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previous artist: angharad davies		there are 5 titles featuring hugh davies in stock. they are listed below.		next artist: rhodri davies

$38.51

new to stock as of
january 10th, 2012

threads:
modern-composition
experimental-instruments
minimalism-drones
free-improvisation

edition rz (germany) #rz 01023-24 cd

christian wolff “kompositionen • 1950-1972” double compact disc set

duo for violinist and pianist (15:54) 1961
for prepared piano (6:01) 1951
for pianist (10:43) 1959
edges (13:05) 1968
duo for violins (6:25) 1950
for piano i (7:57) 1952
stones (5:45) 1968
lines (7:04) 1972
for pianist (5:24) 1959 version 2
suite (i) (7:00) 1954
for 1, 2, or 3 people (14:15) 1964
for pianist i (10:11) 1959
for 1, 2, or 3 people (9:43) 1964
for piano i (5:53) 1952
suite (i) (7:27) 1954
edges (9:20) 1968
drinks (7:46) 1969

september 2011 release ; ... superb overview of christian wolff’s early compositions ; features performances by keith rowe, david tudor, frederic rzewski, the “gentle fire” ensemble (hugh davies, graham hearn, michael robinson, richard benas, stuart jones) & many others ...

edition rz press release...

ed. rz 1023-24 2cdchristian wolff: kompositionen 1950 - 1972

fresh release in september 2011: 2cd-set of compositions by christian wolff. most of the pieces collected for this portrait of christian wolff document the composer’s early activity and were mainly recorded around the time of their composition. each recording exemplifies the sound gestures from their time.

cover design: ott + stein, berlin
scan: christine berkenhoff

finally i realized that the kind of sound made in an indeterminate situation includes what could result in no other way; for example, the sound of a player making up his mind, or having to change it. in fact, the indeterminate notation i've used is, as far as i know, the only possible one for the kind of sound i should like. and don't forget, we also like to be surprised.

... and the rhythm produced by that situation is like no other rhythm.

$15.54

back in stock as of
march 31st, 2010

first in stock on
october 10th, 2006

threads:
electro-acoustic-composition
experimental-instruments
sound-poetry
minimalism-drones
modern-composition

paradigm (uk) #pd 05 cd

“variations 2” compact disc

akemi ishijima - catalysis (13.38)
michael ormiston - hym (04.55)
tom wallace - brixtonquatrain (05.08)
hugh davies - strata (11.20)
bob cobbing & laurence upton - from domestic ambient noise (05.59)
john grieve - 251.3.04.222 (03.08)
clive graham - in tension (11.08)
rolf gehlhaar - cusps (16.46)

paradigm press release...

variations 2 - a london compilation (pd 05)

total time 72'07"

cover by clive graham.
released 1998

jewel case cd with 10 page fold out sleeve

akemi ishijima has so far had only one other work released on cd, although she has had many international performances and broadcasts. she is currently completing her phd at the centre for electroacoustic music studies at city university.

michael ormiston is a virtuoso khöömii singer with 3 tours of mongolia under his belt. this piece uses only the morin khuur, a traditional mongolian stringed instrument, but whilst the music here utilises the harmonic techniques so sacred to the mongolians, it also extends beyond its traditional origins. this is his first release on cd.

tom wallace is an independent composer who organises the sonomorph events in london. the 2 events so far have focused mainly on new acousmatic works by young composers, as well as free improvisation.

hugh davies is one of the first names in the academic world of electronic music. additionally, his involvement in music making extends from working on groundbreaking pieces with stockhausen in the mid 60's to playing in music improvisation company in the 70's, and working with borbetomagus in the 80's.

john grieve is the one artist to carry over from the first volume of variations. his statements are pure and direct. this is another piece for tenor saxophone.

bob cobbing and lawrence upton recorded live at the klinker. at the age of 77, cobbing is undoubtably britains foremost sound poet. previous recordings are thin on the ground and nothing much has appeared in the last 2 decades. he does however, give many performances across london, often with birdyak, (a trio with hugh metcalfe and lol coxhill.) upton has occasionally colaborated with cobbing since 1969.

clive graham is better known for his involvement in the live electronics group morphogenesis and the running of paradigm discs. this is his first solo recording.

rolf gehlhaar became stockhausen's personal assistant between 1967 and 1970 whilst at the same time he became a member of the stockhausen ensemble, with whom he toured and recorded extensively. since this time he has concentrated on composition and the performance of his own works. this culminated in 1985 with the development of a real-time remote gestural control system. it consists of a set of ultrasonic sensors that pick up the movements of the performer/s, the sensors are linked to a computer, running real-time sound synthesis or sampler control. the many applications of this system are collectively known as sound=space. over the years he has continued to return to the infinate flexibility of this system. additionally this piece is uhj encoded for ambisonic playback. he has been living in london since 1975.

