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mimaroglu music sales restocks & relistings

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$10.92

back in stock as of
july 22nd, 2008

first in stock on
october 31st, 2007

threads:
modern-psych

animal disguise (usa) #adr 072 cd

sic alps “pleasures and treasures” compact disc

battle of breton woods
down comes the perm
i know where madness goes
i am grass
semi-streets
e.r.q.
caro
surgeon and the slave
recnonection land
morning waltz
the wanderings of our drummer through hell
stories

animal disguise press release...

this is their "lost" debut lp from 2005 when sic alps were a three piece (current member and founder mike donovan of big techno werewolves/folding cassettes, bianca sparta of erase errata, and adam stonehouse of the hospitals, with assistance from current sic alps member matthew hartman formerly of coachwhips and cat power).

mastered by weasel walter, we proudly present the debut album by sic alps in both lp and cd formats

$27.66

back in stock as of
july 21st, 2008

first in stock on
april 4th, 2008

threads:
minimalism-drones
sound-poetry
sound-art

alga marghen (italy) #alga vocson19 lp

charlemagne palestine “voice studies” long playing record

surrealistic studies i, ii, iii (3:03) (1:31) (0:46)
voice + piano study i, ii (5:48) (5:08)
voice study (11:09)
beauty chord + voice (6:20)

click the play button to hear an excerpt of "surrealistic studies ii"

awesome lp of zonked sound-poetry & real-time tape-music studies, and some blissed out chordal drone-singing by charlemagne palestine, recorded at home and in concert from the early 60s through the early 70s ... as always w/alga marghen vinyl - this record’s time-on-earth is finite ...

alga marghen press release...

c h a r l e m a g n e p a l e s t i n e
voice studies
(cat no. plana-p 19vocson.072)
lp record
edition of 385 copies

the vocson series presents on limited editions lp records the most advanced international vocal experiments and is mainly dedicated to the documentation of sound poetry. this series includes now the new lp record by charlemagne palestine titled "voice studies".

charlemagne palestine introduction to music or sound was first with his own voice. he began at four years old to sing versions of popular songs and operas in his own way. later on, a director of a jewish sacred music choir auditioned him to sing with them, charlemagne was seven years old at the time and for the next seven years he sang all over the east coast of the us as a member of a choir that sang with many of the greatest european chazans (jewish sacred singers) who had fled europe during the rise of the anti-semitism and resettled in america. from them he learned to sing in a long chanting style with his own natural voice. at the same time he met pran nath the master of kirana style, singing and studied a short time with him as well as javanese singing with ki wasito di puro at cal arts. over the years charlemagne palestine have performed and recorded vocal works as an important part of his outputs as sonic artist.

this lp record includes the very early “surrealistic studies”, recorded in brooklyn in the beginning of the 1960s. using a webcor reel to reel tape recorder and discovering a technique of shouting into the microphone of the recorder and immediately pulling the microphone out creating an interior echo chamber where the sound would turn around on itself, changing and distorting. no other electronic sound manipulation techniques were used.

"voice + piano study i & ii" are short and beautiful piano improvisation with tape superimposition of accelerated voice pieces. recorded at cal arts, on september 29th, 1971.

“voice study” was recorded in manhattan in the mid-1960s. in this study charlemagne sing in a falsetto duet with himself on two separate tracks. sung in a resonant space reminiscent of a synagogue in the falsetto voice that he began to develop from jewish male sacred chant falsettos. he searches for intervals that resonate together and respond like electronic sound wave oscilators played against eachother.

finally the fantastic 6 minutes "beauty chord + voice" with charlemagne playing piano and singing.

$20.38

back in stock as of
july 21st, 2008

first in stock on
april 4th, 2008

threads:
psych-prog
experimental-instruments
sound-art
folk

alga marghen (italy) #alga tes12 cd

anton bruhin “vom goldabfischer” compact disc

lola (2:18)
hüp hüp (2:30)
tropelfisch
q.* (3:27)
congo (2:32)
em feker (3:53)
usem tal (0:45)
alpine blues (6:00)
okima tula (1:07)
chum use (3:15)
ali baba (1:10)
trümpi “cheng” (3:12)
schtändli (1:05)
mc. anton (1:25)
blas mer s horn (3:00)
schlaf (1:15)
läck mer (1:48)
wänn t maya wi (0:50)
vom goldabfischer und de mondfrau (1:28)
winterlied (2:45)
liebeslied (1:37)
solo improvisation (1:46)
vom goldabfischer (1:53)
ständli (1:30)
fortschritt (2:04)
täktli (3:39)

click the play button to hear an excerpt of "trümpi “cheng”"

march 2008 release - finally; the reissue of bruhin’s 1969 “vom goldabfischer” - easily his most elusive recording, heard only by a scant few & maddeningly un-findable by those who, like me, bit the bruhin bug hard after hearing the “inout” cd ... until now ...

