is a reissue of the 1992 Frog Peak/Artifact CD, the first recorded collection of James Tenney’s music of the 1960s. Many of the pieces on this CD were realized at Bell Telephone Laboratories from 1961 to 1969, where Tenney used Max Mathews’s digital synthesis program that eventually became Music IV. This software became the model for many of the common computer music environments of the last forty years, and was the first system of its kind available to composers. Tenney’s pieces …
Music From The Once Festival 1961-1966
With Robert Ashley, George Cacioppo, Gordon Mumma, Roger Reynolds, Donald Scavarda, David Behrman, George Crevoshay, Philip Krumm, Pauline Oliveros, Robert Sheff, Bruce Wise. Ann Arbor, Michigan, seems an unlikely site for the establishment of a major avant-garde festival that would shake the new-music community. Tucked away in America’s heartland, the city is equally removed from the Eastern metropolises whose artists pride themselves on sensing the pulse of the times, and from the nonconformis…
Lonesome Road (The Crawford Variations)
Larry Polansky, though known primarily for his work in the field of computer music, has produced a major addition to the keyboard literature, this massive theme-and-variations on Ruth Crawford Seeger’s arrangement of the folk song "Lonesome Road." Inspired by his deep engagement with her music, Lonesome Road (1988-89) is a prime example of Polansky’s penchant for building large architectonic structures through complex transformational processes. The work is in three sections of seventeen variati…
Terry Riley
Uncle Jard (1998) (saxophone quartet, piano, harpsichord, and voice) is a particularly compelling example of this. In this piece, Indian classical music and blues/jazz elements co-exist in a stylistically coherent whole: ragtime and raga have never been so closely intertwined. The piece is divided into three parts. While in the first and second parts the texture of the saxophone ensemble is enriched by the voice and keyboard, in the third part the voice is not featured. Assassin Reverie (2001), …
ShamanSong
Composer/performer Joan La Barbara (b 1947) has been an influential figure in experimental music since the early 1970s. She has devoted her career to the exploration of the human voice as a multi-faceted instrument. Going far beyond traditional boundaries, she has created works for multiple voices, chamber ensembles, music theater, orchestra and interactive technology. ShamanSong features three premieres of vintage La Barbara "sound paintings" of pensive beauty and spiritual resonance.
ShamanSo…
O, O, O, O, That Shakespeherian Rag
O,O,O,O, That Shakespeherian Rag collects six of the most important compositions from his relatively small body of work. By the late 50s Martirano had begun to freely incorporate elements of jazz and popular music. O,O,O,O, That Shakespeherian Rag(1959), one of his two magnum opuses, is a prime example of this musical synthesis—a serialist choral setting of passages from three Shakespeare plays, accompanied by a chamber orchestra that includes a jazz ensemble. Schoenberg meets bebop in a wild, i…
Columbia- Princeton Electronic Music Center 1961- 1973
Works by Bülent Arel, Charles Dodge, Ingram Marshall, Ilhan Mimaroglu, Daria Semegen, Alice Shields. The Columbia-Princeton Electronic Music Center was the first electronic music center to be established in the United States. From 1959 to the late 1970s, it was one of the premiere sound facilities in the world. The vast majority of pieces composed at the Center - approximately three hundred - were composed during this period. Some have become classics of music history. This selection, draw…
And the Butterflies Begin to Sing
Both works on this disc share the trademarks of his unique style: the relentless, pounding motoric energy that merges, sometimes with startling suddenness, into a dreamlike texture that seems to float, the continual sense of something magical occurring, often produced with no more paraphernalia than a desktop computer. And the Butterflies Begin to Sing [for string quartet, bass, MIDI keyboard, and computer (1988)], conceived as music for an imaginary ballet, is based on The Hundred Headless Wome…