$34.01

back in stock as of
april 11th, 2012

first in stock on
june 13th, 2011

threads:
1950s-electronic
1960s-electronic
1970s-electronic
1980s-electronic
electro-acoustic-composition
musique-concrète
digital-musics

best of 2011 !!!

sub rosa (belgium) #sr 200 lp

“an anthology of noise & electronic music • second a-chronology 1936-2003” triple long playing record set

vladimir ussachevsky + otto luening - incantation for tape (2:39) 1963
luc ferrari - visage v (10:36) 1958-59
tod dockstader - aerial > song (12:56) 2002
johanna m. beyer - music of the spheres (6:01) 1938
morton subotnick - mandolin (7:02) 1962
daphne oram - four aspects (8:10) 1960
alan r. splet - space travel w/changing choral textures (4:02) 1983
robin rimbaud / scanner - emily (4:49) 2003
hugh davies / gentle fire - quintet (12:10) 1967-68
kim cascone - zephirum scan (4:50) 2002
meira asher + guy harries - torture - bodyparts (3:42) 2001
lasse steen / choose - purzuit of noize (5:37) 1994
woody mcbride - pulp (6:07) 1993
spk - slogun (6:15) 1979
yoshihiro hanno / multiphonic ensemble - on/off edit (9:12) 2001
sean booth + rob young / autechre - bronchus one.1 (6:04) 1991
david lee myers / arcane device - lathe (5:54) 1988
sun ra - black myth (8:32) 1970
don van vliet / captain beefheart - she’s too much for my mirror/ my human gets me blues (5:22) 1969
laibach - industrial ambients (9:57) 1980-82
percy grainger - free music #1 (for four theremins) (2:04) 1936

may 2010 release ; vinyl version of the second anthology (only this & the first volume have gotten the treatment thusfar ; the others remain cd-only) ...

it’s becoming apparent that this selection is intended as more of a personality-driven mix-cd (bearing the imprint of its compiler ; sub rosa’s guy-marc hinant) than an authoritative overview of electronic music trends over the last 70 odd years ... so we can relax and just enjoy, stop scratching our heads at the inclusion of otherwise questionable content (captain beefheart???) ... still a heroic act as many of the pieces included herein have yet to be converted to digital for mass-appreciation ...

very nicely done triple-gatefold with all of the credits printed in full on the four internal panels ...

sub rosa press release...

an anthology of noise & electronic music #2
second a-chronology 1936-2003

3xlp triple gatefold
srv200

the second volume of seven published from 2001 to 2011, curated, noted and edited by guy marc hinant.

...

slow explorations of the past and the present ...

given the present system of production there are reasons, some of them identifiable, why only a few names emerge in each period. there may also be a preference for concentrating information rather than letting it pile up in disordered fashion. over the past 40 years the same ten electronic music composers get mentioned again and again (including in music dictionaries and histories). yet behind them are many other names. who are they? second-raters? not necessarily. for we then need to define the concept of top-rate (rated by who, and on what criteria?) and second-rate or minor artist.

great pleasure can be derived from the works of minor artists. the case of tod dockstader is instructive: when "for lack of academic qualifications" he was denied access to the electronic music facilities he needed, was there not great beauty in the pieces he nevertheless created and in his determination to make music without those facilities? his name was never seen on the labels of top record companies. but he influenced quite a few people - richard james quoted him, and others then referred to his work. some of his records were reissued, and what one could call the rehabilitation process continues. the same applies to many other composers. all such stories spell a passion for music, and weave myth.

these historical axes

at the turn of the century there were efforts to find new sources of sound - a number of machines were exhibited, including thaddeus cahiel's telharmonium in 1887 and the dynamophone presented to the new york public in 1906 ; they generally played well-known romantic or post-romantic pieces. after a few flamboyant skirmishes described in the previous volume, the postwar period saw the arrival in 1951, of vladimir ussachevsky and otto luening in new york's columbia-princeton electronic music center. when audiences of the 50's and 60's first heard varèse, pousseur, stockhausen, berio, ussachevsky, yuasa, dockstader and mumma, what did they feel? perhaps a sort of break, an epistemological break, like it must have been for the first audience of monteverdi's orfeo (in mantua, italy on 24 february 1607). they left the auditorium completely stunned, because they had never heard anything like it.