essentially a smorgasbord of the late-60s psychedelic & alpine folk-music idioms that bruhin dabbled in - much super-close-up solo jaw-harp grappling (listen to the sound-sample) cut with full-band tracks (many featuring swiss improvisor stefan wittwer) with bruhin on a multitude of instrumentation (love the glass-bauble bits ...)

great stuff ; if you’re a die-hard follower of bruhin’s you absolutely need to hear this - others will suitably be confounded ... highly recommended !!!

alga marghen press release...

a n t o n b r u h i n
vom goldabfischer
(cat no. plana-b 12tes.066)digipack cd
edition of 500 copies

the new compact disc by anton bruhin issued by alga marghen is titled “vom goldabfisher” and presents for the first time on cd the classic experimental folk recordings with the same title first issued on lp in 1969. anton bruhin conceived some of the most original sonic art musiks, a double of his artistic work as an outsider painter and with the help of stefan wittwer on electric guitar and cristian koradi on bass and cello, recorded this masterpiece of far out sonorities well hidden in the swiss mountains. anton bruhin sings and plays jew's harp (his favourite instrument), ch-phon (an instrument he invented constructed with a pvc tube with saxophon reed), harmonica, flute, fiddle, percussion, water. this record, surely one of the most psychedelic, experimental and private to be issued in europe in the 1960s, should be of great influence for the actual renaissance of experimental folk music. surely it was an important source of magick for steven stapleton, so no surprise to see it mentioned in the mythical list of references that nurse with wound included in their first lp.

this cd edition also includes 5 jew's harp instrumental tracks. in the late 1970s anton bruhin was asked to edit a record of folk and ethnic music, documenting the use of jew's harp in switzerland. bruhin climbed up the mountains in order to record some of the most obscure, old jew's harp players. those mysterious sounds were issued in 1979 on a record titled "maultrommel, mundhermonika, kamm". this cd includes 3 solo jew's harp tracks where anton bruhin plays themes from the "vom goldabfischer" lp, plus 2 massive, maximal and resonating duos with w. gwerder, recorded in 1979 at radio schweiz international.

beatiful digipack sleeve with photos and liner notes, also including a folded insert reproducing lyrics, technical notes and a group of ink drawings originally created for the "vom goldabfischer" lp sleeve.

$20.38

back in stock as of
july 21st, 2008

first in stock on
october 12th, 2006

threads:
free-improvisation
psych-prog

alga marghen (italy) #alga tes10 cd

n.a.d.m.a. “paura” compact disc

paura (7:39)
raga marco (14:23)
homage to amilcar cabral (13:04)
untitled (28:23)
6-7-5 (8:32)

click the play button to hear an excerpt of "raga marco"

extremely loose 1973 italian free-psych session, “led” by pianist davide mosconi.

alga marghen press release...

n . a . d . m . a . series

a history of improvised music produced in italy during the 1960s and 70s, or of creative music as at the time it would have been defined in order to incorporate all those experiences that pushed the improvisational practice of jazz toward buondaries closer to avant-garde music, would only be partially complete without a proper appreciation, and timely revaluation, of the nadma phenomenon and of the various groups which followed and preceeded this experience. nadma itself was born as an extention of a previous "quartetto", which was founded by davide mosconi and marco cristofolini in 1968 with the fundamental contributions of gustavo bonora and enzo gardenghi. the distinguished legacy of the group has been hidden from view to nearly everybody until now. the discovery and classification of the original reel tapes owned by mosconi enabled the compiing of a large group of recordings which traces the creative activities of the "quartetto", of nadma and of the various offsprings that followed. a complete series of cds will document those activities.

...

n . a . d . m . a ."paura"

alga marghen - plana-n 10tes.060

digipak cd

nadma was officially born between august and the beginning of september 1972 during the time spent in a little village in the tuscan-emilian apennines. the identity and musical orientation of the collective centered on the convergence of heterogeneous interests and sentibilities coming from avant-garde jazz experiences liberated by post-free curents, from classical studies, or from musicians also active as visual artists, who had cultivated an instrumental practice utilising spontaneous expression. all the group members assimilated and creatively incorporated the most progressive influences of afro-american music and the contemporary neo-avant-garde, but shifted noticeably in the direction of the contemplative and ecstatic vitality of non-european, especially african, musical cultures. the natural arkestra da maya alta was, and still is, known to a limited group of devoted listeners on the merits of the only record released by rca in 1973.

the group, which represented one of the most innovative entities among the collectives of improvisers active in those years, perfectly expressed its musical virtues in a limited number of periodic live events. the concerts took place mostly in milan during 1973-74. the cd starting this series, "paura", is named after the first track of the nadma concert at circolo lepetit in milan in march 1973, presented here in its entirety. in this concert, the very first live concert preserved on tape, nadma already performs a well-established repertoire, integrating and expanding upon the material of the rca lp.

davide mosconi himself documents the aesthetic and existential horizons of nadma in a typed text and handwritten notes presented here, which also include biographical data about all members of the group. the 16 pages booklet also includes and essay by gabriele bonomo as well as orignal documents and photos.

