Monday, August 31, 2009
Tuesday, June 30, 2009
Friday, June 5, 2009
Le Car de Thon - Nos meilleurs Stockhausen
Yannick Barman: trompette
Brice Catherin: violoncelle et électronique
Vincent Daoud: saxophone (1-2-3)
Jean Keraudren: spatialisation et effets (1-2-3)
Christian Magnusson: trompette
Benoît Moreau: clarinette
Luc Müller: percussions
Cyril Regamey: percussions
Jocelyne Rudasigwa: contrebasse
Samira El Ghata: flûte à bec (4)
Yuji Noguchi: clarinette (4)
Sara Oswald: violoncelle (4)
Jean Rochat: percussions (4)
pieces from "Aus den Sieben Tagen" by Karlheinz Stockhausen.
1. Aufwärtz mp3
2. Setz die Segel zur Sonne mp3
3. Es mp3
4. Bonus: Nachtmusik mp3
n°1-2-3 recorded live, by Jean Keraudren, 12.04.2008, at théâtre du Grütli (Genève, Suisse)
n°4 recorded live, 22.06.2007, at Lapin Vert (Lausanne, Suisse)
Download the complete album in .rar: click here - [4 mp3s : 131 mb]
The good thing about Stockhausen is that he did it all. Not only was he further ahead than anyone else, he was also better than anyone else. Aus den Sieben Tagen is a big classic, yet rarely performed. “Classical” musicians despise it because a huge part involves improvisation, and improvisers do not consider it because it is “signed” music. What a regrettable mistake do all these people make. It is precisely during these few days when Stockhausen composed this collection, that he had placed the highest faith into musicians, and, through a metonymic extend, into humanity. At this peak point, the last piece of the book states “Play, you do not need me anymore, everything you will do from now on will be right and good.” Yet, the mistake will not be undone as “classical musicians” are too anxious to be abandoned by the composer, and improvisers cannot bear interference in their musical ideas.
Aus den Sieben Tagen is a collection of pieces to be improvised after the very concise and apparently metaphysical instructions of the Master. But far from delivering us a strange joke or an esoteric manifesto, Stockhausen explores in fifteen pieces the main questions of composition, improvisation, art, its transmission and its origin, the status of the artist, his way of life and thought, the stage, etc.
This CD presents our favourite versions of these pieces, which we have been playing on a regular basis for the past two years. Most of the recording took place during a concert where we performed the whole collection in April 2008 (from 2:30pm to 00:30pm) at the théâtre du Grütli in Geneva. The last track was recorded in the Lapin Vert (Lausanne), a year earlier, in a slightly different casting, during a concert, in which pieces were chosen (intuitively) by the audience.
Le Car de Thon : In August 2006 a new music ensemble was born in Geneva, Switzerland: the Car de Thon. But why should one build up a new ensemble when (too) many of them already exist? First of all because the Car de Thon mixes the qualities of many different ensembles, qualities of which the most significant is precisely the mixing itself. Secondly the Car de Thon has a very specific approach to art in general, and to the people receiving it in particular: the audience. This short article will try to give a quick outline of the Car de Thon’s main interests and ideas, and demonstrate how it has the nerves to call itself an “all audiences ensemble” when we only play so-called contemporary and experimental music and performing arts, which are for some reason believed to be elitist.
(www.insubordinations.net)
Schoenberg - String trio, op. 45
[...]
AGP150 features two recordings of Schoenberg's String Trio op. 45, which was one of his last works, completed in 1946.
[...]
The first recording is presented in both 16-bit and 24-bit files and is performed by the Los Angeles String Trio. It was produced and engineered by the estimable David Hancock, who did so much fine work for CRI Records, and released on Desmar Records (DSM 1020G) in 1978. It is a lovely, spacious recording, and the Los Angeles String Trio's performance is both tight and passionate, with delicous sul ponticello work. The folks at Desmar had the good sense to have Teldec press the record, so there's very little noise or tracking distortion. This is the recording through which I originally fell in love with this work.
