| $15.01
new to stock as of august 8th, 2008
threads: modern-composition minimalism-drones 1980s-electronic electro-acoustic-composition
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| | | new world (usa) #nw 80676 cd malcolm goldstein “a sounding of sources” compact disc - configurations in darkness (10:11) 1995
- configurations in darkness (26:38) 1995
- ishi/timechangingspaces (20:13) 1988
- ishi/“man waxati” soundings (13:16) 1988
| | click the play button to hear an excerpt of "ishi/timechangingspaces" |
| | march 2008 release ; cd issue of four pieces from the 80s & 90s by composer improvisor malcolm goldstein (feat. radu malfatti, amongst others) ... the “ishi/timechangingspaces” tape-collage piece is esp. visceral ... |
| | new world press release... |
| malcolm goldstein malcolm goldstein: a sounding of sources 80676
malcolm goldstein, solo violin radu malfatti, trombone philippe micol, bass clarinet philippe racine, flute beat schneider, violoncello
as a composer/violinist/improviser malcolm goldstein (b. 1936) has been active in the presentation of new music and dance since the early 1960s in new york city as a co-founder with james tenney and philip corner of the tone roads ensemble and as a participant in the judson dance theater, the new york festival of the avant-garde, and the experimental intermedia foundation. his “soundings” improvisations have received international acclaim for having “reinvented violin playing,” extending the range of tonal/sound-texture possibilities of the instrument and revealing new dimensions of expressivity. since the mid-1960s he has integrated structured improvisation aspects into his compositions, exploring the rich sound-textures of new performance techniques within a variety of instrumental and vocal frameworks.
goldstein has been labeled an “improviser” and a “composer-violinist” (or merely a violinist). what this cd once and for all shows is that he is indeed those things, but encompassing them all is the fact that, profoundly, he is a composer. as he points out, “at the core of baroque music was the integration of composition and improvisation,” and goldstein brings the perspective and focus of a seasoned performer to this undertaking. in this way his music represents a further evolution of that compositional-improvisational dialogue begun in the early 1950s in the aleatoric, “chance” pieces of composers like john cage, earle brown, christian wolff and morton feldman. |
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