$20.38

back in stock as of
july 21st, 2008

first in stock on
december 29th, 2005

threads:
plunder-phonic
musique-concrète
electro-acoustic-improvisation
sound-art

alga marghen (italy) #alga tes06 cd

anton bruhin “rotormotor” compact disc

orax [ 03’23” ]
lange töne [ 10’35” ]
versuchpilz 6 [10’13” ]
paul is 35 [ 09’44” ]
rotormotor [28’17” ]

click the play button to hear an excerpt of "lange töne"

alga marghen press release...

3 excerpts from the mc-10 zyklus

lange töne october 27, 1976 10'35"
versuchpllz 6 april 16, 1977 10'13"
paul is 35 april 4, 1977 . 09' 44"

ch-phon, tuning whistle, mouthharp, bell, piano, voice and other instruments.

recorded on 2 cassette recorders with loudspeakers.

1st layer: record music on cassette 1
2nd + 1st loyer: replay cassette 1 over loudspeaker, record simultaneously new music plus the music of cassette 1 on cassette 2 in recorder 2.
3rd + 2nd + 1st loyer: replay cassette 2, record simultaneously new music and the music of cassette 2 on cassette 1 in recorder 1.
4th + 3,d + 2nd + 1st layer: same procedure reversed, ping-pong recording.

the loudspeaker of the cassette-player has a narrow frequency range. the replay develops a loss of sound quality. the replay and the re-recorded layer sounds more muffled. than the new additional recorded music. the latest recorded layer sounds the most clear and present. i do not recall how many layers these recordings ares made of, it's difficult to make it out by listening, but there may be easily 6 or more layers.

a plane, seen from its side shows the shape of a line. the frontal view of a line shows the shape of a spot. the spatial impression (illusion) of a stereo replay is produced by the leftright panorama.

the spatial illusion while listening to a monoaural replay results of this line which moves away from the listener's position into the depth of space. the listener percieves it as a spot moving fore and back from his ears (that means brain).

another excerpt from the mc-i0 zyklus titled wochenwende, zurich, march 8, 1977, has been issued on anton bruhin's inout cd (alga morghen, plana-b 3tes.015, 1998)

rotomotor ein motorisches idiotikon
zurich, written in 1976/77 28'17"

reading

recorded at etienne conod's sunrise studio. first issued in 1978 (sunrise lp 078-1962)

rotomotor is a poetic idiotikon of the swiss-german dialect.
(idiotikon = dictionary of dialect, idiom)
instead of the straight alphabetical order the words are here organised according to the similarity of their sound or rather their letters.
each word differs from the previous one by just one letter.
three possibilities result:

- one letter is added.
- one letter in cancelled.
- one letter is replaced by a different letter.
(sch, ch and a few other legatures = 1 letter)

the choice of the word which follows the previous one was intuitively made.
rotomotor draws a winding path if compared to the straight alphabetical order. this path may ocasionally cross itself. if possible each word appears only one time; in a few cases a word may appear two or even three times.

in 1977 i read a 10 minutes excerpt of rotomotor during the radio program titled dichte® lesung 77. for this reading i used a delay equipment which repeated the signal after more or less 0.6 seconds. each new word is superimposed to the echo of the preceding word. on one hand this echo generates the rhythm of the performance, on the other it supports the acoustic metamorphosis of the words.

$20.38

back in stock as of
july 21st, 2008

first in stock on
april 4th, 2008

threads:
minimalism-drones
modern-composition
sound-art
live-electronic

alga marghen (italy) #alga nmn28 cd

charlemagne palestine “sharing a sonority” compact disc

charlemagne palestine & terry jennings - short & sweet (11:13) 1974
charlemagne palestine & robert feldman - electronic and flute (5:56) 1967
fundamental d flat group (palestine, conrad, & chatham) - db (32:05) 1974

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

march 2008 release - fourth in alga marghen’s “golden” series / survey of charlemagne palestine’s work, including three pieces recorded in 1967 & 1974 - most notably the only available recording of the short-lived fundamental d flat group (charlemagne palestine, tony conrad, & rhys chatham) but also a mellow cale / riley-esque duet between palestine & terry jennings and an remarkable live-electronic duet with robert feldman ...

