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previous record label: new tone		there are 52 titles on new world in stock. they are listed below.		next record label: night people

$46.81

back in stock as of
december 19th, 2008

first in stock on
november 28th, 2007

threads:
modern-composition
free-improvisation

new world (usa) #nwcr 2001 cd
composers recordings inc. (usa) #nwcr 2001 cd

scott fields “(blueshift) 96 gestures” triple compact disc recordable set

96 gestures: performance 4
96 gestures: performance 4
96 gestures: performance 5

new world press release...

stephen dembski, conductor
carrie biolo, vibraphone
damon short & dylan van der schyff, drum kits
françois houle, clarinet
hans sturm & jason roebke, double bass
joseph jarman, alto saxophone, eb flute
matt turner, cello
myra melford, piano
rob mazurek, cornet
robbie lynn hunsinger, oboe, english horn
scott fields, electric guitar

$15.21

back in stock as of
december 19th, 2008

first in stock on
october 3rd, 2007

threads:
modern-composition

new world (usa) #nwcr 0815 cd
composers recordings inc. (usa) #nwcr 0815 cd

paul chihara “paul chihara” compact disc recordable

concerto for saxophone & orchestra (13:25) 1980
forest music for orchestra (12:53) 1970
willow, willow (10:17) 1968
logs (6:05) 1969
branches (6:32) 1966
driftwood (7:28) 1968-69
missa carminum brevis (folk song mass) (12:39) 1972
magnificat (5:52) 1965

... mainly for “logs”; “tape realized at ucla electronic studio, on moog and buchla synthesizers.” - but also “willow, willow” (featuring craig kupka!) and “branches” ...

new world press release...

paul chihara: paul chihara
cat. no.: nwcr815
genre: classical
release date: 02/2007

chorus of the new england conservatory;
lorna cooke devaron, conductor
the louisville orchestra; akira endo, conductor
the philadelphia quartet

alan iglitzin, viola
arthur weisberg, bassoon
bertram turetzky, string bass
charles brennand, cello
craig kupka, trombones
donald maccourt, bassoon
harvey pittel, saxophone
irwin eisenberg, violin
karen ervin, percussion
kenneth watson, percussion
kenny sawhill, trombone
paul chihara, percussion
robert ose, trombone
roger bobo, tuba
sheridon strokes, bass flute
veda reynolds, violin

$15.21

back in stock as of
december 19th, 2008

first in stock on
october 3rd, 2007

new world (usa) #nwcr 0781 cd
composers recordings inc. (usa) #nwcr 0781 cd

jacob druckman “jacob druckman” compact disc recordable

windows for orchestra (21:13) 1972
dark upon the harp for mezzo-soprano, brass quinet and percussion (21:58) 1961-62
animus ii for mezzo-soprano, percussion, and electric tape (20:07) 1967-68

new world press release...

jacob druckman: jacob druckman
cat. no.: nwcr781
genre: classical
release date: 02/2007

new york brass quintet
orchestra of the 20th century

arthur weisberg, conductor
jan degaetani, mezzo-soprano
gerald carlyss, percussion
gordon gottlieb, percussion
richard fitz, percussion
robert ayers, percussion

...

“before the run of orchestra pieces that begins with windows, the composer pitted the individual against the terrible power of electronic media. in 1965 druckman began a fruitful association with the columbia-princeton electronic music center. there he began a series of four works entitled “animus.” in animus i (1966) for trombone and electronic tape and in animus iii (1970) for clarinet and tape, the live soloist jockeys with recorded sound for the attention of the audience. the power of the electronic tape drives the trombonist off stage in animus i, but with new resolve the player returns to complete the piece and show up the tape. in animus iii the tape wins the competition and drives the clarinet soloist to the brink of insanity. the other pieces in the series have instrumental forces intervening between a vocal soloist and the tape: two percussionists in animus ii (1967–68) and a mixed ensemble in animus iv (1977). in these works a sexually suggestive chase and the adventures of a bon vivant, respectively, are enacted. the electronic tapes for all four “animus” works are concoctions of freely mixed synthesized sounds and musique concrète—music made from real sounds and noises. in each piece the concrète sounds involved recordings, altered or not, of the soloist.

the results were exciting, but hardly reflected a purist’s approach to the electronic medium. mario davidovsky, working at the columbia-princeton studio at the same time, created a series of more orthodox works, synchronisms, true dialogues for live performer and tape, which ignored the visual and potentially theatrical simultaneous presence on stage of human beings and mixers with loudspeakers. in contrast, these theatrical elements were jacob druckman’s springboard for the animus pieces.

in his program note for animus ii the composer discusses the series in general and reveals his sympathy for the live performer:

“each of the works is involved with the actual presence of the performers theatrically as well as musically. each work limits its focus to a particular area of human affections as well as a limited body of musical materials, (histrionic ‘themes’ as well as musical ‘themes’). each work presumes that the theatrical and musical elements are inseparable; that the ideal performance of the music already embodies the performance of the drama.”

“animus ii deals with the sensuality of ensemble playing within the rite of the concert. there are five groups of instruments distributed in the concert hall; three on the stage and two in the audience. the performers enter through the audience with the first tape sounds in a slow processional. throughout the work they move between the groups of instruments. the epilogue is a ceremonial exit.

“the performance of the work is a celebration of a sybaritic ritual. the tape underlies this as a mirror, memory, inner voice, greek chorus, catalyst; it is the framework upon which the pageant is played. the sound sources of the tape are real (concrete) and electronic. the concrete sources are entirely vocal [the voice of mezzo-soprano barbara martin], the electronic mainly synthesized with the aid of voltage-controlled devices. the finished tape presents a continuous interplay between real and electronic sounds, but the differences between the two are basic. a simple superimposed rhythm (such as four against five) can be charged with energy and excitement when played by people, but the same rhythm played by a machine presents only the decorative symmetries of a moiré pattern. therefore, for me, the real, the animal, is fundamental; the electronic is the ornamental with which the animal is adorned and through which the animal is mirrored and amplified.

“animus ii was composed in 1967–68. the tape was realized at the columbia-princeton electronic music center. the world premiere was by the domaine musical at the théâtre de la ville in paris, february 2, 1970, and the american premiere by the present performers at columbia university, may 6, 1970.”

$15.21

back in stock as of
december 19th, 2008

first in stock on
october 3rd, 2007

threads:
analogue-synth
modern-composition
electro-acoustic-composition

new world (usa) #nwcr 0764 cd
composers recordings inc. (usa) #nwcr 0764 cd

barton mclean / priscilla mclean “the mclean mix and the golden age of electronic music” compact disc recordable

priscilla mclean - invisible chariots (21:49) 1975-77
barton mclean - song of the nahuatl (17:08) 1976
priscilla mclean - dance of dawn (22:23) 1974
priscilla mclean - night images (6:07) 1973
barton mclean - etunytude (5:30) 1982

new world press release...

priscilla mclean, barton mclean: the mclean mix and the golden age of electronic music
cat. no.: nwcr764
genre: classical
release date: 02/2007

composer-performers barton and priscilla mclean have been creating unique sound worlds since their first album of electronic music in 1975 (cri sd 335), and have toured as the mclean mix since 1973. since 1983 they have performed and composed full time, touring the u.s. yearly, along with tours to europe, australia, southeast asia, and south america, performing hundreds of multimedia concerts and interactive installations. a central focus of their often abstract electro-acoustic music has been sounds and images of nature and primal forces of creation.

“the golden age of electronic music” refers to the period during the seventies when analog synthesizers were at their most powerful, and many fascinating works were being created using these with multitrack reel-to-reel tape recorders, noise reducing equipment, analog processors, and large mixers. the mcleans worked from 1974–76 with the synthi 100 and arp 2600 synthesizers, scully tape recorders, spring reverbs, the electrocomp 101 synthesizer, and many small devices in the indiana university at south bend electronic music center. the equipment, large and cumbersome, filled the four walls of the studio, and the composers would often run, back and forth between stations, spending as many as twenty-two hours at a time to develop one complex sound. the pleasure of creating one’s own sound universe, of sculpting audible art in real time and reveling in the results was enough reason to endure the inconveniences!

$15.21

back in stock as of
december 19th, 2008

first in stock on
october 3rd, 2007

threads:
guitar-themed
experimental-instruments
sound-art
minimalism-drones

new world (usa) #nwcr 0699 cd
composers recordings inc. (usa) #nwcr 0699 cd

allan bryant “space guitars” compact disc recordable

whirling take-off (6:30)
a bouncing people planet (6:40)
space guitars (13:49)
a rocket is a drum (6:45)
space train (12:00)
insect takeover (14:36)
space storm (10:26)

click the play button to hear an excerpt of "space train"

reissue of allan bryant’s landmark 1977 “space guitars” lp, a zonked collection of electronics-free extended-technique electric guitar improvs that, still, boggle the mind... results range from detuned slide/whammy-bar type extrapolations to blissed-out pulse-rhtyhm drone-clusters recalling arnold dreyblatt et.al. something of a classic; glad to have this back in print...

new world press release...

allan bryant: space guitars
cat. no.: nwcr699
genre: classical
release date: 02/2007

allan bryant, amplified string instrument

“i was born in detroit (1931), studied chemistry and music at princeton (1949–53), and after the army, pro-baseball, and working as a chemist at cape canaveral, i went to “koln state” (music school) in germany on the gi bill, (1959-63) and spent a lot of time watching karlheinz stockhausen work. i then “visited” rome (1964–87) where frederic rzewski, alvin curran, jon phetteplace and i put together a group, “musica elettronica viva” (mev), to create electronic-sounding music in concert. stockhausen came to a concert of ours in dusseldorf in 1968, and then started his own electronic improvisation group, so you might say we traded influences. since the late 1960s i’ve recorded, on and off, a lot of guitar pieces, including the ones on this record, and in the 1980s i wrote a number of melodic orchestra pieces. (one, lippershey-orion, was performed with the london symphony orchestra in 1987.)

i prefer the spelling “gtarz” because it’s shorter and truer to the sound. from the frustration “uv trying tu” teach english overseas to students old “enuf” to ask “wy” (..iz the speling so…) i’ve “bin” trying for years to finish a book on “short fnetc speling.” but i luuz all my frenz wen i even mention it, so just forget i mentioned it. i can’t resist a few digs tho. if yu think theses words look funny (i.e., new) take another very close look at the words they replace. tradition? these are mostly earlier old english spellings. when i finish the book i’ll go into hiding, selling “spel as u lyc,” or “spelinz a drty tric t ceep us dum” t-shirts to make a living…to farmers probably, “cus” that’s ath way they spell anyhow. benjamin franklin said they were smarter than we are in spelling. but don’t worry, (people get all upset about these things) i’ll only throw in an occasional “shortnd speling” just to spite sam johnson. he said he put old, difficult (time-consuming) spellings in his (our) dictionary “to keep the lower classes in their place” (and put us behind in life). i’ll keep my “shorts” down to just the “ough” wrds tho—which teddy roosevelt tried to get congress to ban. he failed by just a few votes. you see his “thru” now on expressways, but you won’t in the schools. schools will never change—that would make things shorter and faster so we could get more education—and that’s not their (limiting) purpose. both the private and public schools are controlled by parents and outside groups to limit our education. i’ll have to write some complot music to fit in here.

“altho” i sometimes make electronic instruments, these “space guitars” use no electronics, other than amplification. i make new instruments because it’s a good way to make music different than anyone else’s, and to get played without using number painting, splatter, or “the needle’s stuck” techniques—and of course, because they make fascinating new and completely different sounds.

people ask what these instruments look like. not much. i take them apart and construct new ones for each piece. they’re cheshire-cat-guitars. all that’s left of normal guitars are smiling strings with a magnetic-mike tooth or two. the different sounds each one makes, and the different playing techniques used, create an entire new organization by themselves — blocks of sound that are held for some time, that slide in different directions, often with a lot of internal movement, with irregular rhythms, tremolos glissandi, trills, fast and slow vibrations, bubbling, bouncing, waving, wobbling, etc. i became more and more aware that part of the fascination these sounds and pieces had for me was that they sound like those worlds that had always fascinated me, of physics and “astro-nomy” (“star-names”—another school rule-destroy meaning with pronunciation, as with speedo-meter, thermo-meter, etc., the list is “astro-nomical—they missed one…). anyhow, the more i read about this fireworks display universe that we ended up in the middle of (“the incredibly awesome show”), the more awesome and interesting and less scary it became.”

- allan bryant

$15.21

back in stock as of
december 19th, 2008

first in stock on
october 3rd, 2007

threads:
guitar-themed
free-improvisation
modern-composition
minimalism-drones

new world (usa) #nwcr 0698 cd
composers recordings inc. (usa) #nwcr 0698 cd

“new york guitars” compact disc recordable

john king: white buffalo calf woman blues (4:09)
carolyn master: en masse (7:21)
mark howell: the quakening (8:56)
nick didkovsky: flykiller (1:49)
david first: jade perches for silvia (8:41)
brandon ross: o people (5:12)
judy dunaway: fifty 210 (8:53)
loren mazzacane connors: departure (2:56)
ken valitsky: meaning-less (5:44)
phil kline: a fantasy on one note (7:33)

new world press release...

new york guitars
cat. no.: nwcr698
genre: classical
release date: 02/2007

brandon ross, guitar
carolyn master, guitar
david first, guitar
john king, guitar
judy dunaway, guitar
ken valitsky, guitar
loren mazzacane conners, guitar
mark howell, guitar
nick didkovsky, guitar
phil kline, guitar

the electric guitar was born into a hostile climate…

when the first amplified guitars were put on the market in the late 1920s and early 1930s, the first significant public campaigns against ever-increasing city noise were also taking place. among the anti-cacophony mottos: “the silence of each assures rest for us all.” thus, from its inception, the electric guitar was a symbol of noise, imprecision and rebellion. its weapon: amplification, the enemy of restful sleep. though the new york composers and improvisers on this record coax everything from dissonance and drones to blues and jazz out of their guitars, they all have one thing in common: they are by nature defiant, undermining so-called serious music by making it on an electric guitar.

playing avant-garde music on an electric guitar is nothing new. the tradition in new york goes back at least to minimalist composer la monte young writing for guitar in 1958 (which was later transposed to electric guitar) and sonny sharrock making a name for himself as a free-jazz guitarist in the 1960s. what sets the composers here apart is that they grew up in an era of rock and roll. some of them were even playing in rock bands before finding other outlets for their musical experimentation. with all the baggage of rock history now attached to the electric guitar, separating it from the tradition of rock (or blues or jazz) has become not an act of appropriation but subversion. so when mark howell flips through sixty-five years of guitar styles and techniques in nine minutes and judy dunaway composes with the noise inherent in the technology of amplification, they are not celebrating the history of guitar music and technology but exploring its limits.

is there a “new york guitar” school of style? some would like to think so. after all, new york became a melting pot of influential experimental guitarists in the late 1970s, with guitar symphonists glenn branca and rhys chatham, noise makers thurston moore and lee ranaldo of the acclaimed underground rock band sonic youth, mathematically-based composer and improviser elliot sharp, and no-wave cacophonists arto lindsay and pat place, all circulating in the same scene. but here, you’ll find no discernible line linking john kings’s blues, david first’s microtonal play and loren mazzacane connor’s abstractions.

if there is anything these new york composer/guitarists have in common it is the environment they live in, not the musical terrain they’re mapping. the noise of the city—which continues unhindered despite the noise-pollution fighters of the 1920s and 1930s—has a significant effect on the psyche of musicians. it raises their threshold for extreme sounds while exacerbating their need to avoid them. the result is that composers either incorporate the cacophony of the city into their pieces or try to escape from it altogether. examples of the former are ken valitsky merging guitar, typewriter, ringing phones, sirens, and other computer-modified sounds in meaning-less, phil kline evoking the doppler effect created by passing car horns in a fantasy on one note, and nick didkovsky building a distorted, pointillist collage in flykiller. examples of the latter are carolyn master retreating into the colors of the inner world that is en masse and brandon ross meditating on the purity of the jazz saxophone in o, people. as the lyrics to one anonymous blues tune go:

you can take the guitar outside,
you can take the guitar inside
jes don’t take it no place, young man,
where there ain’t no ear open wide.