The second recording is performed by the Trio à Cordes Francais, and was released as part of a 4LP set featuring chamber works by Schoenberg, Berg, and Webern, on EMI Electrola (1C181 - 28368/71) circa 1970. This LP was also pressed in Germany and has very little noise or tracking distortion. The recording is clean and clear but with the slightly harder sound characteristic of many late 1960s recordings. The performance has nothing to be ashamed of, but is not quite as rich and passionate as the other.
[...]
1- Los Angeles String Trio 24-bit [flac : 192 mb]
2- Los Angeles String Trio 16-bit [flac : 88 mb]
3- Trio à Cordes Francais [flac : 78 mb]
(http://www.avantgardeproject.org/agp150/index.htm)
AGP150 features two recordings of Schoenberg's String Trio op. 45, which was one of his last works, completed in 1946.
[...]
The first recording is presented in both 16-bit and 24-bit files and is performed by the Los Angeles String Trio. It was produced and engineered by the estimable David Hancock, who did so much fine work for CRI Records, and released on Desmar Records (DSM 1020G) in 1978. It is a lovely, spacious recording, and the Los Angeles String Trio's performance is both tight and passionate, with delicous sul ponticello work. The folks at Desmar had the good sense to have Teldec press the record, so there's very little noise or tracking distortion. This is the recording through which I originally fell in love with this work.
The second recording is performed by the Trio à Cordes Francais, and was released as part of a 4LP set featuring chamber works by Schoenberg, Berg, and Webern, on EMI Electrola (1C181 - 28368/71) circa 1970. This LP was also pressed in Germany and has very little noise or tracking distortion. The recording is clean and clear but with the slightly harder sound characteristic of many late 1960s recordings. The performance has nothing to be ashamed of, but is not quite as rich and passionate as the other.
[...]
1- Los Angeles String Trio 24-bit [flac : 192 mb]
2- Los Angeles String Trio 16-bit [flac : 88 mb]
3- Trio à Cordes Francais [flac : 78 mb]
(http://www.avantgardeproject.org/agp150/index.htm)
Sunday, May 24, 2009
Klangdome/Zirkonium
Hightech-instrument and software for spatialization in the ZKM_Cube
[...]
The idea and the concept of the Klangdom and Zirkonium were developed by Ludger Brümmer and implemented by Joachim Gossmann, Chandrasekhar Ramakrishnan and Bernhard Sturm at the ZKM | Institute for Music and Acoustics. The software was coded by Chandrasekhar Ramakrishnan.
[...]
Saturday, May 9, 2009
Sunday, April 26, 2009
Massimo Magee & Lee Noyes - All Angles
[AR10]: All Angles Disc 1 - [mp3s : zip : 68 mb]
[AR10]: All Angles Disc 2 - [mp3s : zip : 73 mb]
ALL ANGLES - Lee Noyes and Massimo Magee
Disc 1:
Prelude—
1: ‘Round Midnight (Monk) LN + MM 04:39
Part 1: Lo-Fi—
2: Guitar Solo LN 07:40
3: Friction MM 09:18
4: Drums and Sampler Solo LN 11:00
5: Relativity MM 13:59
Part 2: Patchwork—
6: Patchwork Piece LN + MM 30:30
Disc 2:
Part 3: Live—
7: Live 2 LN + MM 65:05
8: Live 1 [extract] LN + MM 08:54
Postlude—
9: In A Sentimental Mood (Ellington) LN + MM 05:54
—————————————————
Lee Noyes - Drums, Percussion, Guitar, Sampler, Loops, Tapes, Bells
Massimo Magee - Tenor, Alto and Sopranino Saxophones, Clarinet, Trumpet, Amplifier with Headphones and Preparations, Keyboard, Tapes, Tape Recorder, Laptop, Homemade and Found Drums and Percussion, Cymbals, Radio, Tube, Bell, Jaw
-mix of email and live collaboration with Lee Noyes, recorded late 2007/early 2008
(http://arraymusic.wordpress.com/)
Friday, April 24, 2009
AGP 54 - Bussotti, Berberian & Berio: Frammento
§- FRAMMENTO - [flac : 38 mb]
Liner notes from LP, from Time 58003:
This piece by Sylvano Bussotti is called FRAMMENTO only on this record and in corresponding performances. It is actually the piece VOIX DE FEMME from the PIECES DE CHAIR II (1958-59), an expanded cycle for piano, baritone and further instruments adjoining sporadically, occasionally gaining the dimension of a chamber orchestra. The original version of FRAMMENTO is for voice and orchestra rather than, as on this recording, voice and piano. The principle of the entire cycle is its non-economy which reaches possibly its extreme, at least in respect to its performance technique, when a female voice and an orchestra are being introduced solely for this single piece. In context it functions as an isolated fragment. When it is isolated