the “db” piece, recorded shortly after tony’s collaboration with faust, hits on a bunch of similar touchstones & is worth the price of admission alone ... highly recommended !!!

alga marghen press release...

c h a r l e m a g n e p a l e s t i n e
sharing a sonority
with terry jenning, tony conrad, rhys chatham, bob feldman
(cat no. plana-p 28nmn.068)
digipack cd
edition of 1000 copies

alga marghen proudly presents a new chapter in the documentation series of charlemagne palestine historical works. this cd of previously unavailable recordings not only presents you charlemagne palestine activities in 1974, collaborating with some of most important experimental artists and composers from either the new york loft scene and cal arts. but also features world premiere recordings of terry jennings and the fundamental d flat group.

"short & sweet" is the title of a breathtaking duo for piano and sax performed on april 24th by charlemagne palestine and terry jennings. the two composers happened to play together in very private concerts at cal arts, but never recorded those sessions, untill a special day when charlemagne happened to have a little taperecorder around. the recording was considered lost for more than 30 years when finally a copy was found thanks to tony conrad. the piano part reminds some of the early pieces by charlemagne palestine titled piano drones (as the one pre-dating of a couple of years this duo and presented on the "continuous sound forms" cd issued on alga marghen. the liner notes of the same cd mention this duo with terry jennings at the time considered lost). terry jennings’ soprano sax is very elaborated and decorative (reminding the only other recording ever issued by this important outsider and la monte young friend, or the sax and cello duo with charlotte moorman present in "cello anthology" 4cd boxset issued on alga marghen).

around 1967 charlemagne was experimenting mainly with voice and electronic. he also occasionally recorded piano and sax improvisations with his friend bob feldman. this cd featured a very special duo by palestine and feldman playing electronic and flute. the two artists met in 1961 when bob feldman worked in a jazz record shop in the times square subway station. palestine didn’t know much about jazz and feldman guided him through the new progressive jazz styles of the times. later at the intermedia center of nyu where they had a buchla synthesizer (you can listen to charlemagne palestine electronic music studies as presented in "in-mid-air" cd issued on alga marghen). charlemagne and bob feldman experimented there between jazz raga and electronic. very little was recorded. this is one rare duet that dates probably from around 1967 (bob feldman also plays with charlemagne palestine and tony conrad in the historic recording of "alloy" for wbai in 1969 released on golden1 cd on alga marghen).

the last track on this cd is the first 30 minutes recording from april 22nd, 1972 by the fundamental d flat group performing in db. during one trip back to nyc from cal arts, charlemagne palestine was invited by tony conrad (together with rhys chatham) to albright college in new jersey for a sunday afternoon concert. that was the first and last time the fundamental d flat group played in public (tony conrad: violin, horn, string drone. rhys chatham: flute, organ, string drone. charlemagne palestine: voice, pipes, snifter). although the piece lasted all afternoon the first 30 minutes were the only portion recorded during the performance. the fundamental d flat group invite you to listen and meditate in the mode of db. to hear one one is to enter the deepest realm of knowledge of the sound current. the ear, the understanding, and the core of the spirit resonate to the mode of the single tone and its harmonic family. you read, and hear, and feel the empathy of human spirit. the body will channel the knowledge of the single note stronger and stronger, the more you hear. welcome to the fundamental d flat group.

this cd is included in a beatiful digipack full colour sleeve with photos and liner notes. the edition presents some of the best recordings ever issued by charlemagne palestine, a highlight in the alga marghen catalogue and a unique chance to listen to the core of charlemagne palestine golden research real, unedited, original sonorites.

$141.96

back in stock as of
july 21st, 2008

first in stock on
may 10th, 2007

threads:
fluxus
modern-composition
minimalism-drones
sound-art
film-video
sound-installation

alga marghen (italy) #alga nmn27 cd

charlotte moorman “cello anthology” quadruple compact disc set

charlotte moorman cello anthology

vol.1 avant garde concert iii
judson hall, december 12, 1964

john cage 26’ 1.1499” for a string player (32:36)
earle brown synergy (4:04)
giuseppe chiari per arco (3:56)
karlheinz stockhausen plus-minus (10:07)
terry jennings piece for cello and saxophone (2:54)
toshi ichiyanagi duet ii (11:49)