—neil strauss

$15.21

back in stock as of
december 19th, 2008

first in stock on
november 28th, 2007

threads:
guitar-themed
modern-composition
electro-acoustic-composition

new world (usa) #nwcr 0697 cd
composers recordings inc. (usa) #nwcr 0697 cd

seth josel “long distance” compact disc recordable

sidney corbett - arien iv: solo music for guitar (21:06) 1986
james tenney - water on the mountain - fire in heaven (24:27) 1985
martin bresnick - bag o’ tells (12:12) 1984
eric lyon - greaseball (6:52) 1992
aaron jay kernis - ciacona (7:24) 1981

new world press release...

every composer, every listener to music—intent or casual—has to come to terms with the guitar. as the sonic flesh of western popular music for much of the last half century, it is simply inescapable: there are few places left so remote that the sound of the guitar is unknown or shut out.

given its ubiquity, though, the guitar is an instrument of surprisingly few, if powerful, associations. amplified at great volume, it is rock’s instrument of potency and persuasion, of sex and rebellion; it cries tears and comforts the lonely in country and western music; it is a gentle accompanist and social unifier in folk music; it is a symbol of spain. in classical music, the guitar’s ancestor, the lute, was widely used in the renaissance and baroque periods, but since then, outside of spain, it has been a minor player. in our century, the modernist school of composers has acknowledged it but not its associations, finding in it, instead, a vast potential for color and variety of sounds—an approach that has had little popularity outside of a specialized audience.

yet the tension created by the guitar’s unavoidable historical and ethnic associations, its present-day ubiquity, and its ability to continually renew itself happen to make it an ideal vehicle for musical postmodernism—the instrument, that is, for our times. consequently, the music performed by seth josel herein, which is centered around the culturally unstable 1980s and 1990s, turns out to be a kind of wide-lens snapshot of our musical era that would be hard to match in a collection of new works for any other single instrument.

...

originally from new york and now residing in berlin, seth josel has become one of the leading guitarists of his generation, active in a broad diversity of styles and genres. as a soloist and an ensemble member, he has premiered more than two dozen works including louis andriessen and robert wilson’s opera de materie, john cage’s five4 , sidney corbett’s die stimmen der wände, and james tenney’s form 4. he has performed throughout europe and north america, including with the bbc symphony orchestra, the southwest german radio orchestra, and the schoenberg ensemble of amsterdam, and at numerous festivals including the south bank festival, strasbourg musica, the holland festival, and the munich biennale. since 1991, he has been a permanent member of the musikfabrik nordrhein-westfalen, a state-subsidized ensemble devoted to the performance of contemporary music. he has been associated with many of the leading young composers of europe including richard barrett, johannes kalitzke, and manfred stahnke.

seth josel’s teachers have included manuel barrueco, eliot fisk, robert guthrie, and harpsichordist richard rephann and he has participated in master classes of oscar ghiglia and andres segovia. he earned a bachelor of music degree at the manhattan school of music and he received master's degrees and a doctor of musical arts degree from yale university. among his honors and awards are a fulbright-hays grant and an artist’s stipend from the german state of baden-württemberg for residency at schloss solitude, stuttgart.

$15.21

back in stock as of
december 19th, 2008

first in stock on
november 28th, 2007

threads:
electro-acoustic-composition
modern-composition

new world (usa) #nwcr 0631 cd
composers recordings inc. (usa) #nwcr 0631 cd

henri lazarof “cadence” compact disc recordable

concerto for violoncello and orchestra
no.1 (26:47) 1968
cadence ii for viola and tape (7:54) 1969
continuum for string trio (14:09) 1970
cadence v for flute and tape (11:04) 1971

...mainly for “cadence ii for viola and tape” (1969) and “cadence v for flute and tape ” (1971, performed here by %$#$!@$# james galway !!!)

new world press release...

cadence ii was written in october 1969 especially for milton thomas, thus the subtitle, cadence for milton. as the title suggests, the work has an overall free shape. based upon a cantus firmus (the first note to be heard—an open c string)—with long melismas branching out, the composition comprises a network of many interlocking sub-sections using both traditional and graphic notation. the element of controlled chance also plays a rather important part in its structure.

in the many layers of “live” and pre-recorded viola sounds— quite uncompromising in the complexities of their rhythmic, melodic and dynamic relationships—a sense of continuously increasing tension is formulated by the super imposition and accumulation of musical events from the “past” into the “present.”

it was premiered in 1969 by milton thomas at alice tully hall in new york, with numerous other performances given in los angeles, santa barbara, san francisco, boston, as well as in several european cities.

cadence v was written for and is dedicated to james galway who premiered the work in los angeles in 1973. the soloist uses the c, alto, and bass flutes and the tape consists of pre-recorded c, alto and bass flutes on 2 and 4 channels. cadence v is in one continuous movement with its different sections clearly delineated by the diverse use of the flutes. its density varies from the solo to duets (with the tape) and up to a five voice contrapuntal texture. the character is expressive as well as dramatic. the tape portion was prepared in los angeles by the soloist with the composer’s assistance.

— henri lazarof

$30.42

new to stock as of
december 19th, 2008

threads:
modern-composition

new world (usa) #nw 80696 cd

gordon mumma “music for solo piano (1960-2001)” double compact disc set

jardin, for michelle fillion (13:57) 1958–97
9 songs without words (25:58) 1990s
suite for piano (4:45) 1960
graftings, for daan vandewalle (7:41) 1990–96
four pack ponies, for the taylor cousins (10:10) 1996
basket of strays (9:46) 1970-2001
19 from the sushibox: 5 sushiverticals (8:38) 1996
3 perspectives, in memoriam jacqueline leuzinger (4:09) 1966–96
11 sushihorizontals (16:06) 1986–96
sixpac sonatas (15:41) 1985–97
threesome (9:50) 1996
eleven note pieces & decimal passacaglia (5:39) 1978
large size mograph (8:02) 1962

click the play button to hear an excerpt of "jardin, for michelle fillion"

december 2008 release ; double-disc set covering gordon mumma’s writing for solo piano ...

new world press release...

gordon mumma: music for solo piano (1960- 2001)
80686 (2 cds)daan vandewalle, piano

gordon mumma (b. 1935) is best known for his pioneering role in the development and evolution of electronic and live-electronic music. the piano has played a significant if underestimated role in his career. with a few notable exceptions, this collection by pianist daan vandewalle marks the first commercial recordings of mumma’s music for solo piano composed over more than forty years. it provides an important new perspective on his work as a composer.

the spare textures, irregular rhythms, and pungent dissonances of bartók’s mikrokosmos echo in mumma’s piano music. the keyboard music of bacH and haydn, of schoenberg, webern, ives, ernst krenek, carl ruggles, and ruth crawford also shaped his early piano ideal, as did the experience of superb recitalists in detroit and ann arbor, including walter gieseking, dame myra hess, and glenn gould. the works of the early 1960s were written for the concert hall, but much of the later piano music is more personal—the solitary dreams of a long musical life. and like dreams it filters memories—of music of the distant and recent past, of artistic friendships and loved ones living or dead—to create a uniquely contemporary approach to the piano.

in contrast to mumma’s epic electronic works, his keyboard music is predominantly poetic in its brevity, concentration, and psychological depth. it is music of high specific gravity, each piece a microcosm of finely etched ideas that unfold without literal repetition. for daan vandewalle, it is also “music of dialogue” that communicates—both with the listener and within itself—through its deep concern with sound, phrasing, color, dynamic range, and rhetorical nuance.

$15.21

back in stock as of
december 19th, 2008

first in stock on
august 8th, 2008

threads:
1960s-electronic
1970s-electronic
digital-musics
modern-composition
electro-acoustic-composition

new world (usa) #nw 80694 cd

lejaren hiller “a total matrix of possibilities” compact disc

computer cantata (23:04) 1963

prolog to strophe i; strophe i (6:35)
prolog to strophe ii; strophe ii (2:07)
prolog to strophe iii; strophe iii; epilog to strophe iii (5:42)
strophe iv; epilog to strophe iv (3:16)
strophe v; epilog to strophe v (5:15)
quartet no. 6 for strings (23:56) 1973

arrabiato (6:05)
tranquillo (8:30)
vivace (9:15)
a portfolio for diverse performers and tape (21:51) 1974

click the play button to hear an excerpt of "prolog to strophe iii ..."

august 2008 release ; new world’s treatment of this prior cri title of lejaren hiller’s 60s & 70s mixed-media computer, electronic, & chamber music ... worth it for the 22:00 “a portfolio for diverse performers and tape” alone (howling avant-vocal freakouts coupled with copious stretched out electronic drone-sound(s) & feral rattle) ; coupled with the crude lo-bit synthesis of “computer cantata” & it’s a win-win situation ...

new world press release...

lejaren hiller
lejaren hiller: a total matrix of possibilities
80694

lejaren hiller (1924–1994) was a musically eclectic composer, often combining several different types of techniques in the same piece. in the mid-sixties, he asserted that his “objective in composing music by means of computer programming is not the immediate realization of an aesthetic unity, but the providing and evaluating of techniques whereby this goal can eventually be realized.” in this sense hiller was a forward-looking composer, in that each piece was an experiment that lead toward the next piece. the three works contained in this collection—computer cantata (1963), quartet no. 6 for strings (1973), a portfolio for diverse performers and tape (1974)—demonstrate his love of musical diversity and eclecticism. these works also exhibit other trends that are common in hiller’s music, including collaboration, an interest in microtonality, symmetrical and arch forms, and indeterminate instrumentation. the works span a little more than a decade, from 1963 to 1974, which were amongst his greatest years as a composer. the works also use a variety of instrumentations, from purely acoustic to electronic, and computer music with live ensemble.

these three works are drawn from the cri lp back catalog and will be making their first appearance on cd. virtually none of hiller’s music is currently available on disc and this reissue restores some of his most representative works to circulation.

$60.84

new to stock as of
december 19th, 2008

threads:
electro-acoustic-improvisation
experimental-instruments
live-electronic
machine-music
1960s-electronic
1970s-electronic
1980s-electronic
free-improvisation
analogue-synth

new world (usa) #nw 80675 cd

musica elettronica viva “mev40” quadruple compact disc set

spacecraft (30:49) 1967
stop the war (44:39) 1972
stedelijk museum, amsterdam, pt. 1 (43:07) 1982
kunstmuseum, bern (24:37) 1990
stedelijk museum, amsterdam, pt. 2 (44:05) 1982
new music america festival (30:51) 1989
ferrara, italy (67:03) 2002
mass. pike (10:57) 2007

click the play button to hear an excerpt of "spacecraft"

december 2008 release ; seemingly out-of-nowhere release - a mammoth 4-disc set of otherwise unreleased recordings from mev, dating back to the late 60s !!!

starting with a 1967 recording of “spacecraft” (inarguably the highlight here ; it’s worth noting that this is a completely different take/recording of the piece as featuring on the titular alga marghen disc, here captured at the berlin concert vs. the köln date there) the raucous electro-acoustic banter between allan bryant, alvin curran, carol plantamura, frederic rzewski, richard teitlebaum, and ivan vandor is a force to be reckoned with (utilizing, amongst other things, the first moog synthesizer in europe) ...

comes with an extensive booklet including many texts such as “the spontaneous music of musia elettronica viva,” alvin curran, frederic rzewski, and richard teitlebaum’s composers’ notes, and bios of every performer herein (including later members such as steve lacy, george e. lewis, karl berger, etc ...) and reprints of gig & appearance posters & flyers (see below for a few examples ; would love to have these hanging on the wall here in the office !!!) - i feel like a kid in a candy store going through all of this material (somewhat surprisingly, the later 80s/90s/00s recordings don’t immediately trail off into the kind of general midi / yamaha dx7 tomfoolery you’d normally associate with era “improvised electronic music” - in fact some of the finer moments herein come from the later dates !!!) ...

i’m going to give this set my highest recommendation ; anyone who needs a reminder of just how forward-thinking these ensembles were up to 40 years back need only listen to the first few pieces herein, predating the contemporary electro-acoustic improv wave, industrial music, harsh noise & power electronics, and other such movements held dear here @ mms ...

new world press release...

musica elettronica viva - mev40
80675 (4 cds)

allan bryant, alvin curran, carol plantamura, frederic rzewski, ivan vandor, karl berger, garrett list, gregory reeve, richard teitelbaum, steve lacy, george lewis

musica elettronica viva (mev) was begun one evening in the spring of 1966 by allan bryant, alvin curran, jon phetteplace, carol plantamura, frederic rzweski, richard teitelbaum and ivan vandor in a room in rome overlooking the pantheon. mev’s music right from the start was also totally open, allowing all and everything to come in and seeking in every way to get out beyond the heartless conventions of contemporary music. taking its cue from tudor and cage, mev began sticking contact mics to anything that sounded and amplified their raw sounds: bed springs, sheets of glass, tin cans, rubber bands, toy pianos, sex vibrators, and assorted metal junk; a crushed old trumpet, cello and tenor sax kept us within musical credibility, while a home-made synthesizer of some 48 oscillators along with the first moog synthesizer in europe gave our otherwise neo-primitive sound an inimitable edge. in the name of the collectivity, the group abandoned both written scores and leadership and replaced them with improvisation and critical listening. rehearsals and concerts were begun at the appropriate time by a kind of spontaneous combustion and continued until total exhaustion set in. it mattered little who played what when or how, but the fragile bond of human trust that linked us all in every moment remained unbroken. the music could go anywhere, gliding into self-regenerating unity or lurching into irrevocable chaos—both were valuable goals. in the general euphoria of the times, mev thought it had re-invented music; in any case it had certainly rediscovered it. —alvin curran

this 4-cd set, covering the years 1967–2007, comprises the best surviving recorded documents from four decades of performances, personally curated by its three core members — alvin curran, frederic rzewski, and richard teitelbaum. as such, it is an invaluable historical anthology of one of the pioneering and truly legendary exponents of live-electronic music.

