mimaroglu music sales ☞ artists ☞ philip corner

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previous artist: cordelia’s dad		there are 8 titles featuring philip corner in stock. they are listed below.		next artist: stephen cornford

$20.38

back in stock as of
july 21st, 2008

first in stock on
october 12th, 2006

threads:
modern-composition
1960s-electronic
electro-acoustic-composition

alga marghen (italy) #alga nmn25 cd

philip corner “more from the judson years (early 60s) instrumental-vocal works vol.2” compact disc

everything max has: as an “afterward” (1964) 17’28”
big trombone (1963) 09’08”
homage to revere (1962) 07’06”
punkt (1961) 11’10”
passionate expanse of the law (1959) 15’45”
expressions in parallel (1958) 08’56”

click the play button to hear an excerpt of "big trombone"

the second of two discs covering further dips into philip corner’s tape-archive of recorded material from the new york of the late 1950s and early 1960s (with a brief flash-forward to 1971.) featuring corner’s work for instrumental ensembles, solo instrumentalists, & vocalists.

participants include: max neuhaus, james fulkerson, dick higgins, malcolm goldstein, as well as many others.

alga marghen press release...

more from the judson years, early 60s: instrumental-vocal works (volume two)

not everything i did in those days was at the judson memorial church

yet not to forget that extraordinary place where so much of the new and exciting performances...and exhibitions... at that most interesting time in new york, took place. an unusual young pastor, al carmines, set up the place for those things. there was a theater there; and a place for the first happenings. an art gallery ......and later the famous dance theater.

there was my first performance when back to the city after military service. from korea. may 1961. the concert was in early 1962. january 2nd, to be exact. handwritten change on typescript: yoko ono's studio --- changed at last moment to judson church. a lot of players; and a lot of pieces. announced. (not nearly all of them done, actually, then, there.)

almost not done at all. meeting yoko again. but fleeting - maybe at a subway stop. the concerts done at her place during my year away. some of my old friends, like toshi ichiyanagi, and dick maxfield. and a lot of new names from california. dick higgins and alison knowles the connection between my old new york and this new scene. george maciunas and his ag gallery----about to close. final concerts by candlelight. otherwise i'd have been organising my concert there.

other re-connections to old associates: john herbert mcdowell, malcolm goldstein. new ones: jim tenney, carolee schneemann, malcolm's wife the dancer arlene rothlein, jackson mac low, a-yo.

but yoko herself was pulling out of the place. not to be found. and the loft permission useless in the face of an adamant landlord's refusal.

the creation of the dance theater: my involvement with it from the beginning/ would come later. (that participation documented on the alga marghen recording "on tape from the judson years” - cd: as most of my electronic music at that time was made for dancers; and the majority of them associated with the judson.)

so here are the performance pieces i was making in this period, working with live musicians. a good number of these performances were also for and with dancers.. ..but not all.

$20.38

back in stock as of
july 21st, 2008

first in stock on
october 12th, 2006

threads:
modern-composition
1960s-electronic
electro-acoustic-composition

alga marghen (italy) #alga nmn24 cd

philip corner “more from the judson years (early 60s) instrumental-vocal works vol.1” compact disc

passionate expanse of the law (1959) 05’36”
air effect (1961) 08’10”
om emerging (1971) as prelude to lovely music (1962) 21’51”
as pure to begin (1963) 08’26”
music reserved until now (1963) 14’33”
composition with or withouth beverly (1962) 11’50

click the play button to hear an excerpt of "composition with or withouth beverly (1962)"

the first of two discs covering further dips into philip corner’s tape-archive of recorded material from the new york of the late 1950s and early 1960s (with a brief flash-forward to 1971.) featuring corner’s work for instrumental ensembles, solo instrumentalists, & vocalists.

participants include: malcolm goldstein, james fulkerson, alison knowles, charlotte moorman, david berhman, dick higgins, joe jones, nam kune paik, chieko shiomi, and many others.

alga marghen press release...