vol.2 so langweilig wie mögloch
aachen theatersaal, july 25, 1966

sylvano bussotti sensitivo #7 (2:20)
earle brown december 52 (6:10)
giuseppe chiari ave maria di schubert (1:47)
john cage 26’ 1.1499” for a string player (5:25)
nam june paik cello sonata opus 69 (3:44)
nam june paik sonata no. 1 for adults only (7:57)
toshi ichiyanagi duet ii (12:32)
nam june paik johann sebastian bussotti (3:17)
toshi ichiyanagi duet ii (19:16)
john cage 26’ 1.1499” for a string player (2:44)

vol.3 tv cello
chicago, museum of contemporary art, september 1982

charlotte moorman / paul garrin tv cello duets (72:28)

vol.4 the long hot summer

jackson mac low the long hot summer (12:45) 1964
charlotte moorman interview by harvey matusow (33:42) 1969
nam june paik / russel connor waiting for commercials (8:13)

without getting into too much detail; i will say that opening this box is akin to stumbling onto a treasure trove of nyc mid-60s sound-art/fluxus memorabilia... aside from the four discs; each with an astounding array of up-until-now unheard music, the printed ephemera that fills the lp-size box makes for several days of reading/learning.

i’ve never been disappointed by one of these alga marghen sets; i doubt i ever will...

alga marghen press release...

c h a r l o t t e m o o r m a n
"cello anthology"
(cat no. plana-m 27nmn.064)
4cd boxset with book and inserts

it is certainly surprising that until now an exhaustive recognition of the work of charlotte moorman has not been undertaken. the cellist can be numbered among the most charismatic and influential protagonists to have appeared on the avant-garde or experimental music scenes since the early '60s. a documentation of her activities as a performer is generally available only in various catalogues which document the crucial intersection with the work of nam june paik, or the association with manifestations and events connected with the so exquisitely realistic gestures of the fluxus movement. to have accepted the transformation of herself into a 'living icon' through the works realised in collaboration with paik, has perhaps contributed to obscure a part of her individuality. as giuseppe chiari correctly noted, in a text which is authoritatively integrated into the documentation provided by the present publication, charlotte moorman's œuvre can in fact be sympathetically felt only in the absolutely 'unique' character of her interpretative gesture, a character which justly identifies her originality, her capacity of an authentic 'author'. the presence of charlotte moorman as catalyst must be realised in such an evaluation.

"cello anthology" is a collection of documents—sonic and photographic—as well as original texts and testimonials, made available for the first time in a unitary form, which permits a complete recognition of charlotte moorman's work. the biography and chronology faithfully reproduce the materials that the artist herself had ordered in booklet form. the range of her activity not only as an interpreter, but also as a promoter of the avant-garde artistic research progressively open to intersecting with the most varied disciplines—from music to sound and concrete poetry, form visual and plastic art to cinema and to video art—is moreover reconstructed through an unpublished text with which charlotte moorman meant to review the history of the fifteen editions of the new york avant garde festival she organised between 1963 and 1980. at the core of her uninterrupted performative activity, here documented across a rich iconographic apparatus ordered chronologically, the works realised in collaboration with nam june paik doubtless represent a culminating moment in her striking career. it therefore seemed appropriate to also integrate the transcription of the primary texts and documents pertaining to them, to better perceive to what extent the aesthetic project of the korean artist was indissolubly bound to the peculiar 'corporeality' of the cellist's performance 'gesture' and to her absolutely unique capacity of translating the musical experience within the limits of her own non-exchangeable physical presence. giuseppe chiari's affectionate testimony dedicated to the faithful interpreter of some of his most important works of the early '60s—works which affirmed the florentine artist on the international scene—and the reprint of gisela gronemeyer's poignant essay dedicated to charlotte moorman, likewise offer a useful explanatory setting for the introduction of these copious texts and documents.

indeed, for the first time, the work of charlotte moorman can be appreciated by means of a significant selection of vintage recordings. the first two cds highlight a pair of exceptional documents—a performance recorded by radio station wbai in new york on 12 september 1964, and a concert from 25 july 1966 in the theatersaal in aachen, germany. these events superbly represent the type of repertoire that moorman and paik cultivated and proposed in the us and europe, in the years following their meeting, in their memorable 'duo' exhibitions. the programs of the two concerts present several homogeneous choices and others more clearly divergent. the aachen event, in fact, is testimony to the progressive and always more pronounced emergence of meta-musical elements deliberately turned toward the demystification of 'ritualistic' meanings of a concert, even while consciously accepting it as an exhibition frame. it is for this reason that the aachen recording can document, with respect to the comprehensive programme, only those works in which the sound matrix constitutes the prominent factor. this is particularly evident, beyond several tried and true war-horses of their exhibitions which recur or are distributed equally in both concerts (26'1.1499" for a string player by john cage, duet ii by toshi ichiyanagi and two works by giuseppe chiari: per arco and ave maria di schubert, both of which were written for the cellist and dedicated to her), in the premiere of earle brown's synergy, a rare and delightful duet with terry jennings on saxophone, an almost systematic version of plus minus by karlheinz stockhausen aided by paik's robot in the wbai concert, as well as, in the aachen concert sonata no. 1 for adults only and especially the first performance of opera sextronique, both by paik, in addition to other pieces by earle brown and sylvano bussotti.

