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previous artist: daniel johnson		there are 4 titles featuring tom johnson in stock. they are listed below.		next artist: ben johnston

$31.01

back in stock as of
august 9th, 2011

first in stock on
january 16th, 2008

threads:
modern-composition
concert-recordings
electro-acoustic-composition
live-electronic
minimalism-drones

best of 2008 !!!

die schachtel (italy) #ds zc01 cd

manuel zurria “repeat!” triple compact disc set

lászló sáry - pebble playing in a pot(8:01) 1980
arvo part - pari intervallo (4:23) 1976 -1980
luc ferrari - madame de shanghai (15:17) 1996
louis andriessen - lacrimosa (9:05) 1991
salvatore sciarrino - immagine fenicia (5:18) 2000
arvo part - spiegel im spiegel (9:37) 1978
louis andriessen - de lijn (0:38) 1986
lászló sáry - canon (4:53) 1978
tom johnson - kirkman's ladies - rational harmonies in three voices (14:13) 2005
kevin volans - walking song (5:28) 1984
john cage - ryoanji (17:27) 1984-6
morton feldman - trio for flutes (4:26) 1972
alvin lucier - 947 (7:42) 2001
tom johnson - 32 breaths (5:40) 2000)
stefano scodanibbio - ritorno a cartagena (9:14) 2001
aldo clementi - canzonetta (2:32) 2005
viktor ekimovsky - in canes venatici (7:58) 1986
jonathan harvey - ricercare una melodia (5:31) 1987
zoltan jeney - landscape ad hoc (12:07) 1980
aldo clementi - parafrasi 2 (11:09) 2004
stefano scodanibbio - voyage resumed (12:17) 2005

january 2008 release ; an impressive, triple-disc recital-set from alter ego flautist manuel zurria, featuring a hand-picked selection of pieces by alvin lucier, luc ferrari, salvatore sciarrino, morton feldman, john cage, lászló sáry, arvo part, louis andriessen, tom johnson, kevin volans, stefano scodanibbio, aldo clementi, viktor ekimovsky, jonathan harvey, and zoltan jeney. much emphasis on psycho-acoustic interference (listen to the clip of the lucier piece), live-electronics & delay-lines ...

die schachtel press release...

dszc1 manuel zurria repeat!

genre: minimalism, electro-acoustic
format: 3xcd digipack
description: triple cd – multi-fold deluxe digipak + 16-pages booklet

the restless experimentation and creativity of manuel zurria (of alter ego fame) has resulted in a brilliant series of collaborative works with legendary composers such as luc ferrari, alvin lucier, arvo part, john cage, morton feldman, lászló sáry, louis andriessen, aldo clementi, zoltan jeney, stefano scodanibbio, salvatore sciarrino, jonathan harvey and kevin volans. a truly stunning mixture of electronic and longform electro-acoustic pieces, repetitive ethnic rhythms, drones and delay, field recordings, flute and the human voice.

repeat is the diary of an obsession that has been accompanying me for four long years. alighiero boetti, one of the fathers of italian conceptual art, had fit out along a wall of his house in rome his most introspective work: the wall. on this wall he showed, continuously modifying their choice and position, objects and works belonging to his own production or to the one of other artists friends, together with objects he found by chance on the street, family pictures and drawings of his children. in other words, his own world. during the realisation of this project i have been reading “difference and repetition” by gilles deleuze, which gave me the occasion to ponder on the involvements that bring back to the principle of repetition in music of our time. in a certain sense, deleuze’s writing allowed me to focus on the importance of repetition as a perceptive fact, and as an experience of listening in accumulation. in the same time, i thought of repetition as difference, as a minimal fact, as trance. this element has been determinant in my activity and allowed me to collaborate during the years with musicians who look at repetition as an exciting experience, both physical and mystic.

$12.61

new to stock as of
february 11th, 2009

threads:
modern-composition

experimental intermedia (usa) #xi 106 cd
xi records (usa) #xi 106 cd

tom johnson “music for 88” compact disc

eighty-eights (5:20)
mersenne numbers (7:45)
multiplication table (7:08)
pascal's triangle (16:32)
euler's harmonies (5:35)
abundant numbers (17:50)

experimental intermedia press release...

tom johnson
music for 88

simplicity and clarity have always been among tom johnson's chief concerns as a composer. that concern led him to research number theory, particularly by pascal, fermat, and euclid, and these sources suggested musical structures somewhat more complicated than those that he had used before. music for 88 is the result of these researches. it contains nine sections (six of which are on this recording), each of which is a musical demonstration of a mathematical phenomenon.

$14.62

back in stock as of
december 22nd, 2010

first in stock on
december 19th, 2008

threads:
guitar-themed
modern-composition
minimalism-drones

new world (usa) #nw 80661 cd

seth josel “the stroke that kills” compact disc

eve beglarian (b. 1958) - until it blazes (10:33) 2001
alvin curran (b. 1938) - strum city i, ii, iii (12:23) 1999
michael fiday (b. 1961) - slapback (12:18) 1997
david dramm (b. 1961) - the stroke that kills (11:34) 1993
gustavo matamoros (b. 1957) - stoned guitar / tig welder (9:20) 2005
tom johnson (b. 1939) - canon for six guitars (4:53) 1998

december 2008 release ; recital set from guitarist seth josel, whose name should be familiar from his performance(s) on a number of classic recordings of pieces by phill niblock, mauricio kagel, gavin bryars ...

consisting mainly of solo electric guitar pieces, takes here run the gamut from the twisted wreck of gustavo matamoros’ “stoned guitar” (a billy tk reference ? god, i hope so ...) to the more staid guitar/delay-box ruminations of the eve beglarian & alvin curran pieces ...