$15.21

back in stock as of
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threads:
electro-acoustic-improvisation
modern-composition
free-improvisation
live-electronic

new world (usa) #nw 80670 cd

earl howard “clepton” compact disc

clepton (28:01) 2006
improvisation (6:02) 2006
rosebud (14:54) 1989

new world press release...

earl howard: clepton
cat. no.: 80670
genre: jazz
release date: 12/2007

earl howard, synthesizer, live processing
georg graewe, piano
ernst reijseger, cello
gerry hemingway, drums

earl howard’s clepton (2006) is as complex, mysterious and poetic as the outer limits of science he finds inspiration in, and the imagery of particle physics is particularly appropriate for the extraordinary interaction that takes place between the composer and his three playing partners throughout clepton’s 38 minutes. for gerry hemingway, “these are models that might be referenced to help us focus our approach to a given section—a basic understanding of scientific principles and concepts is useful as they often have terminology that better articulates the intent of a player’s actions rather than, say, feelings which are more vague and open to interpretation.”

rosebud, a howard/hemingway duo recorded during a tour of upstate new york back in 1989, is as fresh and challenging as if it had been recorded yesterday. what’s particularly remarkable is the range of color and timbral sophistication of howard’s electronics. milton babbitt’s famous line about nothing growing old faster than a new sound certainly applies to the world of electronic keyboards; tune in to your local top 40 station and if you hear a mellotron, an arp odyssey, a yamaha dx7 or a korg m1 you have a pretty clear idea as to when the song was recorded. very few musicians have taken the time to explore these instruments in depth and go beyond the standard patches that soon sound dated, even clichéd. sun ra was one, thomas lehn is another, and you can add earl howard’s name to the short list. the sounds he conjures forth from his dx7, a lexicon pcm 70 and what today would be considered a relatively primitive akai sampler are extraordinarily subtle, and haven’t aged in the slightest.

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back in stock as of
december 19th, 2008

first in stock on
october 3rd, 2007

threads:
modern-composition
electro-acoustic-composition
analogue-synth

new world (usa) #nw 80668 cd

david rosenboom “future travel” compact disc

future travel (43:48) 1981

station oaxaca (3:26)
time arroyo (5:14)
corona dance (4:10)
nazca liftoff (2:20)
desert night touch down (5:10)
palazzo (8:17)
nova wind (14:59)
and out come the night ears (28:13) 1978

click the play button to hear an excerpt of "time arroyo"

october 2007 release; the reissue of david rosenboom’s “future travel” lp, originally released in 1981 on the detroit-based street records (i’m picturing the electrifying mojo spinning this alongside “cosmic cars”) ; arguably rosenboom’s “pop record” - the songs here, mostly performed on the buchla music box 300, all keep regular tempo(s) throughout. the sounds are by and large of the “tinkly” variety (this was the early 80s; chowning’s fm algorithms were still something of a focus) - the tunes occasionally “cheesy” (the liquid-sky-esque vocal on “station oaxaca” says it all) - but given the dearth of rosenboom’s music on disc; we’ll take what we can get...

“future travel” is here augmented by the 1978 cecil-taylor-meets-morton-subotnick meltdown of “and out come the night ears” - a showcase for rosenboom’s keyboard skills, the piano triggering all kinds of resonant bleep from said buchla. great stuff.

new world press release...

david rosenboom: future travel
cat. no.: 80668
genre: classical / electronic
release date: 10/2007

david rosenboom, buchla touché & 300 series electric music box, piano, violin, percussion, texts

david rosenboom (born 1947) is a composer, performer, interdisciplinary artist, conductor, author, and educator. since the 1960s he has explored ideas about spontaneously emerging musical forms, languages for improvisation, new techniques in scoring for ensembles, cross-cultural collaborations, performance art, and multimedia, the interactive music of the infosphere, an approach to compositional modeling termed propositional music, and extended musical interface with the human nervous system. his work is widely published, recorded, distributed, and presented around the world, and he is known as a pioneer in american experimental music.

“future travel (1981) is a journey in sonic imagery. it is set sometime in the future and its starting point is earth. the traveler, whose point of view we imagine, is a spirit being, representing the first awareness of a new form of consciousness to which humans have evolved. at an earlier point in the evolution of the earth human beings had become aware of the unstoppable momentum of the course they had set and the unlikelihood of their surviving. consequently, attention was turned towards learning to direct the process of their evolution to a new form. this form is a macroscopic one, a large-scale organism, to which all, individual entities of earlier earthly forms contributed. the first awareness of this new form of existence is beginning now.

“and out come the night ears (1978) is a solo for piano interfaced with an electronic system developed through a particular improvisation practice that manifests anew in each performance. because this practice has an identity in my mind associated with specific piano exercises i composed for myself, certain musical materials, particular interactive electronics techniques, and a body of performances, it is as such a piece that is not a piece and i call it a piece. the recording presented here is extracted from an approximately one-hour-long performance given in a concert that was coincident with the rollout of the then new buchla 300 electric music box. i sometimes think of the piano as if it was an orchestra, and in this rendition, the buchla 300 provided a means of extending that orchestra.” —david rosenboom

$15.21

new to stock as of
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

click the play button to hear an excerpt of "stoned guitar / tig welder"

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.

$30.42

back in stock as of
december 19th, 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.

$15.21

back in stock as of
december 19th, 2008

first in stock on
november 22nd, 2006

threads:
modern-composition

new world (usa) #nw 80658 cd

christian wolff “ten exercises” compact disc

exercise 18
exercise 11
exercise 18
exercise 10
exercise 7
exercise 16
exercise 8
exercise 14b
exercise 3
exercise 1
exercise 15
exercise 10

new world press release...

10 exercises exercises 18 (two versions), 7, 16, 8, 14b, 3, 1, 15, 10 (two versions), 11

natacha diels, garrett list, larry polansky, michael riessler, frederic rzewski, robyn schulkowsky, chiyoko szlavnics, christian wolff.

this marvelous recording of these elusive works features composer-supervised performances by a hand-picked group of renowned new-music exponents. “your first encounter with the music of christian wolff leaves you with the impression you’ve just heard (or played, or read) something totally strange, unlike anything else you know. and yet, upon reflection, you realize it is at the same time something completely ordinary and normal, as familiar in its way as any number of repetitive actions characteristic of everyday life, getting up in the morning, going to school, work, church, washing the dishes, performing the daily tasks of home and family.

weird little tunes, sounding as if they had been beamed at some remote point in the universe and then bounced back again as a kind of intergalactic mutant music; recognizable melodic and rhythmic patterns, somehow sewn together in monstrous pairings, sometimes reminiscent of the demons of hieronymus bosch, composites of animals, fish, flowers, and common household objects: there is order, but also constant interruption, intrusions of disorderly reality upon regularity and lawfulness, combining to create an effect of both familiarity and strangeness: shklovsky’s ostranenie.

you could say this music is surrealist—not reproducing familiar forms, but revealing, behind these, life’s unpredictability. you could say it is political; improvisatory; concerned with collaborative, non-hierarchical forms of social organization; but you can’t really say what it is like (although john cage came close when he said, after a performance of the exercises in new york, that it was like the classical music of an unknown civilization).”

—frederic rzewski

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december 19th, 2008

first in stock on
november 22nd, 2006

threads:
1960s-electronic
1970s-electronic
musique-concrète
electro-acoustic-composition

new world (usa) #nw 80653 cd

“new music for electronic and recorded media: women in electronic music—1977” compact disc

music of the spheres (1938) (johanna m. beyer)
world rhythms (1975) (annea lockwood)
bye bye butterfly (1965) (pauline oliveros)
appalachian grove i (1974) (laurie spiegel)
i could sit here all day (1976) (megan roberts)
points (1973–74) (ruth anderson)
new york social life (1977) (laurie anderson)
time to go (1977) (laurie anderson)

click the play button to hear an excerpt of "annea lockwood - world rhythms (1975)"

classic compilation (originally released on the 1750 arch label in 1977) containing a thorough selection of pieces by women composers from the 60s & 70s.

new world press release...

new music for electronic and recorded media: women in electronic music—1977

this is a long-awaited reissue of the cri cd of the classic 1750 arch lp.

"the music on this album exhibits an exciting, wide-open, freewheeling approach to the medium of electronic music which has come to be typical of this genre in the late 1970s. no longer are composers obsessively concerned with the agonizing, expressionistic, and purely “electronic” (synthesized) sound formulas which marked much of this music composed between the mid fifties and the late sixties. instead, today we have composers willing to mix media and sonic materials in thoroughly inventive ways to achieve ends which are new-sounding, and often more engaging, than that of the “academic” avant-garde.

this is the outgrowth of a fundamental change in concerns which has been evolving not only among the composers on this album but also in a growing segment of the musical avant-garde, of which these members are some of the most fecund and inspired. these new sources of inspiration certainly were not as widely shared fifteen years ago. several composers represented here are deeply concerned with eastern influences: meditation, healing, trance, states of serenity. others are inspired by traditional (or “ethnic”) musics and their subsequent metamorphoses into such popular forms as rock and roll. still others bring to bear a sense of wit and satire, rarely a prominent feature of avant-garde music in the early 1960s.

this first anthology of women’s electronic music demonstrates great refinement and skill at work in a variety of different styles, several of which are unfamiliar or new even to those who follow contemporary music. the fact that these pieces are more listenable than that of the sixties avant-garde does not point to a musical regression as some critics have overeagerly assumed when discussing modern works using, say, consonant harmonic structures. rather, and i think this is common denominator for these pieces and something which women composers and artists have been instrumental in legitimizing again for this period in time, these works signify a new consciousness of the relationship of art to human life and the important and positive interaction which can be the role of a more personalized art in our day-to-day experience.”

—charles amirkhanian, august 1977

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back in stock as of
december 19th, 2008

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threads:
live-electronic
modern-composition
concert-recordings
circuit-bending

new world (usa) #nw 80651 cd

david tudor / gordon mumma “gordon mumma & david tudor” compact disc

david tudor rainforest (1968) 20:10
gordon mumma very small size mograph (1962) 0:26
gordon mumma small size mograph (1964) 2:09
gordon mumma gestures ii section x (1961) 0:23
gordon mumma gestures ii section 7 (1960) 0:53
gordon mumma medium size mograph (1964) 6:04
gordon mumma very small size mograph (1963) 0:15
gordon mumma very small size mograph (1962) 0:27
david tudor rainforest (1969) 41:35
gordon mumma song without words (1996) 3:06

click the play button to hear an excerpt of "rainforest (1969)"

one of the last missing corner-pieces of the historical live-electronic-music / circuit-bending puzzle has long been the recording of david tudor’s “rainforest i” - thankfully new world have reissued here not one but two different performances of the piece (one in rio de janeiro, 1968, the other at cornell, 1969.)

any sentient soul interested in the roots of contemporary electronic squawk/chirrup will see the release of this disc as a blessed event. highest recommendation.

new world press release...

david tudor: rainforest

gordon mumma: 4 mographs, 2 sections from gestures ii, and song without words

david tudor and gordon mumma, keyboards and electronics

this historic recording features the first-ever release of the two earliest surviving recordings of david tudor’s seminal work, rainforest. sandwiched in between are six keyboard works by gordon mumma in recordings featuring the composer and his close collaborator, tudor. together, these works constitute a fascinating and historically important document of the 1960s avant-garde in america.

in early 1968, merce cunningham created a new dance whose apparent impetus was colin turnbull’s the forest people, with its account of life among the mbuti pygmies of the ituri forest in zaire. for the music, cunningham turned to tudor and for the first time asked him for an original work. when he learned that the dance was to be called rainforest, tudor said, “oh, then i’ll put a lot of raindrops in it.” raindrops were just the beginning: using audio transducers originally designed by the navy for hearing under and above water simultaneously—eight small objects programmed with signals from sound generators, phonograph cartridges, and two sets of speakers—tudor created a world of sound in perpetual but unpredictable motion, a steady state at once abstract and evocative. the first recording, made from the teatro novo orchestra pit on july 30, is an excellent document of the sound character of tudor’s rainforest work when it was performed with the cunningham dance company in those early years.

the second recording documents the first concert performance of rainforest, in march 1969, several months after the rio de janeiro dance performance. the venue was a large conference space at cornell university, ithaca, new york. the equipment was set on tables in the center of the space, with the audience seated around the performers. four separate channels of sound were used and widely spaced, with two in the foreground and two in the background. the sound sources had also expanded from the earlier cunningham performances, with tudor now adding recordings of small sounds from insects and birds, in conjunction with the previous electronic sounds, all modified by his acoustical resonant devices. the interactive circuitry was fundamentally the same as previously, but expanded with new devices and interactive connections.

gordon mumma’s gestures ii and the mographs are two sets of pieces for two pianists, composed between 1958 and 1964. during the 1960s robert ashley and gordon mumma toured with their concerts of new music for two pianos, including parts of gestures ii and some of the mographs. later, some of these two works were performed in recording experiments by mumma and david tudor. two sections from the mumma and tudor recordings, x and 7, are presented on this cd. each of the eleven completed mographs includes the year of composition in its title. the first two words of each title indicate the general length of that particular composition, ranging from very small size mograph 1962 to the only solo piece, large size mograph 1962. the structure and activities of each mograph were derived from seismographic recorded p-waves and s-waves of earthquakes and underground nuclear explosions. these seismograph patterns were part of 1960s cold-war research that attempted to verify the differences between their seismic disturbance sources.