from the context, its fragmentary character is no longer perceivable, and it becomes a fragment (FRAMMENTO) all the more. Equally fragmentary is the representation for voice and piano. The piano adaptation was written by the composer himself, who thereby thought to establish the piano arrangement as an autonomous compositional genre. The fragment again consists of fragments, and the totality of the fragmental universe results in its negation, that is, totality. The compositional procedure remains that of a collage as well in respect to the musical material as to the far-fetched texts taken from various languages and books. If in the orchestral version the principle of instrumentation has been replaced, as it were, by the principle of instrumental dramaturgy, i.e. by a disposition of the instruments' entrances and exits, so does this correspond with the principle of correpetition in the piano version which has been developed to a principle of composition.
(http://dream.cs.bath.ac.uk/AvantGardeProject/)
Liner notes from LP, from Time 58003:
This piece by Sylvano Bussotti is called FRAMMENTO only on this record and in corresponding performances. It is actually the piece VOIX DE FEMME from the PIECES DE CHAIR II (1958-59), an expanded cycle for piano, baritone and further instruments adjoining sporadically, occasionally gaining the dimension of a chamber orchestra. The original version of FRAMMENTO is for voice and orchestra rather than, as on this recording, voice and piano. The principle of the entire cycle is its non-economy which reaches possibly its extreme, at least in respect to its performance technique, when a female voice and an orchestra are being introduced solely for this single piece. In context it functions as an isolated fragment. When it is isolated from the context, its fragmentary character is no longer perceivable, and it becomes a fragment (FRAMMENTO) all the more. Equally fragmentary is the representation for voice and piano. The piano adaptation was written by the composer himself, who thereby thought to establish the piano arrangement as an autonomous compositional genre. The fragment again consists of fragments, and the totality of the fragmental universe results in its negation, that is, totality. The compositional procedure remains that of a collage as well in respect to the musical material as to the far-fetched texts taken from various languages and books. If in the orchestral version the principle of instrumentation has been replaced, as it were, by the principle of instrumental dramaturgy, i.e. by a disposition of the instruments' entrances and exits, so does this correspond with the principle of correpetition in the piano version which has been developed to a principle of composition.
(http://dream.cs.bath.ac.uk/AvantGardeProject/)
Bernard Parmegiani - De Natura Sonorum
§- AGP140 is another 24-bit LP transcription, featuring the breathtaking electroacoustic work De Natura Sonorum by Bernard Parmegiani. This work is available commercially in a 16-bit, 44.1kHz audio CD made from the original master tapes, as part of an indispensible 12CD collection of electroacoustic works created by Bernard Parmegiani between 1964 and 2007. [...]
01 - De Natura Sonorum, side A (25:16) - [flac : 260 mb]
02 - De Natura Sonorum, side B (23:00) - [flac : 251 mb]
Liner notes from LP
(http://dream.cs.bath.ac.uk/AvantGardeProject)
01 - De Natura Sonorum, side A (25:16) - [flac : 260 mb]
02 - De Natura Sonorum, side B (23:00) - [flac : 251 mb]
Liner notes from LP
(http://dream.cs.bath.ac.uk/AvantGardeProject)
Tuesday, April 21, 2009
MachineGun : 3 Wisemen in a Straightjacket
John Menoud: Alto & Baryton Saxophones
Frédéric Berney: Bass
Filippo Provenzale: Drums
§- MACHINEGUN - Three Wisemen in a Straightjacket, [mp3s : rar : 100mb]
1. my gun's empty
2. rebel without a cause
3. sharp nerves
4. Grace got a brand new machine
5. loneliness
6. dial K for Kelly
7. sea shell
Recorded by Souheil Mellah at RVK Lighthouse (Geneva) June 2008
(www.insubordinations.net)
Monday, April 20, 2009
Thursday, April 16, 2009
#23 Musik For Potheads
Download: Musik For Potheads
Recorded November 8-9, 2007 - [mp3s : zip : 39 mb]
Tracklist:
1- Herd Mentality (3:05)
2- Checkers (5:42)
3- Transmission #37 (9:29)
(http://werelateforclass.blogspot.com/)
The Improvisors
Excerpts from The Stephanie and Irving Stone Festival of Improvisors recorded at Roulette, NYC on November 8, 9, and 10, 1985.