$18.01

back in stock as of
april 11th, 2012

first in stock on
july 14th, 2003

threads:
1950s-electronic
1960s-electronic
1970s-electronic
1980s-electronic
electro-acoustic-composition
musique-concrète
digital-musics

sub rosa (belgium) #sr 200 cd

“an anthology of noise & electronic music • second a-chronology 1936-2003” double compact disc set

vladimir ussachevsky + otto luening - incantation for tape (1963) 2:39
luc ferrari - visage v (1958-59) 10:36
tod dockstader - aerial > song (2002) 12:56
johanna m. beyer - music of the spheres (1938) 6:01
morton subotnick - mandolin (1962) 7:02
daphne oram - four aspects (1960) 8:10
robin rimbaud / scanner - emily (2003) 4:49
hugh davies - quintet (1967-68) 12:10
alan r. splet - space travel w/changing choral textures (1983) 4:02
kim cascone - zephirum scan (2002) 4:50
sean booth + rob young / autechre - bronchus one.1 (1991) 6:04
yoshihiro hanno / multiphonic ensemble - on/off edit (2001) 9:12
meira asher + guy harries - torture - bodyparts (2001) 3:42
lasse steen / choose - purzuit of noize (1994) 5:37
woody mcbride - pulp (1993) 6:07
david lee myers / arcane device - lathe (1988) 5:54
laibach - industrial ambients (1980-82) 9:57
spk - slogun (1979) 6:15
percy grainger - free music #1 (for four theremins) (1936) 2:04
don van vliet / captain beefheart - she’s too much for my mirror/ my human gets me blues (1969) 5:22

second volume of curiously-linked historic and contemporary electronics...

it’s becoming apparent that this selection is intended as more of a personality-driven mix-cd (bearing the imprint of its compiler; sub rosa’s guy-marc hinant) than an authoritative overview of electronic music trends over the last 70 odd years. so we can relax and just enjoy, stop scratching our heads at the inclusion of otherwise questionable content (captain beefheart???) ... still a heroic act as many of the pieces included herein have yet to be converted to digital for mass-appreciation. nice one ...

sub rosa press release...

an anthology of noise & electronic music vol. 2 - second a-chronology 1936-2003
wladimir ussachevsky + otto luening - luc ferrari - tod dockstader - johanna m. beyer - morton subotnick - daphne oram - robin rimbaud - hugh davies - alan r. splet - kim cascone - autechre - yoshihiro hanno - meira asher + guy harries - woody mcbride - lasse steen - arcane devices - laibach - spk - percy grainger - sun ra - captain beefheart
digipack 2 cd + 30 pages booklet / sr200

slow explorations of the past and the present
given the present system of production there are reasons, some of them identifiable, why only a few names emerge in each period. there may also be a preference for concentrating information rather than letting it pile up in disordered fashion. over the past 40 years the same ten electronic music composers get mentioned again and again (including in music dictionaries and histories). yet behind them are many other names. who are they? second-raters? not necessarily. for we then need to define the concept of top-rate (rated by who, and on what criteria?) and second-rate or minor artist. great pleasure can be derived from the works of minor artists. the case of tod dockstader is instructive: when "for lack of academic qualifications" he was denied access to the electronic music facilities he needed, was there not great beauty in the pieces he nevertheless created and in his determination to make music without those facilities? his name was never seen on the labels of top record companies. but he influenced quite a few people - richard james quoted him, and others then referred to his work. some of his records were reissued, and what one could call the rehabilitation process continues. the same applies to many other composers. all such stories spell a passion for music, and weave myth.

historical axes
at the turn of the century there were efforts to find new sources of sound - a number of machines were exhibited, including thaddeus cahiel's telharmonium in 1887 and the dynamophone presented to the new york public in 1906; they generally played well-known romantic or post-romantic pieces. after a few flamboyant skirmishes described in the previous volume, the postwar period saw the arrival in 1951, of wladimir ussachevsky and otto luening in new york's columbia-princeton electronic music center. when audiences of the 50's and 60's first heard varèse, pousseur, stockhausen, berio, ussachevsky, yuasa, dockstader and mumma, what did they feel? perhaps a sort of break, an epistemological break, like it must have been for the first audience of monteverdi's orfeo (in mantua, italy on 24 february 1607). they left the auditorium completely stunned, because they had never heard anything like it.

previous artist:
angharad davies

...and that's everything in stock featuring hugh davies.
(why not take a look at the previous and next artists?)

next artist:
rhodri davies