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back in stock as of
december 19th, 2008

first in stock on
august 24th, 2006

threads:
modern-composition
musique-concrète
electro-acoustic-composition

new world (usa) #nw 80650 cd

earle brown “selected pieces” compact disc

times five
nine rare bits (1965)
octet i for eight loudspeakers (1953)
december 1952
novara (1962)
music for violin cello and piano (1952)
from folio: november 1952 december 1952 four systems
music for cello and piano (1954–55)

overview of earle brown’s early compositions...
contains the suitably raw “octet i for eight loudspeakers” from 1953 !!!

new world press release...

earle brown selected works 1952–1965

this long-awaited reissue of the cri recording of earle brown’s (1926–2002) music is the best overview of his seminal early works.

“it is obviously a great pleasure for me that cri is re-releasing its 1974 recording of my work, and an even greater pleasure that i am able to add to the repertoire. the performance of times five and novara (recorded in holland) still seem very fine representations of the works and are performed brilliantly by the dutch musicians. december 1952 as realized by the late, brilliant pianist and composer david tudor is, in my opinion, the best of many performances he made of this graphic score. it is fascinating to hear the realizations by michael daugherty of november 1952, december 1952 and four systems (all published in “folio” (1952–54)—immensely inventive and marvelously performed on piano, tape and computer, with the newer technology that was not available to tudor at the time he recorded his version of december 1952. this recording of nine rare-bits is one of six versions that antoinette vischer (who commissioned the work) and george gruntz surprised me with when i returned to basel after my lectures in stockholm in 1965. although i very specifically compose the sound events, it is an “open-form” score, subject to innumerable formal shapes, arranged by the performers themselves.

music for violin, cello and piano is a very early (1952) twelve-tone serial piece in very strictly metric notation. it uses schillinger-suggested “serial” techniques, very similar to messiaen, as it turned out. in contrast, music for cello and piano is a completely subjectively composed work, in what i called “time notation” (contrary to metric”) which is now referred to as “proportional notation.” i feel this recording to be an extremely authentic and artistically fulfilled representation of these works written between 1952 and 1965 (not all that i wrote during that time, i hasten to add). i hope that future recordings will as successfully represent my work written between 1965 and 2050 as this does the early work.”

— earle brown, january 29, 2000 (from the original liner notes)

performers: govert jurriaanse, flute; arthur moore, trombone; teresia tieu, harp; jaring walta, violin; harro ruijsenaars, cello; ton hartsuiker, piano; john floore, trumpet, harry sparnaay, bass clarinet; roelof van driesten, violin; gerrit oldeman, viola; earle brown, conductor; matthew raimondi, violin; david soyer, cello; david tudor, piano; michael daugherty, piano, computer, electronics; dorothea von albrecht, cello; christine olbrich, piano; antoinette vischer, george gruntz, harpsichords

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back in stock as of
december 19th, 2008

first in stock on
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threads:
live-electronic
electro-acoustic-composition
experimental-instruments
sound-art
plunder-phonic

new world (usa) #nw 80632 cd

gordon mumma “electronic music of theatre and public activity” compact disc

megaton for wm.burroughs (22:34) 1963
conspiracy 8 (18:13) 1970
cybersonic cantilevers (19:16) 1973
cirqualz (5:43) 1980

click the play button to hear an excerpt of "cybersonic cantilevers"

god-awfully ugly disc with three of mumma’s all-time classic live-electronic works;

new world press release...

electronic music for theatre and public activity

gordon mumma with the once group

gordon mumma (b. 1935) has played a pioneering role in the development and evolution of “live-electronic” music. “live-electronics” as a concept and practice appears to have originated in the united states in the late 1950s, outside the few institutional electronic studios and often in the context of innovative theatre activity. from its inception, it frequently involved two processes: (1) live performance with accompanying or interacting sound materials on magnetic tape; and (2) the use of electronic circuitry as sound-modifying and sound-producing instruments.

beginning with his classic megaton for wm. burroughs of 1963, mumma’s live-electronic and cybersonic works of the 1960s and 1970s, especially medium size mograph (1963) and hornpipe (1967), display his resourceful use of both live-electronic processes. cybersonic cantilevers (1973) extends them to include the active participation of audience members, many of them children and teenagers who were quick to grasp the artistic potential of cybersonic technology, while conspiracy 8 (1969–70) is an early example of live interaction between performers and computer. a major addition to the contemporary music discography, this is essential listening for anyone interested in the history of electronic music.

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experimental-instruments

new world (usa) #nw 80624 cd

harry partch “the harry partch collection, volume 4” compact disc

the bewitched - a dance satire (75:43) 1955

new world press release...

meticulously remastered from the original mono master tapes!

the bewitched was partch’s first work solely intended for dance (and mime-dance at that; he was not overly enamored in his lifetime of so-called “modern dance”). drawing heavily from his deep affection for the music-theatrical performance traditions of greek theater, as well as those from africa, bali, and chinese opera, partch conceived of a contemporary american music ritual-theater where musicians not only play, but also function at times as movers-singers-actors. such is the case of the bewitched, where the instruments are the set, in front of (and around) which dancers “dance,” but where the onstage musicians also move and sing. partch’s masterpiece has been lovingly remastered from the original mono masters and the 24-page booklet includes never-before-published photographs from productions of the bewitched. this is the definitive document of this very important work.

“the bewitched is in the tradition of world-wide ritual theatre. it is the opposite of specialized. i conceived and wrote it in california in the period 1952-55, following the several performances of my version of sophocles' oedipus. in spirit, if not wholly in content, it is a satyr-play. it is a seeking for release—through satire, whimsy, magic, ribaldry—from the catharsis of tragedy. it is an essay toward a miraculous abeyance of civilized rigidity, in the feeling that the modern spirit might thereby find some ancient and magical sense of rebirth. each of the 12 scenes is a theatrical unfolding of nakedness, a psychological strip-tease, or—a diametric reversal, which has the effect of underlining the complementary character, the strange affinity, of seeming opposites.” — harry partch

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experimental-instruments

new world (usa) #nw 80623 cd

harry partch “the harry partch collection, volume 3” compact disc

the dreamer that remains—a study in loving (10:29) 1972
rotate the body in all its planes—ballad for gymnasts (8:51) 1961
windsong (11:36) 1958
water! water! — an intermission with prologues and epilogues (37:49) 1961

new world press release...

the four works on this newly remastered cd are eloquent testimony to harry partch’s aesthetic of corporeality. the music he composed for the dreamer that remains, for rotate the body in all its planes, for windsong, and for water! water!, was intended as only one component in the total artistic experience. in these works music joins with drama, with film, with dance, even with gymnastics, as integral parts of the composer’s vision.

“the eloquent and affecting the dreamer that remains (1972) was partch’s last work. it was commissioned by the patroness betty freeman for her film on partch which was directed by stephen pouliot. rotate the body in all its planes (1961) was a spin-off of the “tumble on” sequence in partch’s large-scale theatre piece revelation in the courthouse park. it was premiered at the national collegiate gymnasts championship in 1961. windsong (1958) was also written for film, the soundtrack to a film by madeline tourtelot in which partch saw the greek myth of daphne and apollo. (a later version of the work was named daphne of the dunes). finally, somewhat akin to a broadway musical, water! water! (1961) is perhaps partch’s most lively and lighthearted work. it pokes fun at many targets, especially the rush of audiences for water at the interval; thus the subtitle: "an intermission with prologues and epilogues.” — jon szanto

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new world (usa) #nw 80622 cd

harry partch “the harry partch collection, volume 2” compact disc

u.s. highball—a musical account of a transcontinental hobo trip (25:20) 1943, rev. 1955
san francisco—a setting of the cries of two newsboys on a foggy night in the twenties (2:28) 1943, rev. 1955
the letter (2:48) 1943, rev. 1972
barstow—eight hitchhiker inscriptions from a highway railing at barstow, california (9:57) 1941, rev. 1968
and on the seventh day petals fell in petaluma (35:50) 1963–64, rev. 1966

new world press release...

harry partch’s compositions of the 1940s—and to some extent his work in general—have remained until recently an unwritten chapter in the history of american music. and yet it was these very pieces—the collection of four works he would later collectively entitle the wayward—that brought him to the attention of the new york musical world. his concert of these pieces for the league of composers (april 22, 1944) established for him a small but permanent reputation as a musical maverick who had wandered off well-worn tracks and had developed a sort of lateral extension of his art, independently of any of the main circles of american music.

the musical starting point of the compositions of the wayward is the inflections and rhythms of everyday american speech. from the beginnings of his mature output in 1930 partch had been devoted to what he called “the intrinsic music of spoken words,” and these four works capture something of the spontaneous musicality of the conversations of the hoboes he befriended during the depression. in their original form these pieces used only the small collection of instruments partch had built or customized by 1943: adapted viola, adapted guitar, chromelodeon, and kithara. the versions recorded here are all later reworkings, sometimes with only small changes (as in the case of san francisco), and sometimes involving a substantial amount of recomposition (as in the case of u.s. highball).

the final work on this disc dates from twenty years later than the compositions of the wayward, and represents one of the high points of partch’s later instrumental idiom. and on the seventh day petals fell in petaluma was composed in petaluma, california, in march–april 1964, and revised at various times and places until the completion of the final copy of the score in san diego in october 1966. it marks a radical departure from the theater works he had written at the university of illinois in the early 1960s, and shows a renewed concentration on technical innovation and on fusing his activities as composer and instrument-builder within the context of a single composition. newly remastered.

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new world (usa) #nw 80621 cd

harry partch “the harry partch collection, volume 1” compact disc

eleven intrustions (20:04) 1949-50
castor and pollux—a dance for the twin rhythms of gemini (15:23) 1952
ring around the moon—a dance fantasm for here and now (9:21) 1952
even wild horses—dance music for an absent drama (22:39) 1952
ulysses at the edge (6:39) 1955

new world press release...

this newly remastered reissue marks a welcome return to the catalog of the first volume of the classic 4-cd collection that was formerly available on the cri label. the works recorded on this disc span the first six years of what harry partch (1901–1974), slightly tongue-in-cheek, called the “third period” of his creative life. they show him moving away from the obsession with “the intrinsic music of spoken words” that had characterized his earlier output (the vocal works of 1930–33 and 1941–45) and towards an instrumental idiom, predominantly percussive in nature. this path was to take him through the “music-dance drama” king oedipus (1951) — the culmination of his “spoken word” manner—to the “dance satire” the bewitched (1954–55), in which his new percussive idiom manifests itself. the three works on this disc show partch before, during, and after this period of transition.

in their quiet, forlorn way, the eleven intrusions are among the most compelling and beautiful of partch’s works. the individual pieces were composed at various times between august 1949 and december 1950, and only later gathered together as a cycle. nonetheless they form a unified whole, with a nucleus of eight songs framed by two instrumental preludes and an essentially instrumental postlude.

although foreshadowed by the dance sequences of king oedipus, the plectra and percussion dances (1952) are the first of partch’s major works to be wholly instrumental in conception. they stand in relation to oedipus as a satyr play in relation to a greek tragedy—hence the work’s subtitle, “satyr-play music for dance theater.” he felt that after the prolonged period of composition and production of oedipus it was “almost a necessity to give vent to feelings and ideas, whims and caprices, even nonsense, that seem to have no place in tragedy.”

the final work on this disc is ulysses at the edge, written at partch’s studio at gate 5 in july 1955. ulysses, which partch describes as a “minor adventure in rhythm,” is unique among his mature compositions in that, in its original form, it did not call for any of his own instruments. the version recorded here, for alto and baritone saxophones, diamond marimba, boo, cloud-chamber bowls, and speaking voice, is considered the third version of the piece.

$30.42

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new world (usa) #nw 80612 cd

james tenney “postal pieces” double compact disc set

maximusic (1965)
swell piece (1967)
a rose is a rose is a round (1970)
beast (1971)
swell piece #2 (1971)
having never written a note for percussion (1971)
koan (1971)
for percussion perhaps
or . . . (night) (1971)
swell piece #3 (1971)
cellogram (1971)
august harp (1971)

sublime set of meditative psycho-acoustic pieces by the late james tenney, composed during the early 70s.

new world press release...

postal pieces (2 cds)

the barton workshop

jos zwaanenburg, flutes; alex geller, cello; nina hitz, cello; marieke keser, violin; jacob plooij, violin; judith van swaaij, cello; elisabeth smalt, viola; john anderson, clarinets; gertjan loot, trumpet; krijn van arnhem, bassoon, contrabassoon; frank denyer, melodica; charles van tassel, baritone; theo van arnhem, contrabass; jos tieman, contrabass; james fulkerson, conductor

james tenney (b. 1934) is one of the most important american composers and theorists of the past fifty years. for a very long time, his work was known mainly to other musicians and its tremendous influence was belied by its obscurity. in the past twenty years, however, as his music and writings have been more and more published, recorded, performed, and studied, his place in the context of american contemporary music has become far better understood. he has pioneered musical fields as diverse as computer music, tuning theory, and integrating ideas from acoustics and music cognition into his work. tenney has also been important as a teacher, performer, and scholar of other radical american composers.

this cd contains recordings of the complete set of his postal pieces, written primarily during a very brief tenure at california institute of the arts in the early 1970s. these works, although frequently performed over the years, have not been recorded (with a few exceptions). this recording is a natural and important companion to the recent new world reissue of tenney’s computer and electronic music from the 1960s. both collections represent complete, highly individualistic and essential bodies of work by a major american artist.

the postal pieces, which tenney called “scorecards,” are a remarkable series of eleven short works printed on postcards. each card contains a complete if minimally stated work to be performed by instrumentalists. these pieces elucidate to a large degree some of tenney’s bedrock compositional ideas. each is a kind of meditation on acoustics, form, or hyper-attention to a single performance gesture. this set is essential listening for anyone interested in the evolution of american experimental music.

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new world (usa) #nw 80604 cd

alvin lucier “vespers and other early works” compact disc

vespers (1969)
chambers (1968)
north american time capsule (1967)
(middletown) memory space (1970)
elegy for albert anastasia (1961-1963)

new world press release...

vespers and other early works

alvin lucier (b. 1931) is best known for his pioneering work in the mid-sixties in the exploration of sonic environments, particularly sounds that we would never perceive under ordinary circumstances. vespers and other early works restores to the catalog several of his key works from that time. in vespers (1969) performers with sondols (sonar-dolphin), hand-held pulse wave oscillators, explore the acoustic characteristics of given indoor or outdoor spaces by monitoring the echoes of the pulse waves off the walls, floors and ceilings, as well as any objects or obstacles in range of the sound waves. over time, the listener receives an acoustic signature of the room. in chambers (1968), battery-operated radios, tape recorders, and electronically powered toys of various kinds are hidden in paper bags, shoes, kettles, and small suitcases and other small resonant environments. as performers carry these small “rooms” into larger ones, such as concert halls, football stadiums and underground cisterns, the sounds, already altered by the acoustics of the small environments, are altered a second time by the acoustics of the larger ones. this version was recorded in 2002.

north american time capsule (1967), for voices and vocoder, is described metaphorically by lucier as a message to listeners who don’t know about us. these could be very remote and exotic humans or the fabled “beings” in some other part of the universe. the message is encoded in accordance with the empirical fact that purely electronic signals are more easily transmitted through space (and through time) than the more complex waveforms of speech.