- Chris Cochrane - electric guitar, Anthony Coleman - electric organ (8:53)
- Carol Emanuel - harp, Tom Cora - electric cello, Bill Frisell - electric guitar, Bobby Previte - drums (5:48)
- Lindsay Cooper - electric bassoon and sax, Fred Frith - electric guitar and homemade electric strings, Irene Schweitzer - piano (8:17)
- Christian Marclay - turntables, Bill Horvitz - guitar and electronics, David Weinstein - Mirage and electronics, Denman Maroney - keyboards (7:17)
- Lindsay Cooper - reeds, Fred Frith - electric guitar, etc., Christian Marclay - turntables, Samm Bennett - drums (8:40)
- Bill Frisell - electric guitar, Jim Staley - trombone (3:33)
- David Weinstein - Mirage, Fred Frith - electric guitar and homemade electric string instrument (8:10)
- Ikue Mori - drums, John Zorn - reeds and game calls, Lindsay Cooper - sax and electric bassoon, Fred Frith - electric guitar etc. (8:31)
Participants in the festival included:
Gregg Bendian - Percussion
Jill Burton - Vocals
Chris Cochrane - Guitar
Anthony Coleman - Keyboards
Tom Cora - Cello
Judy Danaway - Guitar
Carol Emanuel - Harp
Bill Frisell - Guitar
Bobby Previte - Drums
Jim Staley - Trombone
John Zorn - Sax, Clarinets and Game Calls
Irene Schweitzer - Piano
Fred Frith - Guitar and Homemade Strings
Samm Bennett - Drums
Lindsay Cooper - Bassoon and Reeds
Bill Horvitz - Guitar
Guy Klucevsek - Accordion
Christian Marclay - Turntables
Denman Maroney - Piano
David Weinstein - Mirage etc.
Ikue Mori - Drums
Jill Burton - Vocals
Chris Cochrane - Guitar
Anthony Coleman - Keyboards
Tom Cora - Cello
Judy Danaway - Guitar
Carol Emanuel - Harp
Bill Frisell - Guitar
Bobby Previte - Drums
Jim Staley - Trombone
John Zorn - Sax, Clarinets and Game Calls
Irene Schweitzer - Piano
Fred Frith - Guitar and Homemade Strings
Samm Bennett - Drums
Lindsay Cooper - Bassoon and Reeds
Bill Horvitz - Guitar
Guy Klucevsek - Accordion
Christian Marclay - Turntables
Denman Maroney - Piano
David Weinstein - Mirage etc.
Ikue Mori - Drums
TELLUS is a subscription only publication. To subscribe for 6 issues send $35.00 ($45.00 foreign), $7.00 single issue, to:
TELLUS, c/o Harvestworks Inc. 16 W. 22nd St. (902), New York, N.Y. 10010.
This project is supported in part by the New York State Council on the Arts and The National Endowment for the Arts. Engineered by Jim Staley at Studio PASS, NYC.
Copyright 1986. All rights revert to the individual artists. Submissions must be accompanied by a stamped self addressed envelope.
Publishers/Editors: Claudia Gould, Joseph
Nechvalal, Carol Parkinson.
Assistant: Debbie McBride.