the second disc includes another unspecified rendering of ichiyanagi's duet ii and an abbreviated version of cage's 2'1.1499" for a string player. of the famous tv cello—conceived by paik for moorman as a 'living sculpture'—the third cd offers an in situ recording realised on one of the three days inaugurating the paik retrospective at the museum of contemporary art in chicago, on 11, 12 and 14 september 1982. this version contains respectively the tv cello duets with paul garrin and the concerto for tv cello and videotapes, largely improvised, "including a tape collage by ornette coleman prepared for charlotte, also talking with audience". the fourth cd restores three other documents, collateral but definitely not secondary. one happy example is a choral work performed on 3 september 1964, during the second new york avant garde festival, a performance of jackson mac low's composition the long hot summer, sees in an exceptional reunion the names of charlotte moorman, nam june paik, benjamin patterson, philip corner, and malcolm goldstein, as well as mac low himself. on the relevance of this performance, distinguished by a marked ethico-political intonation and valence, philip corner dwells extensively in an unpublished text printed here as an attachment to the sonic documentation. the voice of charlotte moorman, characterised by her unmistakable vital charge, is brought back to us through a long and meaningful interview conducted by harvey matusow in october of 1969 in the bbc new york studios. the soundtrack of the video waiting for commercials, realised by paik in 1972 in collaboration with russel connor, whose sound collage integrates musical insertions by charlotte moorman and david behrman, completes the anthology put together and offered here.

luxury edition including a 154 page book with original documents, full colour photos and scores; a set of 16 full colour inserts reproducing the original posters and programs of the annual avant garde festival of new york; 4 compact discs. first boxset edition limited to 500 copies.

$37.13

back in stock as of
july 21st, 2008

first in stock on
october 12th, 2006

threads:
modern-composition
sound-art

alga marghen (italy) #alga nmn26 cd

walter marchetti “utopia andata e ritorno” double compact disc set

disc 1 l’andata (70’)
disc 2 il ritorno (70’19”)

click the play button to hear an excerpt of "il ritorno"

a single contemporary work from walter marchetti spread out over two discs - the first fusing a recording of a piano-recital with naturally ocurring sound-events (a thunder/lightning storm) - the second “reverses the direction and literally destroys itself”

i don’t believe i will ever cease to be amazed by marchetti’s continuous stream of sound-art acts/antics. this stuff is pure gold.

alga marghen press release...

w a l t e r m a r c h e t t i

"utopia andata e ritorno"

alga marghen - plana-m 26nmn.059

tri-folded digipak 2 cd set

music: the foundation of that presence in which we find ourselves shows itself as pure negatin. everyting is founded on a demonstration of its own negativity: as awareness of its being negative, and does not look for an escape into a future presence, that is an objective future. but, accepting its negativity, makes of this self-negation the real act, the true reality - the true foundation, the real and actual continuity: this is music's sense.

"utopia andata e ritorno" is the title of the new composition by walter marchetti, recorded in milano in 2005. it has two parts, each one cd long. the first part, "l'andata", puts together two former recordings of marchetti. the recording of a real storm and a recital for solo piano. this is not the first time that marchetti mixes a piano solo recital with the recording of a natural live event, thus creating a "piano concert". the second cd, "il ritorno", reverses the direction of the first record and literally destroys itself.

in the first part of this work, marchetti puts music successfully in the place it has to have today: on the road to renewal in contact with reality, a reality that is a synonym for vacuity, that is the interdependence of phenomena, music, reality, technology. there is nothing mimetic or anecdotical in this work. the storm is a real storm and the solo piano recital is a modern work of pure music, without the excesses that the society expects of a piano recital from composer and virtuoso player. pure music, in the best sense of the word. "l'andata" is one of the great works of music of our time, or, as josé luis castillejo remarked, "it may be the best modern piano concert since brahms".

in the second part, "il ritorno", sound waves are deformed when one tries a reverse hearing and the turn around trip becomes an aural nightmare. of course, avant-gardism has made us accustomed to noises and silences and to the arbitrary idea that anything is music. "il ritorno" announcs the end of musical avant-gardism and its technocratic aspirations. it points the end of music avant-gardism because it exposes the technological manipulation not only of technology beyond its powers, but also the manipulation of both music and sound. "il ritorno" is such a problematic work also because its subject is failure and impossibility.

three-folded digipack 2cd edition. it includes a 32 pges booklet with essays by water marchetti, gabriele bonomo and josé luis castillejo. first edition limited to 500 copies.

in extremis.