(middletown) memory space (1970) is a reenactment of the composition called “(hartford) memory space, for any number of instrumental players with recordings of environmental sounds.” the instructions for the original (city) composition say: “for performances in places other than hartford, use the name of the place of performance in parentheses at the beginning of the title.” the instructions tell the performers to go out into the city and record, by any means—electronic recording, graphic notation, or memory—the sounds of the city, and to return to the inside performance space at any time and “re-create, solely by means of your voices and instruments and with the aid of memory devices (without additions, deletions, improvisation, interpretation) those outside sound situations.” elegy for albert anastasia (1961–1963) is described as composed “for electromagnetic tape using very low sounds most of which are below human audibility.” liner notes by robert ashley.

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modern-composition
musique-concrète
1970s-electronic

new world (usa) #nw 80597 cd

paul chihara “forever escher • shinju • wind song” compact disc

forever escher (20;06) 1993-94
shinju (ballet in one act) (22:27) 1973
wind song (cello concerto) (18:45) 1971

new world press release...

paul chihara: forever escher/ shinju/ wind song
cat. no.: 80597
genre: classical

the works of paul seiko chihara (b. 1938) are informed by and continue the rich tradition of the association of music with theater, dance, and film; for at the center of his music lie the conflictual actions of drama, and even the purifying cathartic power of ritual. indeed, not only his music for film and stage, but much of his purely instrumental music reflects his concern for narrative and/or protagonist situations. this tendency is made manifest by such formal devices as pitting a single voice against a sound mass of fused instrumental groups in such works as wind song (1971), or by contrasting and interpenetrating distinct instrumental choirs in an agonistic exchange of timbral colors, as in forever escher (1993–94).

forever escher (double quartet), an octet for saxophone quartet and traditional string quartet combined, is a tour de force of polyphonic writing and acoustical balance. chihara allows each quartet its unique timbral identity (though from time to time they merge) while interchanging and metamorphosing much, but not all, of the melodic and harmonic material associated with each.

the music of shinju (1973) is most notable for its integration of electronically processed authentic ancient japanese song and instrumental music into the orchestral fabric. for his sound source, chihara recorded performances by two japanese master musicians and then transformed these ancient melodies and ensembles via the technique of tape manipulation known as musique concrète. the otherworldly atmosphere evoked by the musique concrète passages greatly enhances the shroud of doom that begins to spread from the first sounds of the orchestral prelude.

the idea for wind song came to chihara while he was working on a re-composition of the cello concerto in a minor by the german composer robert volkmann. while reconstructing the concerto, he began to collate impressions emanating from his interaction with volkmann’s material, eventually forming a concept for a cello concerto of his own. at first, he conceived of a concerto of “heroic” proportions, like those formally typical of nineteenth-century romanticism. what he settled on, however, was a music that is at times both penetratingly understated and vitally lyrical. like the natural phenomenon of wind itself, this music undulates precariously from the subtlety of a spectral whisper to seemingly inconsolable melancholic howls, touching all the gradations between the two extremes.

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threads:
1960s-electronic
1970s-electronic
1980s-electronic
electro-acoustic-composition
modern-composition
live-electronic

new world (usa) #nw 80595 cd

barney childs “a music; that it might be ...” compact disc

take 5 (3:50) 1962
a music; that it might be.... (11:38) 1973
grande fantasie de concert (“masters of the game”) (4:13) 1990
london rice wine (4:35) 1973
pastoral (5:59) 1983
instant winners (9:55) 1986
changes for three oboes (6:02) 1959
quartet for bassoons (7:27) 1958
the golden bubble (9:35) 1967
variation on night river music (0:59) 1969

new world press release...

“sometimes i wonder about what we are doing: the writing of music hardly anyone wants to hear is pretty well the bottom of the list in terms of today’s consumer-approved activities although i concede there is something to be said for the preparation of a dictionary of pre-medieval finno-ugric. anyway, there’s the music; may those who wish use it as they may please.” — barney childs

barney childs (1926–2000) is particularly noted for his innovative and influential scores that invite their performers’ collaboration in the very construction of the works and in which indeterminacy and improvisation sit side by side with traditional forms of structure and notation; his early works show influences of hindemith and carter. eclectic in nature, childs’ compositions freely explored diverse avenues of musical thought and drew inspiration from many sources, including traditional western concert music (especially that of such composers as hindemith, ives, ruggles, and copland), the open form works of john cage, and jazz of all styles.

the present recording is the first that is dedicated exclusively to his works and comprises ten compositions for woodwinds, including the now defunct e flat contrabass sarrusophone. the broad scope of childs’s eclectic compositional style is reflected in the techniques and structural elements used in these pieces—indeterminacy, improvisation, electronics, extended techniques, graphic notation scores, microtones, silence, and the spoken word, among others.

phillip rehfeldt, woodwinds
ron george, percussion
marco schindelmann, reader

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new world (usa) #nw 80585 cd

kenneth gaburo “five works” compact disc

string quartet in one movement
mouth-piece: sextet for solo trumpet
antiphony iii (pearl-white moments)
the flow of (u)
antiphony iv (poised)

new world press release...

five works for voices, instruments, and electronics

thomas howell, piccolo; james fulkerson, bass trombone; thomas fredrickson, double bass; barbara dalheim, voice; kenneth gaburo, conductor; walden string quartet; jack logan, trumpet; new music choral ensemble; linda vickerman, elinor barron, philip larson, vocals

kenneth gaburo (1926–1993) composed works for instruments, voices, electronics, multi-media, theater, and a variety of other resources. foremost among his many interests was a concern with the voice and with language—how we shape language and how we are shaped by it—and with making works that existed somewhere between the boundaries of music and language. of the works on this cd, three are intensely concerned with what gaburo termed “compositional linguistics” (antiphony iii, antiphony iv, and mouth-piece), while concerns with balance and perceptual edges seem to be his foremost concern in the other two [string quartet in one movement and the flow of (u)]. in antiphony iv (1967), for three instruments and two-channel tape, the two channels are literally separate—vocal sounds (each phoneme, in order, of the source poem) on the left channel, and electronic sounds on the right channel, with the instruments in the middle. instrumental timbres relate to vocal phonemes; electronic splats are contrasted with delicate synthetic choirs assembled from recordings of individual phonemes; tremolos, flutters, and waverings alternate among recorded voice, electronics, and instrumental sounds. string quartet (1956) was written just after gaburo had returned from rome, where he studied with goffredo petrassi, and the quartet is dedicated to him. it’s a passionate, driving piece, where an intense concern for the quality of line is manifest in every gesture. in mouth-piece (1970) the trumpeter attempts to present six contrapuntal lines simultaneously and to maintain a sense of coherent timbral identity with each. unlike most trumpet music, where the phoneme “t” or “k” is used to articulate the trumpet, here the trumpet is used as a filter for every phoneme the voice is capable of generating. it is an amazing exposition of vocal sounds and trumpet virtuosity. for antiphony iii (1962), for sixteen voices and electronics, a poem by virginia hommel again provides the basis. here, however, it is articulated contrapuntally, one word at a time, by both the chorus and the tape. each word is clearly heard, sometimes spoken, sometimes whispered, sometimes shouted, sometimes electronically modified on the tape, in the order presented in the poem. the flow of (u) (1974) consists of one note sung by three singers for twenty-three minutes. here, focus is even more intense, and the attention to dynamic shaping given to the lines in the 1956 string quartet is here transferred to the micro-level, and worked on with the singers in an “oral tradition” manner.

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new world (usa) #nw 80572 cd

scott rosenberg “creative orchestra music, chicago 2001” compact disc

tehr (9:38) 2000
wash (9:02) 1995
7x with sttm (13:36) 1997/2001
forgetting song (13:32) 1997
toys (18:34) 1996

new world press release...

"the orchestra’s main power lies in its ability to consume and transport the listener. the sheer tonnage of vibrations generated by a large ensemble cannot be replicated or approximated by mere volume or electronic reproduction. the raw acoustic phenomena of twenty-or-more instruments working together in a single space to form a single sound entity is a radical and unmatchable kinetic force.

to then add improvisation to the orchestral palette, and the implications that are posed by spontaneous music generation, is to knowingly step completely outside of the institutional orchestral tradition. it is, however, to enter into another tradition established by such pioneers as earle brown, morton feldman, anthony braxton, leo smith, muhal richard abrams, karlheinz stockhausen, john cage, and so on." — scott rosenberg

scott rosenberg (b. 1972) is a multi-reed player and composer focused on creating a body of work that blends experimental composition with free improvisation.

creative orchestra music, chicago 2001 is the second recording of his dark-hued, richly layered orchestral works. rosenberg conducts a 26-piece ensemble, largely comprised of leading lights of chicago’s new-music scene, in six compositions — tehr, wash, 7x with sttm, forgetting song, and toys — that incorporate elements of improvisation, including conducted improvisations in some sections.

albums like braxton’s classic creative orchestra music 1976, the large-band work of abrams, and the improv-dominated transmissions of the globe unity orchestra can all register as antecedents to rosenberg’s music in disparate ways, each using composition and improvisation in different measures. william parker’s and barry guy’s orchestras suggest that the creative orchestra is still alive and well, but unlike those composers rosenberg is more willing to let go of the jazz vocabulary while retaining its improvisational energy and edge, giving his rigorous writing an often-changing complexion.

creative orchestra music, chicago 2001

lisa goethe-mcginn, flute
kyle bruckmann, oboe
matt bauder, jesse gilbert, paul hartsaw, laurie lee moses, todd munnik, aram shelton, reeds
todd margasak, nathaniel walcott, trumpets
jeb bishop, nick broste, trombones
megan tiedt, tuba
carol genetti, voice
nathaniel braddock, john shiurba, guitars
jen paulson, viola
chris hoffman, drew morgan, violoncellos
kyle hernandez, elizabeth kennedy, jason roebke, contrabasses
steve butters, jerome bryerton, tim daisy, percussion
jim baker, piano/synthesizer
scott rosenberg, conductor

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threads:
1960s-electronic
digital-musics
electro-acoustic-composition
plunder-phonic
musique-concrète

new world (usa) #nw 80570 cd

james tenney “selected works 1961-969” compact disc

collage #1 (“blue suede”) (3:22) 1961
analog #1 (noise study) (4:23) 1961
dialogue (4:08) 1963
phases (for edgard varèse) (12:20) 1963
music for player piano (5:48) 1963-64
ergodos ii (for john cage) (18:24) 1964
fabric for ché (9:50) 1967
for ann (rising) (11:47) 1969

click the play button to hear an excerpt of "collage #1 (“blue suede”)"

utterly fantastic disc, reissuing the long o/p collection of james tenney’s early electronic & computer music issued a decade or so back on the artifact label...

some just ridiculously raw early digital music, plus some of the first attempts at plunderphonics (”blue suede” is a bona-fide classic...)

new world press release...

james tenney
selected works 1961-1969

the work of james tenney (b. 1934) as a composer, theorist, performer, and teacher, is of singular importance in american music of the past four decades. he is by nature a quiet, almost publicity-shy musician, but his musical and theoretical works are steadily becoming widely known, despite the fact that few have been published and only a relatively small number, to this date, are readily available on recordings. this recording is a reissue of the 1992 frog peak/artifact cd, the first recorded collection of james tenney’s music of the 1960s. many of the pieces on this cd were realized at bell telephone laboratories from 1961 to 1969, where tenney used max mathews’s digital synthesis program that eventually became music iv. this software became the model for many of the common computer music environments of the last forty years, and was the first system of its kind available to composers. tenney’s pieces from 1961–64 constitute the first significant and developed body of computer-composed and synthesized music by an american composer.

tenney was a very young composer when he wrote these pieces. he was working with a new medium, a technology that was still being developed, and a new aesthetic. it is perhaps easy to overlook the importance of the latter in the light of the tremendous technical and historical importance of these pieces—but it is characteristic of tenney that he was not content just to explore the sonic and technical capabilities of a new technology. to this day, his work from this period remains an important example for composers who work with new technologies: the new world of “computer music” needed a radically new definition of music itself.

the 32-page booklet includes greatly expanded liner notes by composer and former tenney pupil larry polansky.