new world press release...

the stroke that kills
80661

eve beglarian, alvin curran, michael fiday, david dramm, gustavo matamoros, tom johnson

seth josel, electric guitar, electric bass

over the past twenty-plus years, seth josel has established himself as a leader in helping to shape the electric guitar’s burgeoning future as a “classical” instrument. this album is a statement not only of his artistry as a performer, but also as a curator of new music for the guitar. the six pieces on this recording demonstrate a variety of means and approaches spanning the reified electric flamenco of david dramm to the sound-art abstractions of gustavo matamoros.

david dramm’s (b. 1961) the stroke that kills (1993) is rooted in the fierce rhythmic strumming of the flamenco style, but its translation to the electric guitar propels the music to a harder, more vicious place. michael fiday’s (b. 1961) slapback (1997) is inspired by a live recording of the who in which the guitarist pete townsend plays a duet with himself as his sound echoes off the arena wall. in slapback, the guitar performance—heard in the right stereo channel—is repeated, by means of an electronic delay unit, one eighth-note later in the left stereo channel. like slapback, eve beglarian’s (b. 1958) until it blazes (2001) utilizes an electronic delay to augment the guitarist’s performance, but unlike in the fiday, beglarian’s use of echo does not create a separate contrapuntal line. rather, it helps create a soundspace in which the delay effect promotes a sense of ambient depth and a more subtle sense of syncopation. tom johnson’s (b. 1939) canon for six guitars (1998) is a process piece where rigorous adherence to its initial conditions of pitch and rhythm ultimately produces something of a commentary on itself.

the idea of building a composition around a formalized exploration of the guitar as a harmonic medium is also taken up by alvin curran (b. 1938) in strum city (1999). the first movement is relatively straightforward and presents a long series of chords, not unlike a chorale, through the aural gauze of the strum. while strum city’s first movement is uncritically and unabashedly strum-centric, the second and third movements break apart the strum’s dual temporal nature, each focusing on one of the strum’s dual aspects. gustavo matamoros’s (b. 1957) stoned guitar (2005) comprises two separate sub-pieces: stoned guitar and tig welder. tig welder is a recording of the eponymous device that is played simultaneously with the performance of the stoned guitar score. the balance between guitar and recording is determined by means of external electronics as stipulated by the composer.

$12.61

back in stock as of
january 6th, 2011

first in stock on
february 11th, 2009

pogus (usa) #p 21033 cd

tom johnson / daniel kientzy “kientzy plays johnson” compact disc

kientzy loops (11:43)
tortue de mer (3:03)
narayana's cows (15:31)
infinite melodies no. ii (4:58)
infinite melodies no. iv (9:14)
infinite melodies no. iii (11:16)
infinite melodies no. i (18:24)

pogus press release...

21033-2

tom johnson
kientzy plays johnson

daniel kientzy, saxophones
meta duo
tom johnson, narrator

it is a great pleasure for pogus to present this recording of daniel kientzy playing the works of tom johnson. the following is drawn from the liner notes:

in kientzy loops, the accompanying loop is a mix of six alto saxophones played in continuous blowing, while the principal lines are played on alto saxophone, except for the third section, played on baritone. the piece, premiered at the auditorium of the adac in paris, was awarded a french national prize in the victoires de la musique as the best piece of contemporary music for the year 2000. we are indebted to our friend marc chemillier for la tortue de mer. as a mathematician chemillier became interested in the unique geometry of drawings made in the sand by the people of vanuatu in the south pacific. this (turtle) drawing, and there are many others, consists of a single line with a total of 103 turns, and one must draw the sequence so that the symmetrical form comes out just right. the drawing is systematic, and it also makes a lovely logical form when translated into music.

we decided the sequence would sound best played on the contrabass saxophone, tuned an octave lower than the baritone, a rare instrument with heavy notes that seem to mimic the embarrassing slowness of these giant sea creatures. narayana's cows, inspired by an indian mathematician of the 14th century, and playable on any combination of instruments, is written on three staves: the complete melody, the reduced bass melody, and the drone. the present multi-track saxophone version is probably as rich and energetic as any of the large ensemble versions. the melody is played by three overdubbed sopranino saxophones in unison, the bass line is played by three baritones, and the drone is played by three altos. in each of the four infinite melodies the music follows a logical sequence requiring each subsequent phrase to become longer and longer, reaching out toward infinity. since the four melodies are independent pieces, it is not necessary that they be played in the written sequence. in this case the interpreter ordered his four interpretations according to their contrast and durations, so that the cd ends with infinite melody no. 1. here the music contains longer and longer silences, finally ending with a silence so long that it seems to dissolve into infinite silence as the cd player stops turning.

tom johnson, born in colorado in 1939, received degrees from yale university, and studied composition privately with morton feldman. after 15 years in new york, he moved to paris, where he has lived since 1983. he works with simple forms, limited scales, and generally reduced materials, but proceeds more logically than most minimalists, often using formulas, permutations, and predictable sequences.

daniel kientzy is an international avant-garde artist, dedicated to contemporary music, exploiting the potential of all seven saxophones and the musical power of the electronic as well. prior to his 25 years dedicated to this work, he participated professionally in almost all genres of western music, playing instruments as diverse as bass guitar, double bass, viola da gamba, recorder, bagpipes, and crumhorn.

meta duo is a classical chamber music duo of a unique sort, bringing a natural instrument and an electronic instrument together into an expressive world called enneaphonie, an artistic mode and a technical means created by the artists of the duo for interpreting electro-acoustical music.

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daniel johnson

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next artist:
ben johnston