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In Complete Works for Multiple Piano, Morton Feldman’s quietly radical writing for three or more hands is heard as a three‑hour continuum of hushed, hovering sonorities, where time dilates and the piano becomes a shared, breathing instrument.
Four fantastic experimental pieces composed in 1968 for instruments and tape/electronics, including Foss' outstanding theatrical piece for percussionist-conductor, electric guitar and three other instruments capable of sustaining a sound and Hiller's superb computer-generated composition, released on DGG's legendary "Avantgarde" series.
Four avant-garde chamber works composed in 1973/74 ranging from solo instrument with tape to a small ensemble through duos with piano, released by Avant Records in 1974.
Three orchestral works composed in the 1950's and 60's and performed by the Minnesota Orchestra conducted by one of the two composers, released on Desto in 1972.
Essential 1959 electronic music / musique concrète album on Folkways documenting the soundtracks to a pioneering multimedia environment in San Francisco in 1957. With insert.
Fourth and last, and possibly best volume of Folkways's "New American Music" series released in 1975, presenting six superb experimental electronic compositions from the 1970's, most of which available only here.
Great selection of 1960's South American experimental music for ensemble performed by a composers/performes group led by Lanza, released on Mainstream avant-garde series curated by Earle Brown in 1973.
1962 LP on Time's superb "Series 2000" curated by Earle Brown with the recording of a landmark performance ny Aloys Kontarsky of the composer's best known avant-garde composition from 1919.
1970's re-press with brown labels of the 1967 LP on Columbia with the 1913 orchestral by the modernist/avant-garde composer, performed by The New York Philharmonic conducted by Leonard Bernstein.
On geschrieben in wasser., Klaus Lang pares the piano quartet down to a faintly breathing organism, letting soft, slowly shifting harmonies hover at the edge of audibility like something written on water just before it disappears.
On For a Lemon Tree, Kristofer Svensson, Maya Bennardo and Erik Blennow Calälv cultivate a fragile, glowing sound‑world where violin, bass clarinet and kacapi trace slow, intertwined lines, turning silence, breath and overtone into their primary compositional materials.
On his Clarinet Quintet, Jürg Frey stretches time until it feels almost weightless, using soft clarinet breaths and hushed strings to trace a slow, luminous drift where tiny inflections become whole landscapes of feeling.
On Flare, Sylvia Lim turns six chamber works into a series of luminous close‑ups, magnifying tiny shifts of timbre, breath and touch until fragile sounds bloom into something cathartic, raw and quietly destabilising.
On Tending, James Creed threads four ensemble works through a shared practice of careful, collective attention, letting sparse parts, quiet doublings and gently unstable textures accumulate into music that feels like weather slowly forming in the air around you.
On Of Time, Underground Spiritual Game - baritone saxophonist Eden Bareket, bassist Ran Livneh and drummer Eran Fink - trace an imaginary route from city grime to rural trance, fusing Ethiopian jazz, Afrobeat pulse and cosmic free improvisation into a single, slow‑burning ritual.
On Hyperit, Nev Lilit (Hedvig Jennefelt) turns a performance‑lecture into elemental sound‑theatre, carving electronic landscapes from dirt, magma and meteorite lore until you feel less like a listener than something buried inside the mountain.
On Conclusio, Asmus Tietchens bends back toward his industrial roots, folding corroded pulses, cold drones and acerbic detail into a suite that feels like “German Angst” hammered into stark, sculptural sound.