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$19.07

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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”
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.

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back in stock as of
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first in stock on
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alga marghen (italy) #alga 08 lp

walter marchetti “the bird of paradise” one-sided long playing record

  • the bird of paradise (25:45)
alga marghen press release...
w a l t e r m a r c h e t t i
"the bird of paradise"
(cat no. plana-m alga ?).
lp record

the bird of paradise: hunting in the city. performance time: from dawn to dusk. leave your home, with a cool head, and carrying a briefcase full of birdcalls, of the kind used by hunters, as well as a portable tape recorder, slung across your back on a carrying strap. you will use it, at the proper time, to play a tape, which has also been placed in the briefcase. once outside, you begin your performance of 'the hunt' by crossing over to the sidewalk on a far side of the street, with respect to the building you have just left. after observing this building for several minutes, you will then begin to walk. from the point at which you begin to walk, proceed for 1632 paces, and then come to a halt. (whenever you come to a halt you should always look around to your rear, since the bird of paradise may in fact be following you. check at least three times, carefully casting your eyes in all directions). resume walking, turn to the left at the first street corner, and stop again. choose 6 calls and sound them 38 times. then put them back into the briefcase and continue along your way, until passing the second street on the right. remove 10 calls from the briefcase and sound them not more than 20 times. resume your walking. stop after 3274 paces, pick out a call with a powerful sound, and sound it 15 times. resume walking, turn right at the third corner, take a few more steps, stop, open the briefcase, take 5 calls and sound them in alternation 127 times. 1005 more paces. after 2536 paces. sound it 140 times. walk 1634 paces. etc.. etc.. at a certain point you can constantly turn either right or left, entering and exiting every door along this whole new route until coming into sight of a park with a single tree. once beneath this tree, sound all the calls a single time. if everything remains unchanged, motionless and silent, open the briefcase and take out the tape, which holds the recording of the song of the bird of paradise. play it by means of the tape recorder which is slung across your back. replay this tape 316 times. having listened to the song of the bird of paradise, wait in complete inactivity for 24 minutes. and then, perhaps ...

this one-sided lp (25 minutes) with the recordings of the song of the bird of paradise is a secret.

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threads:
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plunder-phonic
 best of 2005 !!! 
alga marghen (italy) #alga nmn11 cd

“rumori alla rotonda” compact disc

  • john cage “duo” (1958) 07’25”
  • walter marchetti “gamapîrt” (1959) 04’22”
  • morton feldman “piano piece 1” (1954) 02’41”
  • juan hidalgo “ciu music quartet” (1959) 11’04”
  • leopoldo la rosa “musica per pianoforte e 3 timpani” (1959) 04’58”
  • john cage “music for piano” (1956) 06’14”
  • juan hidalgo “offenes trio” (1959) 04’49”
  • morton feldman “piano piece ii” (1954) 02’18”
  • walter marchetti “doppio” (1959) 05’10”
  • leopoldo la rosa “rímak” (1959) 12’16”
fantastic compact disc documenting an historic concert which took place at the rotonda del pellegrini, milan, on january 21st 1959 featuring john cage, juan hidalgo, and walter marchetti.
alga marghen press release...
live recording at the rotonda del pellegrini, milan, january 21st, 1959.

performers:
john cage, piano (3, 6, 8)
juan hidalgo piano (4), celesta (10)
leopoldo la rosa piano (5, 10)
walter marchetti celesta (2)
pina lercari viola (1, 4, 10)
franco carabelli flute (1, 7, 10)
giordano cappello oboe (2, 10) english horn (7)
stelio licudi bass clarinet (9, 10)
evadro dall’oca bassoon (4, 7, 10)
giacomo polverino trombone (2, 9, 10)
stanislao massara trombone (4, 9, 10)
domenico torrebruno timpani drums (5, 10)
qintín gonzáles, jesús gonzáles cuatros, maracas, claves, guitarra (10)

...

gabriele bonomo

cage, feldman, hidalgo, la rosa, marchetti: “rumori alla rotonda” milan, january 21, 1959.

among all of the events john cage porticipoted in during his long stay in europe, and more precisely in italy, that followed his controversial appearance at darmstadt ferienkurse on september 1958, the concert he held in milan on january 21, 1959, at the rotonda del pellegriniwith juan hidalgo, walter marchetti, and the peruvian composer leopoldo la rosa - perhops represents a less well-known episode, but not the least relevant one. the reasons of such an interest - reasons that justify the opportunity to present here, after forty years, the complete recording of the concert, and that restore the measure of the exceptionality of this rare document - cam be summarized, first of all, in the contrasting reactions catalyzed by this event, thus prefiguring the front of ill-matched attitudes in which the contradictory european reception of john cage's oeuvre began to crystallize.

featuring cage's intervention both as composer and performer of his awn work as well as of two piano pieces by morton feldman, the concert at pellegrini's rotonda moy be considered the first event of experimental music in europe in which the presentation of american and european composers - if one excepts the non-homogeneaus chorocter of david tudor recitals - consciously acted on an ogreeing and equal aesthetic horizon. it was exactly this peculiarity that tumed out to be differently meaningful for peaple who played 0n. active role in the concert on the one hand, and for those who recognized in it, from an extemal point of view, only the symptoms of a pemicious mixture as regards the kind of cultural phenomenology with which cage's experience was classified at the time of his first clamorous ochievements in europe. the concert, promoted by the 'club intemazionale universitario', was organized thanks to the initiative of juan hidalgo, walter marchetti, and leopoldo la rosa, to crown cage's impending deporture from milan, where he spent almost four months starting from november 1958 - accepting luciana berio's and bruno madema's invitation-to finish the tape of fontana mix at rai television 'studio di fonologia musicale'.

during this period cage was not lacking in other opportunities to perform his compositions, neither did he miss former occasions for presenting his music in italy with a certain continuity, perhaps mare frequently at that time than in other eurapean countries. after the first private performance, reserved to musicians and iriends, of fontana mix simultaneously played with aria written lor cathy berberian (milan, december 20, 195b), cage began a brief tour in italy with luciano berio and the same singer, with a concert programme repeated in rome (ridotta del t eatro elisea, january 5, 1959) and florence (circola leonarda do vinci, january 8, 1959), where they presented music for two pianos, winter music, and variations i, and the first public performance of aria with fontana mix. sytvana bussotti and heinz-klaus metzger, in conjunction with teresa rampazzi, afterwards organized a concert by cage at the circolo culturale 'ii pozzetto' in padua (february 7, 1959), where he performed variations i, music walk, excerpts from music for piano, besides an audition 01 the european premiere of the concert for piano and orchestra recorded in cologne, and metzger's opening lecture entitled the musical progress from schonberg to cage...

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