more from the judson years, early 60s: instrumental-vocal works (volume one)

not everything i did in those days was at the judson memorial church

yet not to forget that extraordinary place where so much of the new and exciting performances...and exhibitions... at that most interesting time in new york, took place. an unusual young pastor, al carmines, set up the place for those things. there was a theater there; and a place for the first happenings. an art gallery ......and later the famous dance theater.

there was my first performance when back to the city after military service. from korea. may 1961. the concert was in early 1962. january 2nd, to be exact. handwritten change on typescript: yoko ono's studio --- changed at last moment to judson church. a lot of players; and a lot of pieces. announced. (not nearly all of them done, actually, then, there.)

almost not done at all. meeting yoko again. but fleeting - maybe at a subway stop. the concerts done at her place during my year away. some of my old friends, like toshi ichiyanagi, and dick maxfield. and a lot of new names from california. dick higgins and alison knowles the connection between my old new york and this new scene. george maciunas and his ag gallery----about to close. final concerts by candlelight. otherwise i'd have been organising my concert there.

other re-connections to old associates: john herbert mcdowell, malcolm goldstein. new ones: jim tenney, carolee schneemann, malcolm's wife the dancer arlene rothlein, jackson mac low, a-yo.

but yoko herself was pulling out of the place. not to be found. and the loft permission useless in the face of an adamant landlord's refusal.

the creation of the dance theater: my involvement with it from the beginning/ would come later. (that participation documented on the alga marghen recording "on tape from the judson years” - cd: as most of my electronic music at that time was made for dancers; and the majority of them associated with the judson.)

so here are the performance pieces i was making in this period, working with live musicians. a good number of these performances were also for and with dancers.. ..but not all.

$20.38

back in stock as of
july 21st, 2008

first in stock on
october 12th, 2006

threads:
sound-art
fluxus

alga marghen (italy) #alga nmn08 cd

ben patterson “early works” compact disc

a simple opera (1995 lago di como version 13.4.1999) 15’51”
duo for voice and a string instrument (1961) 11’01”
variations for double-bass (1961) 11’22”
paper piece (1960) 17’05”
pond (1962) 05’24”

click the play button to hear an excerpt of "variations for double-bass (1961)"

as of yet the only available recordings of ben patterson’s early fluxus sound-pieces, the majority performed on or of the acoustic double-bass & recorded in the early 1960s... the two contemporary book-end pieces are performed here by a small orchestra consisting of philip corner, walter marchetti, davide mosconi (of n.a.d.m.a. fame), and others...

alga marghen press release...

"a simple opera (lago di cama version}": i have included this new work for reasons which can be deduced from the sub-title and the libretto (see score reproduced in these notes.) fluxus historians may recognize similarities between this work and a 1960s opera by emmett wiliams. these similarities are intended, as my first version af this opera was a hommage to emmett williams on his 70th birthday.

"duo for voice and a string instrument": this duo was my most ambitious and last attempt to combine graphic notation and chance operations for the realization of a performance score. the complete set of materials necessary to realize a version of this work, consisted of two pages of instructions, three pages of a general universe of symbols and two transparencies (on which circular and rectangular contours were drawn) used to abstract sets of symbols (graphic notations) from the general universe in the preparation of a performance score (see pages reproduced in these notes). this work was first performed at galerie haro lauhus in cologne, germany, on may 14, 1961.

"variations for double-bass": within days after the first performance af "duo", i realized what interested me most about the work were my tentative experiments with "prepared double-bass". i immediately began working on a set of variations far double-bass. and then, unexpectedly, out of some unknown place, something new entered the process - humor! i still remember the joy and excitement of those next days, as the ideas fell into place. the piece was finished within a week and the first performance took place shortly there after on june 8, 1961, again at galerie haro lauhus.