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alga marghen (italy) #alga nmn25 cd

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

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

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

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

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

alga marghen press release...

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

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

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

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

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

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

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

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

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

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alga marghen (italy) #alga nmn24 cd

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

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

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

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

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

alga marghen press release...

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

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

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

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

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

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

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

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

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

$20.38

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alga marghen (italy) #alga nmn23 cd

max neuhaus “four realizations of karlheinz stockhausen’s zyklus” compact disc

karlheinz stockhausen - zyklus (1963) 09’49”
karlheinz stockhausen - zyklus (1964) 12’41”
karlheinz stockhausen - zyklus (1965) 11’17”
karlheinz stockhausen - zyklus (1968) 11’23”

click the play button to hear an excerpt of "karlheinz stockhausen - zyklus"

four different recordings of max neuhaus interpreting stockhausen’s “zyklus” - much like the fontana mix-feed disc; all four realizations are quite different, having been performed a year or so apart... one can trace the progression of neuhaus’ vision throughout (the disc is conveniently sequenced chronologically)

alga marghen press release...

karlheinz stockhausen, no. 9 zyklus for one percussionist

zyklus was written in 1959 and is one of the first solo pieces to utiliize such a large number of percussion instruments (twenty one). all the notes are written out specifically with respect to loudness (shown by one of twelve sizes of notes), the instrument to be played (by a symbol for the instrument), the pitch on that instrument (by a staff of some sort), and when the note occurs in time (by correlating time with horizontal space on the page).

however, in the case of many of these notated groups of notes the performer is given specific choices in their juxtaposition. these decisions can he made either before or during the performance. the performer begins with any note, plays through the complete piece, and ends with the note he began with. if the score is placed in one position, the performer's main playing area moves gradually in a clockwise direction; if it is turned upside down, so to speak, the playing area naturally moves counter-clockwise. these recordings include performances in both directions and with various starting points.

when i first started to learn to play zyklus there were only three other percussionists in the world who could play it - one japanese, one french, and a german, christoph caskel. it was the latter who did the first performance. stockhausen's idea was that a performer would play the piece spontaneously, making its complex decisions on the fly. no one played it that way; it was too difficult. everyone wrote out his own version of the score and played from it. i decided to play it for my graduation recital from manhattan school of music. coming from the world of jazz i also wanted to take up the challenge of playing it spontaneously.

at that time percussionists gmerally played only one instrument at a time. playing twenty one simultaneously was unheard of. i quickly realized that the only way to do it, in fact, was to think of all of them together as just one instrument, one multi-surfaced bank of timbre. actually playing this huge group of instruments as if they were one was quite another matter. the challenge was gaining control over the large number of surfaces. in order to be able to do a pianissimo on a surface behind your back, without looking, you have to have a precise kinaesthetic sense of exactly where the surface is. in order for this to happen, the instruments always had to have the same spatial relationships. i had to find a way that they were always in the same position every time i sl't them up; otherwise i would never find them with just my hands. i invented some special frames which allowed me always to place the instruments in the same precise relationships and that were possible to take apart and light enough to transport.

i also had to invent some new techniques. for example several times in the work you have a trill on the vibraphone at the same time as you're playing fast riffs on other instruments. how do you trill on the vibraphone and riff on other things at the same time? you do the trill by taking two mallets in one hand; you put one under the vibraphone bar, one on top, and quickly move them up and down. you play the riffs with two sticks in the other hand. it sounds simple, but nobody had ever thought of that before.

i decided to travel to europe and go to darmstadt where stockhausen was teaching. i wanted to talk to him about the piece. when i met him, he was interested in my idea that the twenty one instruments had to be physically formed into one instrument and in the fact that i had done so much work on it already. six months later, when he was preparing his first us tour, he remembered our conversations and asked me to perform zyklus on the tour. i was twenty three. it was a big opportunity.

lie came over to new york to hear me play it, but he wasn't satisfied with my improvised version. it was too long. i was determined to teach myself how to do it for this tour. i had another six months. i got it down to seven minutes; and i was still improvising, not writing it out.

the first concert of the tour was in new york, and zyklus was the first work on the program. the whole music world was there to see who this german composer was. just before i went out to play, though, stockhausen went out on stage and made an announcement disavowing responsibility for me, implying that a young american could never do justice to his music. it backfired on him. i was ready to play that piece, and i played it like nobody had ever heard it before. the applause afterwards was tumultuous.

m.n.