$76.05

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threads:
electro-acoustic-composition
electro-acoustic-improvisation
modern-composition
musique-concrète
1960s-electronic

new world (usa) #nw 80567 cd

“music from the once festival 1961-1966” quintuple compact disc set

five discs of live-electronics and early electronic realizations !!!!!

disc 1: 1961 [72:56]

robert ashley – sonata (7:44) 2/25/61
donald scavarda – groups for piano (1:03) 2/25/61
george cacioppo – string trio (10:23) 3/4/61
roger reynolds – epigram and evolution (8:50) 3/4/61
gordon mumma – sinfonia for 12 instruments and magnetic tape (12:03) 3/4/61
donald scavarda – in the autumn mountains (7:01) 3/4/61
bruce wise – two pieces for piano and chamber group (6:23) 3/4/61
robert ashley – the fourth of july (18:37) 2/25/61

disc 2: 1962 [72:23]

donald scavarda – matrix for clarinetist (9:07) 6/2/62
roger reynolds – wedge (7:56) 2/10/62
gordon mumma – meanwhile; a twopiece (7:16) 2/10/62
donald scavarda – sounds for eleven (10:55) 2/16/62
gordon mumma – from gestures ii (13:14) 2/16/62
george cacioppo – bestiary i: eingang (7:16) 2/16/62
robert ashley – details (2b) (7:09) 12/16/62
robert sheff (aka blue gene tyranny) – ballad (8:31) 12/16/62

disc 3: 1962–63 [74:21]

gordon mumma – large size mograph (8:09) 12/16/62
robert ashley – fives (12:36) 2/9/63
gordon mumma – a quarter of fourpiece (4:56) 2/9/63
george cacioppo – two worlds (6:02) 2/10/63
roger reynolds – mosaic (9:38) 2/10/63
george cacioppo – pianopieces 1-3 (8:19) 2/16/63
roger reynolds – a portrait of vanzetti (20:27) 2/16/63
gordon mumma – greys (3:19) 12/3/63 (stereo electronic music for the film/score greys by donald scavarda)

disc 4: 1963–1964 [76:32]

philip krumm – music for clocks (10:24) 2/17/63
robert sheff – diotima (18:58) 2/28/64
george crevoshay – 7ptpc (5:57) 2/29/64
donald scavarda – landscape journey (9:31) 2/25/64
george cacioppo – advance of the fungi (15:54) 2/25/64
robert ashley – in memoriam … crazy horse (symphony) (15:12) 2/25/64

disc 5: 1964–1966 [76:52]

bruce wise – music for three (29:30) 2/26/64
george cacioppo – time on time in miracles (9:44) 2/12/65
david behrman – track (10:11) 2/13/65
pauline oliveros – applebox double (17:07) 3/28/66
robert ashley – quartet (9:51) 3/28/66

click the play button to hear an excerpt of "gordon mumma – greys"

utterly essential set collecting live-concert recordings from the early 60s once festival in ann arbor, michigan. here we have the roots of live-electronic music and/or circuit bending by the sonic arts union, amongst others.

new world press release...

ann arbor, michigan, seems an unlikely site for the establishment of a major avant-garde festival that would shake the new-music community. tucked away in america’s heartland, the city is equally removed from the eastern metropolises whose artists pride themselves on sensing the pulse of the times, and from the nonconformist west coast. yet during the 1960s ann arbor played host to one of the most extraordinary adventures in american music history: the annual once festival and its nexus of related activities.

the primary aim of once’s founders—robert ashley, gordon mumma, george cacioppo, roger reynolds, and donald scavarda—was to create a forum for the presentation of cutting-edge music. to this end they were phenomenally successful. performers and composers—whether little-known or renowned—embraced the endeavor, demanding almost nothing in return. perhaps most important, however, once acted as a creative stimulus for its organizers. scavarda describes the adventure as an explosion of pent-up energy: “suddenly we could write anything we wanted and have it heard.” and they did. the once composers—and many guest artists—wrote a host of new works, some experimental, others more traditional.

what united the once composers was their exploration of sound, whether through the medium of extended techniques on traditional instruments, electronic (or electronically modified) timbres, or the intersection of musical sounds with those of the environment.

a major slice of once’s rich musical legacy—35 works constituting six hours of music—is presented here, almost all for the first time. these pieces are as diverse in style as they are compelling in expression. this landmark set, the most comprehensive document ever released of this legendary event, is an opportunity for anyone interested in contemporary music to hear history in the making. included in the set is a 140-page booklet with a lengthy scholarly essay by musicologist and biographer leta miller and numerous rare photos of once personages and performances.

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threads:
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electro-acoustic-composition
live-electronic
analogue-synth

new world (usa) #nw 80563 cd

“works by robert erickson, harvey sollberger, peter westergaard, phillip rhodes, edwin dugger” compact disc

phillip rhodes - duo for violin and cello (12:43)
harvey sollberger - grand quartet for flutes (7:56)
robert erickson - ricercar for 5 trombones (12:39)
peter westergaard - variations for six player (9:15)
edwin dugger - music for synthesizer and six instruments (6:58)

... mainly for the edwin dugger piece, which i discovered when i ran across the acoustic research lp containing it a few years back ... a nice, obscure blip in the early “synthesizer with ensemble” radar ...

new world press release...

edwin dugger’s 1966 music for synthesizer and six instruments represents another development of the sixties avant-garde, experiments in electronic sound. as computers and synthesizers increasingly dominate pop idioms—often with a mechanical, homogenizing effect—it is useful to recall their poetic, largely unrealized potential. as a colorful example of their unresolved status in the past, dugger’s piece raises tantalizing questions: is electronic sound the music of the future, or is it all too often, in pierre boulez’s phrase, the music of science fiction? do synthesizers constitute, as edgard varèse hoped, new materials for a new music, or do they merely enhance traditional ensembles with an illusion of revolutionary novelty?

dugger’s music for synthesizer and six instruments plays with all these possibilities. as with the other works on this recording, instruments imitate and blend into each other, distributing among themselves individual notes in the melodic line—yet the electronic element creates a different sound and sensibility. in the first movement, the instruments and synthesizer act independently, alternating in an antiphonal pattern that emphasizes the independence of each. only in a single tutti shortly before the end do the two forces come together. in the somber second movement, the synthesizer and six instruments play simultaneously, reinforcing their similarities, teasing the ear into deciding just where electronic music ends and acoustic begins. in the finale, an elaborate cadenza for synthesizer alone steals the show. the expressive content is similarly varied: hisses, squawks, and gurgles—the loopy “science fiction” sound associated with electronic music—gradually elongate into a more chordal, lyrical discourse. a final sigh from the strings ends the music on a note of quiet mystery.

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new world (usa) #nw 80558 cd

terry riley “assassin reverie” compact disc

uncle jard

part 1 (5:17) 1998
part 2 (8:36) 1998
part 3 (5:32) 1998
assassin reverie (18:43) 2001
tread on the trail (9:56) 1965

new world press release...

a free spirit, maverick par excellence, creator of a personal compositional style that has spawned entire generations of epigones, terry riley (b. 1935) embodies the best aspects of the american pioneer spirit, the positive and uncorrupted image of america (and california in particular) that still holds abroad: an america free from the weight of european tradition, a privileged space where a fusion of western and eastern cultural trends can be produced.

it is interesting to note that the most significant musical influences on riley’s style—blues, jazz and indian classical music—share relevant common features: modal structures and improvisatory practices intended as careful treatment of a set of more or less strict, codified rules. by emphasizing common ground, riley reconciles different cultures within the same inventive fusing process.

uncle jard (1998) (saxophone quartet, piano, harpsichord, and voice) is a particularly compelling example of this. in this piece, indian classical music and blues/jazz elements co-exist in a stylistically coherent whole: ragtime and raga have never been so closely intertwined. the piece is divided into three parts. while in the first and second parts the texture of the saxophone ensemble is enriched by the voice and keyboard, in the third part the voice is not featured.

assassin reverie (2001), for saxophone quartet and tape, is a piece in a single movement, but structured in three different sections differentiated by sound material and stage direction. it is one of the more disturbing pieces written by riley; the second section features an extremely aggressive audio track — gunshots and helicopter sounds are heard throughout it.

written right after in c, tread on the trail (1965) (this version for 12 saxophones is by the arte quartett) is in fact based on similar construction principles. the music in both pieces is a ludus, a game in which riley re-injects into western music a new-found vitality. through a free exploration of the score, musical performance recovers here its true essence as a playful collective ritual.

arte quartett:

beat hofstetter, soprano saxophone
sascha armbruster, alto saxophone
andrea formenti, tenor saxophone
beat kappeler, baritone saxophone

terry riley, vocals, piano and harpsichord (uncle jard)

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threads:
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1970s-electronic
electro-acoustic-composition
minimalism-drones
musique-concrète

new world (usa) #nw 80555 cd

richard maxfield / harold budd “the oak of the golden dreams” compact disc

richard maxfield - pastoral symphony (4:03) 1960
richard maxfield - bacchanale (8:14) 1963
richard maxfield - piano concert for david tudor (12:29) 1961
richard maxfield - amazing grace (3:26) 1960
harold budd - the oak of the golden dreams (18:44) 1970
harold budd - coeur d’orr (19:46) 1969

click the play button to hear an excerpt of "piano concert for david tudor"

for the longest time i couldn’t figure why exactly these two sets of pieces by two very different composers were bashed into the same 1/0 stream... until i recently heard the tale of lamonte “milk ‘em” young’s ownership of dick maxfield’s oeuvre... and the insane price he has asked of new world for the (temporary!) licensing of maxfield’s music for this release, resulting in the producers-in-question adding the harold budd material to the proceedings in attempts to break even on the whole affair (both sets of music were initally released in the lp-era by the advance label, originals of the maxfield at least fetch a pretty penny). which kind of justifies it... but still...

the maxfield pieces herein are incredibly sharp (previously i’d only read about them in the great george maciunas remembrance-guide mr. fluxus wherein someone, probably joe jones, recounts a concert at lamonte young’s new york art-space in the early 60s of maxfield’s music) - ranging from tight, analogue-synth-based tape constructs (“pastoral sympony”), kind-of beatnik tape pieces (“bacchanale,” performed by an ensemble including terry jennings...), musique concrète piece sinvolving some serious inside-piano scraping (“piano concert for david tudor,” piano c/o its namesake...), and short, almost plunderphonic-feeling jump-cuts (”amazing grace”)...

i had only known budd as an eno-sympathizer/collaborator, so hearing the terry riley-esque buchla-workout that is “oak of the golden dreams” is kind of an earful... but then the... terry riley-esque “coeur d’orr” kind of hurts my head/feelings a little bit with its longing soprano sax lines & organ pedal tones...

even still, one of the better discs on new world (a catalogue already rife with gems...) - very much worth it for the maxfield material alone...

new world press release...

richard maxfield: pastoral symphony , bacchanale, piano concert for david tudor, amazing grace

harold budd: the oak of the golden dreams, coeur d’orr

david tudor, piano
terry jennings, saxophone
edward fields, narration
fahrad machkat, violin
robert block; prepared violin
nicholas roussakis, underwater clarinet
harold budd, buchla electronic music system
charles oreña, soprano sax

this timely cd reissue combines two lps from the advance label — richard maxfield’s electronic music and harold budd’s the oak of the golden dreams — both containing seminal works which are key to a better understanding of the musical landscape of the sixties as well as the origins of minimalism.

a mostly forgotten figure, richard maxfield (1927-69) exerted a powerful influence over a broad range of composers through his classes at the new school. the works here predate the minimalist movement while forecasting a wide range of developments in the future of electronic work. the prophetic pastoral symphony (1960) is composed of continuously generated electronic tones while bacchanale (1963) is a musique concrète collage juxtaposing jazz with korean folk music, spoken word, and various instrumental contributions including terry jennings on saxophone. piano concert for david tudor (1961) draws its multifarious noises from a single source — antedating in that respect stockhausen’s mikrophonie i for amplified tam-tam (1964). tudor plays live alongside a three-channel montage constructed from sounds made on the inside of the piano with chains, spinning a gyroscope on the strings, showering the strings with tiddlywink discs, and other unusual operations. amazing grace (1960) mixes tape loops from two sources which are played back at various speeds, causing the fragments to overlap in complex ways, predating both riley’s and reich’s tape-loop pieces. if the maxfield pieces represent the state of new music in the months before minimalism was born, harold budd’s (b. 1936) works from 1970 reflect minimalism’s initial impact. the oak of the golden dreams was made on the buchla box which budd uses here as an electric organ capable of the kind of fast modal improv, over an unchanging e-flat drone, that terry riley and la monte young had been doing on saxophone and piano. coeur d’orr features a soprano sax improv against an electronic background on organ comprised of two tracks, one of which is another 1970 budd work, the famous candy apple revision.

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new world (usa) #nw 80550 cd

stefan wolpe / morton feldman “for stefan wolpe” compact disc

stefan wolpe - zwei chinesische grabschriften (two chinese epitaphs)

i. zwölf bauern (twelve peasants) (4:17) 1937
ii. von eine handvoll reis (by a handful of rice) (4:02) 1937
morton feldman - christian wolff in cambridge (3:02) 1963
morton feldman - chorus and instruments ii (3:32) 1967
stefan wolpe- four pieces for mixed chorus (a.k.a. three pieces for mixed chorus)

i. psalm 122 (2:28) 1955 - samahtî beomrîm lî (i was glad when they said to me)
ii. piece by gershon shofman (5:08) 1955 - sh(e)lu na`alêkhem (remove your shoes from your feet)
iii. isaiah 43: 18-21 (3:50) 1955 - 10 al tizkeru rishonot (remember ye not the former things)
iv. jeremiah 31: 6-12 (4:25) 1955 - ronnu leya `akov simhah (sing aloud with gladness for jacob)
morton feldman - for stefan wolpe (31:07) 1986

new world press release...

stefan wolpe (1902–1972), one of the great teachers in twentieth century music, is also now recognized as one of its most significant composers. his two chinese epitaphs, composed in jerusalem in 1937, illustrates the composer’s deep allegiance to socialist issues. he wrote the work swiftly and in anger, just after learning that the basque town of guernica had been bombed by the fascists the previous week. he chose to set two poems by louise peter that decry, in a few short phrases of stark imagery, the atrocities committed against oppressed workers. the four pieces for mixed chorus (1955) were composed for a contest sponsored by the government of israel. it is a setting of four hebrew texts—three from the bible and one from israeli poet gershon shofman. all the texts express hope for the new nation of israel.

morton feldman (1926–1987) studied with wolpe for several years and was deeply influenced by his modernist aesthetic, particularly his interest in the visual arts. for stefan wolpe (1986), for chorus and two vibraphones, is feldman’s tribute to his venerated teacher. it alternates between vocal and instrumental passages. the two never intermingle, even though feldman lets the vibraphones ring into the voices. as is characteristic of his late music, the piece combines the quiet, atonal, austere textures of his earlier music (of which christian wolff in cambridge [1963] and chorus and instruments ii [1967] are stellar examples) with several new elements—greater duration, minimalist repetition, and bigger gestures.

all five works are making their first appearance on cd. an indispensable addition to the discographies of both composers.

choir of st. ignatius of antioch, new york city / harold chaney, conductor
benjamin ramirez, thomas kolor, percussion
stephen foreman, tuba

$30.42

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1970s-electronic
live-electronic
sound-poetry
modern-composition

new world (usa) #nw 80540 cd

david tudor / john cage “rainforest ii & mureau” double compact disc set

rainforest ii / mureau (43:02)
rainforest ii / mureau (continued) (51:17)

premiere of this recording of the simultaneous performance of david tudor’s rainforest ii and john cage’s mureau by the composers themselves.

new world press release...

this historic release of a simultaneous performance by david tudor and john cage of rainforest ii and mureau, recorded live by radio bremen on may 5, 1972, preserves the only surviving performance of the second of tudor’s "rainforest" series. in addition, it documents one of the precious few recorded collaborations between these two visionaries. in 1970 cage composed the piece called mureau, in which phrases from thoreau’s journals (in particular, passages which touch on the subject of music) are used as the springboard for an elaborate collage. the resultant fabric combines elements of sense and nonsense, as it veers between contextual meaning and a sort of abstract, linguistic vocalise. in cage’s public readings of mureau, he explored a number of performance variables—differences in tempo, vocal timbre, pitch, register, and dynamics. a similar range will be apparent, in fact, when listening to this recorded performance. this simultaneous performance of mureau and rainforest ii took place in a large concert hall before an audience, rather than privately in a recording studio. whereas in other performance realizations (such as their legendary indeterminacy collaboration) the two men had been placed in separate isolation booths, here the two shared the same performance space, so that each could hear and see the other person’s activity. in fact, cage and tudor sat quite close to one another at the center of the stage, cage performing mureau as a four-channel realization—one live channel against three pre-recorded tracks, all of them his own voice—and tudor actively engaged in real-time processing of cage’s vocal material, using it to generate electronic loudspeaker-filter events.

essential listening for anyone interested in the work of either composer.