"paper piece": this work cut the umbilical cord to all of my previous classical and contemporary musical training and experience. the process had begun during my first encounter with john cage at mary bauermeister's "contre festival" (may 1960 in cologne). three months later, my reaction to the first performance of stockhausen's "kontakte" made the completion of this process an urgent necessary. "paper piece" was completed in september 1960 and received its first performance at galerie lauhus, cologne on may 14, 1961. however, despite my reasonably precise instructions (see score repraduced here), beginning with the first fluxus festival concerts in 1962, "paper piece" grew a life of its own. it literally began enveloping and involving entire audiences in a wonderfully messy happening. now, nearly forty years later, this first studio recording returns to the acoustic origins of this work.

"pond": critics or historians searching for autobiographical references in my work should consider the following: 1) as a "country boy" in a rural area outside pittsburgh, listening to the crickets, "caddidies" and frogs at a nearby pond, was what i considered "night-life"; and 2) i did not decide wheter to study music or herpetology until the last month before . entering the university of michigan. "pond" was first performed at nikolai kirke, capenhagen on november 26, 1962.

the photos of "duo" and "variations" are fram the "kleinen sommerfest" concert at galerie parnass on june 9, 1962 (see invitation reproduced here); this event has special historic significance in that it included the first public presentation by george maciunas of his fluxus manifesto and plans for the wiesbaden fluxus festival.

$75.05

back in stock as of
july 21st, 2008

first in stock on
october 12th, 2006

threads:
site-specific
sound-installation
field-recordings
musique-concrète

alga marghen (italy) #alga nmn02 cd

philip corner “pieces of (acoustic) reality and ideality” artist's multiple

listening walk at the lonificio bonotto (24:02)
a p o t h é o s e (46:42)

click the play button to hear an excerpt of "listening walk at the lonificio bonotto"

fantastic but expensive edition from fluxus artist philip corner and alga marghen - consisting of a cd-r containing a walk-through of an italian textile factory (impeccably recorded), housed inside a cd-jewel case with a handmade paper cover with bits of fabric from the factory in question tucked inside, signed by the artist.

i currently have two (2) pieces of this edition - which i believe to be the last in circulation. enjoy.

alga marghen press release...

alga marghen
plana-c 2nmn.013

pieces of (acoustic) reality and ideality
2 moments from a continuing life-series:

1. listening walk at the lonificio bonotto *
on 29 july, 1995 a program was given within the fabric factory itself. the regular workers were the conductors of that music made by the machines. a guided tour for ears; the procession through by invited guest-listeners..... each part of the mill with its own sound; all in rhythmic counterpoint. with the microphone which has made this recording.

duration: 24'02"

* and thanks to luigi himself for the promotion of this project-which brings hearing into the piece-of-reolity environment i had already created in his house.

2. "a p o t h é o s e" - just the remains as recorded document of that afternoon alone in my house in cavriogo, just outside reggio nell'emilia..... when i played discreetly on all sorts of objects turning them into a music added to a far-away echo-of-the-past: the forgotten france of couperin (françois)'s "apotheose de lully".

philip corner

duration: 46'42"

produced by emanuele carcano far alga marghen in december 1997
front cover: hand-made paper by stefano pedrini, son polo d'enza (emilia)
fabric sample from lonificia banatta, malvena (veneta, near bassan')

$12.01

new to stock as of
march 9th, 2007

threads:
modern-composition
fluxus
sound-art

experimental intermedia (usa) #xi 125 cd
xi records (united states) #xi 125 cd

philip corner “40 years and one” compact disc

7 joyous flashes (3:45)
concerto for housekeeper (5:58)
short piano piece iv (2:51)
short piano piece ix (2:07)
short piano piece xiii (1:50)
flux & form no. 2 (solo) (4:01)
flux & form no. 2 (3 versions mixed) (4:39)
pulse: a ‘keyboard dance’/c major chord (25:43)
"perfect" (on the strings) (21:49)

click the play button to hear an excerpt of "concerto for housekeeper"

experimental intermedia press release...