Contributing editor: Jim Staley
Cover by: Scott Richter
Dolby/normal
RECOMMENDED READING:
Stroll: 326 Spring St., N.Y., N.Y. 10012. $5.00 single, subscrip. $18.00/4 issues.
Option: P.O. Box 491034, Los Angeles, CA 90049. $2.50 single, subscrip. $12.00/6 issues.
ND: P.O. Box 4144, Austin, TX 78705. $5.00/3 issues ($6.00 foreign).
Musicworks: 1087 Queen St. West, Toronto, Ontario, Canada, M6C 3E3. Subscrip. (with cassette) 4 issues, $22.00 Canada, $26.00 elsewhere.
(www.ubu.com/sound/tellus_15.html)
Le Grand Macabre
§- Interview by Herman Sabbe, 23 October, 1978
Translated into French and authorized by the composer on 4 February, 1979
First published in Interface, Vol. 8, 1979, pg. 11-34
Translated into English by Josh Ronsen, February-March, 2003
Abstract: The interview traces the background of Ligeti’s opera Le Grand Macabre (1977) through the whole of his career to a fundamental eschatological concern. It retraces its genesis and discloses sources of inspiration in literature and formal analogies to cinematography and the arts. Drawing a parallel with Three Pieces for Two Pianos (1976), it focuses on time neutralization, quotation techniques, the problems of synesthetics and acoustical illusion.
In April 1977, Ligeti finished the score to Le Grand Macabre, an opera in two acts and four scenes based on the play Ballade de Grand Macabre (1934) by Michel de Ghelderode. The work premiered at the Royal Opera of Stockholm, who had commissioned the work. After this, it had its German premiere, in the German language, at the State Opera of Hamburg, in October, 1978, and recently, the Italian premiere, in Italian, in Bologna.
First published in Interface, Vol. 8, 1979, pg. 11-34
Translated into English by Josh Ronsen, February-March, 2003
Abstract: The interview traces the background of Ligeti’s opera Le Grand Macabre (1977) through the whole of his career to a fundamental eschatological concern. It retraces its genesis and discloses sources of inspiration in literature and formal analogies to cinematography and the arts. Drawing a parallel with Three Pieces for Two Pianos (1976), it focuses on time neutralization, quotation techniques, the problems of synesthetics and acoustical illusion.
In April 1977, Ligeti finished the score to Le Grand Macabre, an opera in two acts and four scenes based on the play Ballade de Grand Macabre (1934) by Michel de Ghelderode. The work premiered at the Royal Opera of Stockholm, who had commissioned the work. After this, it had its German premiere, in the German language, at the State Opera of Hamburg, in October, 1978, and recently, the Italian premiere, in Italian, in Bologna.
(www.ronsen.org/monkminkpinkpunk/9/gl3.html)
AGP99 - Iannis Xenakis
§- AGP99 features the work of Iannis Xenakis, a Greek composer who needs no introduction for votaries of the 20th century avant garde. [...] The installment includes a PDF file with scans of the liner notes from the two LPs from which these works were transcribed.
To download AGP99 files, right-click on each of the following links and select SAVE LINK AS.
01 - Polla Ta Dhina, (7:39) - [flac : 39 mb]
02 - ST/10-1-080262, (12:11) - [flac : 54 mb]
03 - Cendrees, (23:18) - [flac : 115 mb]
Liner notes from LPs - [pdf : 700 kb]
[...]
(www.avantgardeproject.org/agp99/index.htm)
Planète Sauvage II
Planète Sauvage II - [mp3s : 76 mb]
LP album (2008)
7 tracks
total time 46 mns 49s.
The second album and first LP of Planete Sauvage presents seven pieces of a quite melancholic caracter. Most of them are given as a tribute to their creators different passions, first of all cinema, but also litterature and philosophy.
1-Mélancholia (Kassiel)
A novel from the japaneese writter-scenarist Ryu Murakami gave the piece it's name, but its theme was inspired by David Cronenberg's subversive film Crash, eroticism and death allegory. Besides we can hear the bewitching voice of the beautiful Déborah Unger.