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threads:
1960s-electronic
1970s-electronic
electro-acoustic-composition
musique-concrète

new world (usa) #nw 80521 cd

“columbia-princeton electronic music center 1961-1973” compact disc

bülent arel - postlude from “music for a sacred service” (3:56) 1961
charles dodge - earth’s magnetic field (14:01) 1971
ilhan mimaroglu - prelude no. 8 (to the memory of edgard varese) (3:54) 1966
bülent arel & daria semegen - out of into (16:32) 1972
ingram marshall - cortez (8:30) 1973
daria semegen - electronic composition no. 1 (5:47) 1971
alice shields - dance piece no. 3 (5:46) 1969
alice shields - study for voice and tape (5:17) 1968

click the play button to hear an excerpt of "electronic composition no. 1"

another gem from new world; here offering a splendid overview of goings-on at the columbia-princeton electronic music center during the 60s & (early) 70s...

stand-out work from daria semegn (whose “electronic composition no. 1” it only outshined by her extended collaboration with bülent arel, “out of into” ... also arel’s solo “postlude” is fantastic...) and alice shields (both pieces here are absolutely bubbling with psychedelic-era modular synth grankle...) - the charles dodge piece is fun in a kind of plink-plonky way... but the mimaroglu piece is nowhere near as interesting as his finnadar-label output...

new world press release...

works by bülent arel, charles dodge, ingram marshall, ilhan mimaroglu, daria semegen, alice shields. the columbia-princeton electronic music center was the first electronic music center to be established in the united states. from 1959 to the late 1970s, it was one of the premiere sound facilities in the world. the vast majority of pieces composed at the center—approximately three hundred—were composed during this period. some have become classics of music history. this selection, drawn from those seminal years, is an excellent overview of the wide variations in musical style and aesthetic that was encouraged by the center’s guiding spirit, vladimir ussachevsky. charles dodge’s earth’s magnetic field is a relaxed, expressive piece in which he captures a sense of radiance. the new york times called it one of the “ten most significant works of the 1970s.” ingram marshall’s cortez manipulates a speaker’s voice to create a brooding meditation on an apocalyptic poem by poet-friend snee mccaig. alice shields was a young member of the center’s initial team. musique concrète sound sources and the composer’s prerecorded voice form the basis for dance piece no. 3 (1969) and study for voice and tape (1968). bülent arel was also a member of the center’s initial staff. his brightly colored postlude from “music for a sacred service” builds from a stately beginning to a virtuosic conclusion. ilhan mimaroglu’s prelude no. 8 (to the memory of edgard varèse) was inspired by a presentiment of his friend’s death and is expectedly somber in mood. daria semegen studied with lutoslawski and arel. electronic composition no. 1 was a winner of the 1975 international society for contemporary music prize. both it and out of into, a collaboration with arel, are prime examples of her muscular, dramatic style, full of timbral and dynamic contrasts that gives her music the breadth and the seriousness of orchestral drama.

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new world (usa) #nw 80488 cd

lawrence d. “butch” morris “conduction #50: p3 art and environment” compact disc

conduction #50, part i (37:15)
conduction #50, part ii (33:42)
conduction #50, e i (1:57)
conduction #50, e ii (3:12)

new world press release...

conduction no. 50, p3 art and environment
tokyo, japan, march 5, 1995.

ensemble:
shonosuke okura (ohtuzumi)
michihiro sato (tugaru syamisen)
yumiko tanaka (gidayu)
hikaru sawai (koto)
kim dae hwan (percussion)
yoshihide otomo (turntables)
keizo mizoiri (bass)
haruna miyake (piano)
asuka kaneko (electric violin)
tomomi adachi (voice)
motoharu yoshizawa (electric vertical bass)
ayuo takahashi (zheng).

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new world (usa) #nw 80487 cd

lawrence d. “butch” morris “conduction #41: new world, new world” compact disc

conduction #41 (27:08)
conduction #41, e i (7:02)
conduction #41, e ii (5:40)
conduction #41, e iii (7:49)
conduction #41, e iv (6:24)

new world press release...

conduction no. 41, new world, new world
opperman music hall, florida state university school of music, february 4, 1994.

ensemble:
jesse canterbury (clarinet)
mimi patterson (clarinet)
scott deeter (saxophone)
philip gelb (shakuhachi)
gregor harvey (guitar)
ethan schaffner (electric guitar)
elisabeth king (voice)
daniel raney (trombone)
david tatro (trombone)
michael titlebaum (alto saxophone).

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new world (usa) #nw 80486 cd

lawrence d. “butch” morris “conduction #38, #39, & #40” compact disc

conduction #38 (46:05)
conduction #38, e (5:51)
conduction #39, e (3:01)
conduction #40, e (7:59)

new world press release...

conduction no. 38, in freud's garden
muffathalle, germany, december 11, 1993

ensemble:
myra melford (piano)
zeena parkins (harp)
bryan carrott (vibraphone)
brandon ross (acoustic guitar)
j. a. deane (trombone, electronics, live sampling)
motoharu yoshizawa (electric vertical bass)
lê quan ninh (percussion)
martin schütz (electric five string cello)
tristan honsinger (cello)
martine altenburger (cello)
edgar laubscher (electric viola)
hans koch (clarinet, bass clarinet, contrabass clarinet, soprano saxophone, tenor saxophone).

conduction no. 39
thread waxing space, new york city, november 11, 1993

ensemble:
christian marclay (turntables)
elliott sharp (dobro)
chris cunningham (guitar)
gregor kitzis (violin)
dana friedli (violin)
jason hwang (violin)
myra melford (piano)
damon ra choice (vibraphone, snare drum)
reggie nicholson (vibraphone, tomtom)
michelle kinney (cello)
deidre l. murray (cello)
elizabeth panzer (harp),william parker (bass)
mark helias (bass)
fred hopkins (bass).

conduction no. 40
thread waxing space,new york city, november 12, 1993.

ensemble:
christian marclay (turntables)
elliott sharp (dobro)
chris cunningham (guitar)
dana friedli (violin)
jason hwang (violin),myra melford (piano)
damon ra choice (vibraphone, snare drum)
reggie nicholson (vibraphone, tom-tom)
michelle kinney (cello)
elizabeth panzer (harp)
william parker (bass)
mark helias (bass).

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file under:
free-improv

new world (usa) #nw 80485 cd

lawrence d. “butch” morris “conduction #31, #35, & #36” compact disc

conduction #31, e i (4:30)
conduction #31, e ii (3:53)
conduction #35, part i (24:17)
conduction #35, part ii (12:55)
conduction #36 (13:59)
conduction #36, e (4:12)

new world press release...

conduction no. 31, angelica
angelica festival of international music, bologna, italy,may 16, 1993

ensemble:
dietmar diesner (soprano sax)
peter kowald (bass),wolter wierbos (trombone)
steve beresford (piano)
hans reichel (guitar, daxophone)
tom cora (cello)
han bennink (drums)
catherine jauniaux (voice)
ikue mori (drum machines).

conduction no. 35, american connection 4
antwerp, belgium, may 26, 1993

maarten altena (contrabass)
michael barker (recorder, blockflutes)
peter van bergen (bass clarinet, tenor saxophone)
wiek hijmans (electric guitar)
alison isadora (violin)
jannie pranger (voice)
michael vatcher (percussion)
wolter wierbos (trombone)
michiel scheen (piano).

conduction no. 36, american connection 4
amsterdam, holland, may 27, 1993.

maarten altena (contrabass)
michael barker (recorder, blockflutes)
peter van bergen (bass clarinet, tenor saxophone)
wiek hijmans (electric guitar)
alison isadora (violin)
jannie pranger (voice)
michael vatcher (percussion)
wolter wierbos (trombone)
michiel scheen (piano).

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modern-composition
free-improvisation

new world (usa) #nw 80484 cd

lawrence d. “butch” morris “conduction #28 & #31” compact disc

conduction #28, part ii-x (20:56)
conduction #28, e (2:59)
conduction #31 (46:57)

new world press release...

conduction no. 28, cherry blossom
p3 art and environment,tokyo, japan, march 28, 1993.

ensemble:
yukihiro isso (nokan)
shonosuke okura (ohtsuzumi)
makiko sakurai (shomyo, music box)
michihiro sato (tugaru syamisen)
kizan daiyoshi (shakuhachi); haruna miyake (piano)
asuka kaneko (voice)
shuichi chino (computer)
koichi makigami (voice),yoshihide otomo (turntables, cd player)
kazutoki umezu (bass clarinet)
sachiko nagata (percussion)
motoharu yoshizawa (electric vertical bass)
kazuo oono (butoh dance)
koichi tamano (butoh dance).

conduction no. 31, angelica
angelica festival of international music, bologna, italy,may 16, 1993

ensemble:
dietmar diesner (soprano sax)
peter kowald (bass),wolter wierbos (trombone)
steve beresford (piano)
hans reichel (guitar, daxophone)
tom cora (cello)
han bennink (drums)
catherine jauniaux (voice)
ikue mori (drum machines).

$15.21

back in stock as of
december 19th, 2008

first in stock on
november 28th, 2007

threads:
modern-composition
free-improvisation

new world (usa) #nw 80483 cd

lawrence d. “butch” morris “conduction #25 & #26: the akbank conduction, akbank ii” compact disc

conduction #25 (45:00)
conduction #26, e (7:04)

new world press release...

conduction no. 25, the akbank conduction
istanbul,turkey, october 16, 1992.

ensemble:
the süleyman erguner ensemble:
hasan esen (kemence)
mehmet emin bitmez (ud)
göksel baktagir (kanun)
süleyman erguner (ney)
lê quan ninh (percussion)
bryan carrott (vibraphone)
j. a. deane (trombone, electronics, drum machine)
elizabeth panzer (harp)
brandon ross (acoustic guitar)
steve colson (piano)
hugh ragin (pocket trumpet).

conduction no. 26, akbank ii
istanbul, turkey, october 17, 1992.

ensemble:
the süleyman erguner ensemble:
hasan esen (kemence)
mehmet emin bitmez (ud)
göksel baktagir (kanun)
süleyman erguner (ney)
lê quan ninh (percussion)
bryan carrott (vibraphone)
j. a. deane (trombone, electronics, drum machine)
elizabeth panzer (harp)
brandon ross (acoustic guitar)
steve colson (piano)
hugh ragin (pocket trumpet).

$15.21

back in stock as of
december 19th, 2008

first in stock on
november 28th, 2007

threads:
modern-composition
free-improvisation

new world (usa) #nw 80482 cd

lawrence d. “butch” morris “conduction #23: quinzaine de montreal” compact disc

conduction #23, part i (43:25)

new world press release...

conduction no. 23, quinzaine de montreal
the spectrum, montreal, quebec, canada,april 11, 1992.

ensemble:

tristan honsinger (cello)
martin schütz (cello)
eric longsworth (cello)
michelle kinney (hybrid broom-cello)
ken butler (hybrid broom-cello)
helmut lipsky (violin)
j.a. deane (trombone, electronics, live sampling)
guillaume dostaler (piano)
mike milligan (bass)
pierre dubé (percussion).

$15.21

back in stock as of
december 19th, 2008

first in stock on
november 28th, 2007

threads:
modern-composition
free-improvisation

new world (usa) #nw 80481 cd

lawrence d. “butch” morris “conduction #22: documenta: gloves & mitts” compact disc

conduction #22, part i (47:24)

new world press release...

conduction no. 22, documenta: gloves & mitts
documenta 9, kassel, germany, june 14, 1992.

ensemble:

christian marclay (records and turntables)
lê quan ninh (percussion)
j. a. deane (trombone, electronics, live sampling)
martin schütz (cello)
günter müller (drums, electronics)
lawrence d. "butch" morris (cornet).

$15.21

back in stock as of
december 19th, 2008

first in stock on
november 28th, 2007

threads:
modern-composition
free-improvisation

new world (usa) #nw 80480 cd

lawrence d. “butch” morris “conduction #15: where music goes ii” compact disc

conduction #15, part i (21:37)
conduction #15, part ii (11:07)
conduction #15, part iii (35:22)

new world press release...

conduction no. 15, where music goes ii
sponsored by and presented at the whitney museum of american art at philip morris,new york city,november 15 and 16, 1989.

ensemble:
arthur blythe (alto sax, guest artist)
thurman barker (vibraphone, percussion)
marion brandis (flute, alto flute, piccolo),vincent chancey (french horn)
curtis clark (piano)
j. a. deane (trombone, electronics, live sampling)
janet grice (bassoon)
bill horvitz (electric guitar)
jason hwang (violin)
taylor mclean (percussion, glockenspiel)
jemeel moondoc (flute)
zeena parkins (harp)
brandon ross (acoustic guitar, octave guitar).

$15.21

back in stock as of
december 19th, 2008

first in stock on
november 28th, 2007

threads:
modern-composition
free-improvisation

new world (usa) #nw 80479 cd

lawrence d. “butch” morris “conduction #11: where music goes” compact disc

conduction #11, part i (19:33)
conduction #11, part ii (32:15)

new world press release...