philip corner
40 years and one

“this man and his work represent the real "speculum musicae" of the past 40 years. the example of his music embodies a lifelong commitment to an integral radicalism. . . . this is a venerable tradition that philip has written so eloquently about, and continued in his music. a tradition that stems from "charlie" ives through john cage and lou harrison. all of these composers would ultimately admonish us to do one thing: to open our ears--and listen!” —peter garland

“perhaps the single most striking quality of corner’s piano music, beyond the pleasure of the music, is the crystal clarity of the concepts. corner moves purposefully from deep musical thought via these concepts to highly pianistic compositions with a broad range of affect, much as bach moves from his deep music via contrapuntal forms to the unfolding of his keyboard works. there is love for the piano, and in recording the works, and, in relationship to it, the choice mastering techniques for each work. there he was joyful.” —charlie morrow

“when philip plays the piano he always makes me imagine that music is a single great continuum, and that we always live in all of it. we may hear it a portion at a time, but we always live in all of it. i am moved by the ease with which he leads me from here to here to here, each different, always now, always familiar, always remembered, yet unexpected, like watching the change, return and passing of the seasons. in addition to making music, he shows me the reasons for making music.” —henry martin

“always there is the presence of touch as play upon, within, around the piano; his playing, the keyboard and frame of instrument singing, of fingers, palms, arms and body, whole... by touch releasing, through gesture sounding, and always mind/sense being one... the piano thereby is transformed, qualities of percussion and human voice all possible, extended and endlessly fulfilled with nuances of articulation and resonance.” — malcolm goldstein

$13.61

back in stock as of
june 14th, 2007

first in stock on
february 20th, 2007

threads:
modern-composition
experimental-instruments
minimalism-drones
sound-art
fluxus

locust (usa) #locust 78 cd

gamelan son of lion “metal notes” compact disc

gamelan nea (16:01)
either/or-or/either (9:01)
gamelan steinn (3:46)
keith rays (5:54)
gamelan ix "evening of evennesses" (10:43)
through the looking glass (5:59)
hear the sound of random numbers (11:18)
random chords (8:13)

click the play button to hear an excerpt of "keith rays"

locust press release...

gamelan son of lion
metal notes
locust 78
cd
2006-03-14

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 benary (early collab w/ philip glass), fluxus pioneer philip corner, david demnitz, daniel goode, peter griggs, michael byron, and half a dozen other composer/performers.

$30.01

back in stock as of
august 8th, 2008

first in stock on
march 16th, 2007

threads:
modern-composition
fluxus

new world (usa) #nw 80659 cd

philip corner “extreme positions” double compact disc set

two discs of early and recent fluxus-lineage compositions !!

disc 1: trombones

for 2 trombones no. 2 (1960)
calling! om (“from the ’70s”)
attempting whitenesses (1964)
round sound (1963)
one note more than once (2005) (two performances)
an earth breath trilogy (2005)
big trombone (1963)

disc 2: ensemble

zen om (“from the ’70s”)
just another 12-tone piece (1995)
sang-teh, movement iii (1960–61)
passionate expanse of the law (1959)
lovely music (1961–62)
when they pull the plug (2002)
chopin prelude i: the v9 chord which begins the chopin d major prelude . . . as a revelation (1969)

new world press release...

philip corner: extreme positions

composer(s): philip corner
album title: philip corner: extreme positions
cat. no.: 80659 (2 cds)
genre: classical / chamber
release date: 03/2007

description:
the barton workshop:
jos zwaanenburg, flute
john anderson, clarinets
james fulkerson, hilary jeffery, trombones
nina hitz, cello
boris m. visser, violin
manuel visser, viola
rozemarie heggen, contrabass
krijn van arnhem, bassoon/contrabassoon
dante oei, piano (chopin prelude…)
tobias liebezeit, percussion
taylan susam, conductor (passionate expanse of the law)

philip corner (b 1933) studied composition with henry cowell and otto luening and musical analysis with oliver messiaen. during the 1960s and 70s he was an active member of fluxus, a founder (along with james tenney and malcolm goldstein) of the tone roads chamber ensemble, the resident musician and composer for the judson dance theatre, and co-founder of gamelan son of lion (with barbara benary and daniel goode).