2-Nos Années Sauvages - Our Wild Years (Kassiel)
This is the french title of the movie Days Of Being Wild, from the chineese director Wong Kar Wai.The duo remembers his youth full of hopes, yet outraged and rebellious, related to their father's youth, enthusiasmes and desillusions ( the french student's revolt in May 1968, first man on the moon 1969 ... ).
3-La Métamorphose Des Krolls - Métamorphosis Of The Krolls (Kassiel)
Personnal reflections on Guy Debord's thought , tribute to the free souls.
4-Le Monologue De La Rose Morte - The Dead Rose's Monologue (Usull)
Back to our father's revolt and their youth : the decay of one's soul is becoming an ironic large audience show, with this imaginary soundtrack of one of the most breathtaking scene played by Marlon Brando, in Bernardo Bertolucci's Dernier Tango a Paris - ( Last Tango In Paris ).
5-Cassiel (Kassiel)
Caracter from the films Wings Of Desire and So Far So Close of the german director Wim Wenders ( in this case, more
"berliner" than anything else ), Cassiel is before all the angel of solitude, the one who cannot but look and listen.
6-Le Retour De Biculah Dans Sa Patrie (chapitre2) - The Return Of Biculah In His Land (part two) (Kassiel)
Second episode of Biculah's adventures, back on his journey in Berlin, our hero, quite a bit desillusioned will cross
the path of one of the greatest 20th century's thinker, Herbert Marcuse .
7-L' Eveil De Shemty - The Awakening of Shempty (Kassiel - Usull)
Nymphean Chant rising upon the birthplace of our next messiah ( see The Book Of The Shadows - Amagimah's Epistle - chapter one - Resurrection - verses 18 - 23 ).
(http://planetesauvagesound.free.fr)
Jealousy Party - Amaranta’s Dance / Play On (live)
WJM: jp set, mix
POGO: actual and recorded vocal
RICCI: alto saxophone, trombone
GELLI: laptop
ANDREINI: percussion
Performed at the Altera Festival @ Black House Blues (Avellino), 2008-04-04
(www.burpenterprise.com)
Vialka's audio page
§- Vialka: turbo folk micro-orchestra
§- Vialka's audio page [oggs & mp3s]
(http://www.vialka.com/
http://www.myspace.com/vialka)
Wednesday, April 15, 2009
The Mutopia Project
Classical and contemporary music
The Mutopia Project offers sheet music editions of classical music for free download. These are based on editions in the public domain, and include works by Bach, Beethoven, Chopin, Handel, Mozart, and many others.
(www.mutopiaproject.org)
[insub25] So It Goes (Live at Geiger)
JOEL GRIP + CHRISTIAN MUNTHE + TATSUYA NAKATANI - So It Goes (Live at Geiger) - [mp3s : rar : 43 mb]
Joel Grip: double bass, etc.
Christian Munthe: acoustic guitar
Tatsuya Nakatani: drums & percussion, etc.
Live recordings by Keith Talent at Club Geiger,
Brewhouse, Gothenburg, December 7, 2007.
The following three people meet this evening. They arrange familiar and not so familiar objects. Two of them sit down while one remain standing. They play, and go for a meal. So it goes:
Joel Grip: swedish bassplayer, festival organiser, label producer, etc. Moving about in the improvised / experimental / creative music field he tours worldwide and has worked with, a.o., Eve Risser, Yoshida Tatsuya, Joe McPhee, Mats Gustafsson, Sam Rivers and Michael Zerang.
Christian Munthe: swedish free improviser concentrating on the sonar possibilities offered by an acoustic guitar. Since the 1980's he has performed/recorded solo as well as with Günter Christmann, Anders Dahl, Mats Gustafsson, Paul Lovens, Phil Minton, Christine Sehnaoui, Roger Turner, a.o.
Tatsuya Nakatani: contemporary percussionist, originally from Osaka, Japan. He performs creative music around the world, and has created a totally unique sound which defies category or genre. He utilizes the drum set, bowed gongs, cymbals, singing bowls and metal objects.
(www.dincise.net/insubordinations/releases25.html)
Webern - Variations for Piano, op.27
Anton Webern - Variations for Piano, op.27
Pianist: Glenn Gould, 1964.
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