$152.11

back in stock as of
december 19th, 2008

first in stock on
november 28th, 2007

threads:
modern-composition
free-improvisation

new world (usa) #nw 80478 cd

lawrence d. “butch” morris “testament : a conduction collection” decuple compact disc set

conduction #11, part i (19:33)
conduction #11, part ii (32:15)
conduction #15, part i (21:37)
conduction #15, part ii (11:07)
conduction #15, part iii (35:22)
conduction #22, part i (47:24)
conduction #23, part i (43:25)
conduction #25 (45:00)
conduction #26, e (7:04)
conduction #28, part ii-x (20:56)
conduction #28, e (2:59)
conduction #31 (46:57)
conduction #31, e i (4:30)
conduction #31, e ii (3:53)
conduction #35, part i (24:17)
conduction #35, part ii (12:55)
conduction #36 (13:59)
conduction #36, e (4:12)
conduction #38 (46:05)
conduction #38, e (5:51)
conduction #39, e (3:01)
conduction #40, e (7:59)
conduction #41 (27:08)
conduction #41, e i (7:02)
conduction #41, e ii (5:40)
conduction #41, e iii (7:49)
conduction #41, e iv (6:24)
conduction #50, part i (37:15)
conduction #50, part ii (33:42)
conduction #50, e i (1:57)
conduction #50, e ii (3:12)

massive, sprawling, 10-disc boxed-set of lawrence d. “butch” morris’ “conductions” ...

new world press release...

conduction no. 11, where music goes
the great american music hall, san francisco, ca, december 18, 1988.

sponsored by rova saxophone quartet.

ensemble:
rova preechoes ensemble:
bruce ackley (soprano saxophone)
dave barrett (alto saxophone)
larry ochs (saxophone)
jon raskin (alto saxophone, baritone saxophone)
chris brown (electric percussion piano)
j.a. deane (trombone, electronics)
jon english (bass)
jon jang (piano)
bill horvitz (electric guitar)
blk lion (guitar, electronics)
kash killion (cello)
kaila flexer (violin)
hal hughes (violin)
william winant (percussion).

conduction no. 15, where music goes ii
sponsored by and presented at the whitney museum of american art
at philip morris,new york city,november 15 and 16, 1989.

ensemble:
arthur blythe (alto sax, guest artist)
thurman barker (vibraphone, percussion)
marion brandis (flute, alto flute, piccolo)
vincent chancey (french horn)
curtis clark (piano)
j. a. deane (trombone, electronics, live sampling)
janet grice (bassoon)
bill horvitz (electric guitar)
jason hwang (violin)
taylor mclean (percussion, glockenspiel)
jemeel moondoc (flute)
zeena parkins (harp)
brandon ross (acoustic guitar, octave guitar).

conduction no. 22, documenta: gloves & mitts
documenta 9, kassel, germany, june 14, 1992.

ensemble:
christian marclay (records and turntables)
lê quan ninh (percussion)
j. a. deane (trombone, electronics, live sampling)
martin schütz (cello)
günter müller (drums, electronics)
lawrence d. "butch" morris (cornet).

conduction no. 23, quinzaine de montreal
the spectrum, montreal, quebec, canada,april 11, 1992.

ensemble:
tristan honsinger (cello)
martin schütz (cello)
eric longsworth (cello)
michelle kinney (hybrid broom-cello)
ken butler (hybrid broom-cello)
helmut lipsky (violin)
j.a. deane (trombone, electronics, live sampling)
guillaume dostaler (piano)
mike milligan (bass)
pierre dubé (percussion).

conduction no. 25, the akbank conduction
istanbul, turkey, october 16, 1992.

ensemble:
the süleyman erguner ensemble:
hasan esen (kemence)
mehmet emin bitmez (ud)
göksel baktagir (kanun)
süleyman erguner (ney)
lê quan ninh (percussion)
bryan carrott (vibraphone)
j. a. deane (trombone, electronics, drum machine)
elizabeth panzer (harp)
brandon ross (acoustic guitar)
steve colson (piano)
hugh ragin (pocket trumpet).

conduction no. 26, akbank ii
istanbul, turkey, october 17, 1992.

ensemble:
the süleyman erguner ensemble:
hasan esen (kemence)
mehmet emin bitmez (ud)
göksel baktagir (kanun)
süleyman erguner (ney)
lê quan ninh (percussion)
bryan carrott (vibraphone)
j. a. deane (trombone, electronics, drum machine)
elizabeth panzer (harp)
brandon ross (acoustic guitar)
steve colson (piano)
hugh ragin (pocket trumpet).

conduction no. 28, cherry blossom
p3 art and environment,tokyo, japan, march 28, 1993.

ensemble:
yukihiro isso (nokan)
shonosuke okura (ohtsuzumi)
makiko sakurai (shomyo, music box)
michihiro sato (tugaru syamisen)
kizan daiyoshi (shakuhachi); haruna miyake (piano)
asuka kaneko (voice)
shuichi chino (computer)
koichi makigami (voice),yoshihide otomo (turntables, cd player)
kazutoki umezu (bass clarinet)
sachiko nagata (percussion)
motoharu yoshizawa (electric vertical bass)
kazuo oono (butoh dance)
koichi tamano (butoh dance).

conduction no. 31, angelica
angelica festival of international music, bologna, italy,may 16, 1993

ensemble:
dietmar diesner (soprano sax)
peter kowald (bass),wolter wierbos (trombone)
steve beresford (piano)
hans reichel (guitar, daxophone)
tom cora (cello)
han bennink (drums)
catherine jauniaux (voice)
ikue mori (drum machines).

conduction no. 31, angelica
angelica festival of international music, bologna, italy,may 16, 1993

ensemble:
dietmar diesner (soprano sax)
peter kowald (bass),wolter wierbos (trombone)
steve beresford (piano)
hans reichel (guitar, daxophone)
tom cora (cello)
han bennink (drums)
catherine jauniaux (voice)
ikue mori (drum machines).

conduction no. 35, american connection 4
antwerp, belgium, may 26, 1993

maarten altena (contrabass)
michael barker (recorder, blockflutes)
peter van bergen (bass clarinet, tenor saxophone)
wiek hijmans (electric guitar)
alison isadora (violin)
jannie pranger (voice)
michael vatcher (percussion)
wolter wierbos (trombone)
michiel scheen (piano).

conduction no. 36, american connection 4
amsterdam, holland, may 27, 1993.

maarten altena (contrabass)
michael barker (recorder, blockflutes)
peter van bergen (bass clarinet, tenor saxophone)
wiek hijmans (electric guitar)
alison isadora (violin)
jannie pranger (voice)
michael vatcher (percussion)
wolter wierbos (trombone)
michiel scheen (piano).

conduction no. 38, in freud's garden
muffathalle, germany, december 11, 1993

ensemble:
myra melford (piano)
zeena parkins (harp)
bryan carrott (vibraphone)
brandon ross (acoustic guitar)
j. a. deane (trombone, electronics, live sampling)
motoharu yoshizawa (electric vertical bass)
lê quan ninh (percussion)
martin schütz (electric five string cello)
tristan honsinger (cello)
martine altenburger (cello)
edgar laubscher (electric viola)
hans koch (clarinet, bass clarinet, contrabass clarinet, soprano saxophone, tenor saxophone).

conduction no. 39
thread waxing space, new york city, november 11, 1993

ensemble:
christian marclay (turntables)
elliott sharp (dobro)
chris cunningham (guitar)
gregor kitzis (violin)
dana friedli (violin)
jason hwang (violin)
myra melford (piano)
damon ra choice (vibraphone, snare drum)
reggie nicholson (vibraphone, tomtom)
michelle kinney (cello)
deidre l. murray (cello)
elizabeth panzer (harp),william parker (bass)
mark helias (bass)
fred hopkins (bass).

conduction no. 40
thread waxing space,new york city, november 12, 1993.

ensemble:
christian marclay (turntables)
elliott sharp (dobro)
chris cunningham (guitar)
dana friedli (violin)
jason hwang (violin),myra melford (piano)
damon ra choice (vibraphone, snare drum)
reggie nicholson (vibraphone, tom-tom)
michelle kinney (cello)
elizabeth panzer (harp)
william parker (bass)
mark helias (bass).

conduction no. 41, new world, new world
opperman music hall, florida state university school of music, february 4, 1994.

ensemble:
jesse canterbury (clarinet)
mimi patterson (clarinet)
scott deeter (saxophone)
philip gelb (shakuhachi)
gregor harvey (guitar)
ethan schaffner (electric guitar)
elisabeth king (voice)
daniel raney (trombone)
david tatro (trombone)
michael titlebaum (alto saxophone).

conduction no. 50, p3 art and environment
tokyo, japan, march 5, 1995.

ensemble:
shonosuke okura (ohtuzumi)
michihiro sato (tugaru syamisen)
yumiko tanaka (gidayu)
hikaru sawai (koto)
kim dae hwan (percussion)
yoshihide otomo (turntables)
keizo mizoiri (bass)
haruna miyake (piano)
asuka kaneko (electric violin)
tomomi adachi (voice)
motoharu yoshizawa (electric vertical bass)
ayuo takahashi (zheng).

$15.21

back in stock as of
december 19th, 2008

first in stock on
november 28th, 2007

threads:
modern-composition
electro-acoustic-composition
digital-musics

new world (usa) #nw 80460 cd

robert ashley “superior seven” compact disc

superior seven (30:17)
tract (23:49)

new world press release...

“i am finally able to say that i write for orchestra— even if i have to make the orchestra myself.” — robert ashley

robert ashley is known primarily for his theater-based pieces and television operas. this new release presents the world premiere recordings of two of his “orchestral” pieces, superior seven (concerto for flute), and tract (for orchestra and voice), where the orchestra is provided by a midi synthesizer.

in superior seven, the flute floats freely in and out of an atmospheric electronic sound tapestry. it is a colorful, kaleidoscopic, ever-changing soundscape pervaded throughout by a sense of playful whimsy.

tract, on the other hand, is cut from an altogether darker cloth. the voice is used as one of the orchestral timbres in a piece that is resolutely mournful and dirge-like in tone, a wordless lament.

barbara held (flute)
thomas buckner (voice)

midi orchestra

...

superior sevenconcerto for flute and orchestra (for barbara held)
the midi sequencer programming was done by tom hamilton and barbara held.
synthesizer orchestra voices were designed by robert ashley and tom hamilton.
the cd realization of superior seven was processed and mixed by tom hamilton.

tract
for orchestra and voice
the recording engineer for thomas buckner’s voice was tom hamilton.
the midi sequencer programming was done by nathaniel reichmann and robert ashley.
synthesizer orchestra voices were designed by robert ashley, tom hamilton, and nathaniel reichmann.
the cd realization of tract was processed and mixed by tom hamilton.
superior seven and tract were produced by robert ashley.

$15.21

back in stock as of
december 19th, 2008

first in stock on
november 28th, 2007

threads:
1970s-electronic
electro-acoustic-composition
modern-composition

new world (usa) #nw 80457 cd

donald erb “drawing on the moon” compact disc

...and then toward the end... (8:29) 1971
cenotaph (for edgard varèse) (7:49) 1979
woody (11:05) 1988
symphony for winds (10:05) 1989
drawing down the moon (15:04) 1991

...mainly for “...and then toward the end...” for trombone and tape; more than capably performed by stuart dempster ...

new world press release...

donald erb’s mature style—encompassing elements of jazz, electronic music and serialism within traditional forms—is captured on this recording of five wind ensemble and chamber works dating from 1971 to 1991. when asked what he tries to achieve through his music, erb responds, “the clarity of classical music, the passion of romanticism, and the freedom of jazz.” that succinct response pretty much captures the essence of these angular pieces, scored for winds, brass and percussion, unmollified by strings. improvisation, or at least its quality of spontaneity and unlimited choice, is incorporated. the ensemble pieces develop massive walls of sonority and crushing climaxes while solo passages push instrumental boundaries and the limits of the players’ capabilities in terms of range and technique.

university circle wind ensemble
gary ciepluch; stuart dempster, trombone
ross powell, clarinet
jan gippo, piccolo
kirk brundage, percussion

$15.21

back in stock as of
december 19th, 2008

first in stock on
november 28th, 2007

threads:
modern-composition
electro-acoustic-composition
1970s-electronic

new world (usa) #nw 80237 cd

paul chihara / chou wen-chung / early kim / roger reynolds “from behind the unreasoning mask” compact disc

roger reynolds - from behind the unreasoning mask (17:13) 1975
paul chihara - ceremony ii (”incantations”) (6:33) 1974
chou wen-chung - suite for harp and wind quintet (6:45) 1950
earl kim - earthlight (15:06) 1973

... mainly for the title piece; roger reynolds’ “interplay between a four-channel tape and live performers (trombone, two percussionists)” ...

new world press release...

clearly influenced by varese’s concept of "pure sound," the four works on from behind the unreasoning mask privilege the exploration of sound as a means of musical expression. in the 1970s, the integration of new vocal and instrumental techniques and, sometimes, electronic sound sources into the composer’s vocabulary broadened the tonal, textural—and, consequently—expressive palette immeasurably.

roger reynolds’s (b. 1934) from behind the unreasoning mask (1975) presents an interplay between a four-channel tape (at first sparse, but becoming a dense sonic tapestry) and live performers (trombone, two percussionists) who respond in diverse ways both to the prerecorded sounds and to each other.

paul chihara (b. 1938) dedicated ceremony ii (incantations) (1974) to flutist paul dunkel, and it is the agile cadenzas and decorative melodies of the flute that dominate the work. by contrast, the two cellos tend to move in regular rhythms, and the percussionist adds washes of cymbal and vibraphone color.

chou wen-chung’s (b. 1923) beautiful five-movement suite for harp and wind quintet (1950) is based on chinese melodies and is a work of shimmering colors and calligraphic delicacy.

the final work, earl kim’s (b. 1920) earthlight (1973) is subtitled "romanza for violin con sordino, high soprano, piano, and lights," with a text adapted from several works of samuel beckett. kim’s subtly inflected music explores the coloristic and textural possibilties, both vocal and instrumental, primarily in the upper register, to create a muted but intense monodrama.

martha potter, violin
merja sargon, soprano
earl kim, piano
timothy eddy, fred sherry, cellos
paul dunkel, flute
miles anderson, trombone
stephen taylor, oboe
virgil blackwell, clarinet
frank morelli, bassoon
stewart rose, french horn
tom rainey, richard ritz, roger reynolds, percussion

...

from behind the unreasoning mask presents an interplay between a four-channel tape (at first sparse, but becoming a dense sonic tapestry) and live performers who respond in diverse ways both to the prerecorded sounds and to each other. imitation, contradiction, and independence (even between the percussionist's hands, or the breath- and hand-impulses of the trombonist) variously guide the three performers in an evolving strategy for penetrating the growing authority of the tape. the work is carefully notated, but there are improvisatory details. the trombone part is a veritable dictionary of special techniques recently made possible on that instrument.

the four-channel tape is the metaphoric “mask” of the title behind which the performers act. the forceful, prerecorded events that define the tape are arranged in precisely measured time patterns that, in general, accelerate or retard during the course of the work, constituting a system of reference cues for the performers. widely spaced in time, these prerecorded attacks — electronically modified instrumental sounds — are meant to evoke a kind of "unreasoning" monolithic authority, sometimes imitating, sometimes contrasting with, the live sounds.

previous record label:
new tone

...and that's everything on new world in stock.
(why not take a look at the previous and next labels?)

next record label:
night people

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... this page was last updated on wednesday, march 10th, 2010 @ 4:58 pm