the musical opportunities that these ensembles and their performances offered corner insured that he was both prolific and had or developed a deep understanding of the important artistic influences of that time. corner uses a variety of scoring methods—some scores are conventionally written out, some are graphic scores with added commentary and some are, indeed, only text or commentary by which corner creates an attitude to sound-making materials, the manner of eliciting sounds and the manner of responding to the activities of others.

he is truly the equal of john cage in forcing us to examine what we call music and how we understand music-making. he is a master of the art of presenting what amounts to a zen koan to the performer or performing ensembles. he sets interpretive challenges of the highest order while often creating music which can be realized by amateur or professional musician alike.

corner has commented that being drafted into the us army and sent to korea was in fact a “fortuitous” event in his life: “one of the things i learnt in korea was to go into the quality of sound … to enter into this thing that the orient had explored that the west hadn’t.” this set of recordings includes two of the seminal pieces from this period—sang-teh (situations) and lovely music—and proceeds to explore music from five decades of work under the direction of corner’s earlier collaborator, james fulkerson, and the composer himself.

this 2-cd set is the first comprehensive overview of his work, including many of his key compositions, and is an ideal introduction to an important but overlooked figure of the american avant-garde.

$18.01

new to stock as of
april 3rd, 2007

threads:
modern-composition

pogus (usa) #p 21036 cd

“d.i.y. canons” double compact disc set

kyoko kobayashi - cat canon (3:12)
bruno ruviaro - entrei pelo canon 1a (2:46)
mike swinchoski - canon no 1a (3:12)
mike swinchoski - transmissions (3:12)
mike swinchoski - freez dried canon (6:24)
mike winter - filter iv - p.i.x.l. study no 1 (7:55)
ross craig - barbie's phone canon (1:53)
giulano lombardo - 00 (1:38)
giulano lombardo - 01 (2:39)
giulano lombardo - 02 (0:48)
giulano lombardo - 03 (0:33)
giulano lombardo - 04 (2:26)
giulano lombardo - 05 (5:33)
simon wickham-smith - kullankeltaiset päivät (larry-iie) (11:15)
steven m. miller - twin canon (9:43)
steven m. miller - pulse canon (3:20)
masaki kubo (2) - pizzicato canon (1:35)
drew krause - canon for lp (10:35)
george zelenz - thermohaline (6:01)
stefan tomic - ringtone canon (3:55)
bo bell - metrocard canon (1:41)
philip corner / mike winter - mens 5/4 (7:03)
philip corner / mike winter - mens 9/8 (7:03)

pogus press release...

diy canons - simon wickham-smith, curator

okay. really cool, kind of fun, double cd compilation based on a work of larry polansky's. pieces are constructed from the sounds of cats, screams, midi instruments, computer, barbie phone, samples, wooden flutes, piano, bass clarinet, ringtones, metro cards, contrabass, and more. i have some of my favorites - which keep changing each time i listen to the discs. perhaps you will too. read on too get a "real" description from the curator of this project.

"the pieces on this cd are all based on the ideas in larry polansky's four voice canons, a series of pieces he began in 1975. these canons are usually "mensuration canons," which means that the tempi of successive voices is proportional to their start times, so that the voices end together. they also use simple ideas of moving through a list of permutations, and applying the elements of those permutations to various musical parameters. a set of polansky's canons was produced on cold blue records as four voice canons (cb0011).

polansky described these ideas in four voice canon #13 ("diy canon"), a kind of open-source meta-canon score. he distributed this at talks and on the web as an open invitation to others who wanted to make four voice canons of their own. composers responded with a wide variety of variations on the basic idea; a selection of these works is presented here." - simon wickham-smith, curator

previous artist:
cordelia’s dad

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

next artist:
stephen cornford

.home.

.artists.

.labels.

.new.

.restocks.

.best.

.faq.

.blog.