...

stockhausen, neuhaus, zyklus

this compact disc, with its four realizations by the solo percussionist max neuhaus of karlheinz stockhausen's zyklus, is of interest in itself, because it sounds cool, but also for the larger careers of both stockhausen and neuhaus. the stockhausen score and its realizations mark a time in music and in both men's careers when the roles of composer and pcrformer were blurring, and when neuhaus' latent ambition as a composer, or architect of sound, was taking shape.

stockhausen, born in 1928, is a strange case, but a strange case who has composcd some wonderful music. he started as an ambitious young man of the german avant-garde scene of the 1950's, and zyklus, composed at the end of that decade, can be heard as an example of that era's fascination with fragmentation and disjunction, yet with a powerful coloristic component that was to prove prescient. in the 60's. after zyklus had been composed, stockhausen evolved into almost a full-bore hippie, capped by stints in northern california. his music of that decade, extending into the early 70's, remains his most powerful and beautiful, blending the freedom and mysticism of california counter-culture (although it was never purely popular in any commercial sense) with the grand tradition of european artmusic. since the 70's, stockhausen has been obsessed with his seven-part operatic cycle licht; what posterity will make of these cosmic musical grab-bags remains to be seen.

stockhausen claims to have written the first notated score for solo percussionist with zyklus, although he was actually beaten to that mark by john cage, with his 27'10.44", neuhaus suggests that stockhausen's graphic notation here also owes much to earle brown's pioneering works from the early 1950's. in any case, the notation for zyklus gives the performer considerable latitude, within strict teutonic limits. hence the four different realizations here, each a separate and equally legitimate response to the suggestion proposed by stockhausen's notation, represent an early example of neuhaus making his own compositional choices.

he had a good head start, to be sure, given his early interest in jazz improvisation. in a scnse, the system set up by stockhausen's score, which points directions and sets limits, is rather like the tune and chord changcs of jazz, or the rules neuhaus invents for himself in his own later sound-works, whether on the radio or the internet. and his ample use of electronic instruments to supplement pure percussion in other works also points in the direction on which he was to embark in the early 70's.

the result is a technical tour de force, less evident from a purely aural cd than it would be from a dvd, let alone from having attended one of these performances. each of these four recordings is a document of a true solo performance, one person and two hands, with no additional live help and no overdubbing (not that the technical constraints of the mid-60's, with editing limited to what could be accomplished with scotch tape and a razor blade, would have permitted much in that regard).

this cd also offers four different kinds of beauty, four proofs that the latitude that stockhausen allowed, when capitalized on by a performer with creative imagination, could validate stockhausen as a composer and an entire aesthetic of freedom and control.

john rockwell, new york city, 2004

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alga marghen (italy) #alga nmn19 cd

charlemagne palestine “in mid-air (golden 3)” compact disc

sine wave study (1965) 03’44”
open-closing (1965) 03’37”
seven organism study (1968) 07’50”
negative sound study (1969) 23’47”
tymbral for pran nath (1970) 15’18”

click the play button to hear an excerpt of "seven organism study (1968)"

alga marghen press release...

late night recordings at the n.y.u. intermedia center. buchlas 100 & 200 systems.

“the first time i heard electronically generated sounds probably came from the machines that i encountered in ordinary daily urban life the refrigerator electric motor electrical generator and the hammond electric' organ but it was especially the sounds of motion race cars motor cycles war planes rocket ships that first excited my sonic imagination as a young teenager then i heard the electronic musics of tod dockstader alwyn nikolais pierre henry & schaeffer poeme electronique of varese and xenakis and gesand der junglinge of stockhausen

i immediately bought a cheap reel to reel tape recorder took a class on tape music manipulation and started to cut and paste recording tape making collage sound experiments and fooled with reverb tricks and bass / treble tone knob filterings trying to create already an electronicesque language of my own at first i used my own voice and the bells of my carillon and sounds i recorded around the house as my sound sources then one day i experienced at an electronic music studio what electronically produced sound waves looked and sounded like through an oscilloscope and began studying helmholtz's on the sensation of tone

i started to dream of an expressive continuous evermoving everchanging sound form an enormous sonorous 3-dimensional sculptural canvas in mid-air using electronically produced sounds at first i began experiments with simple sine tone generators emitting the purest sound waves without any overtones then gradually with access to moog buchlas and arps i constructed sounds using the sine / sawtooth / square wave oscillators in a fluid everchanging mix of adding or filtering overtones and white noise to create sonorities constantly changing timbres and weight

i experimented in this way from 1964 till 74 in nyc and then california finally i assembled my own drone machine of 16 ultra stable oscillators designed by serge tcherepnin and 4 band pass filters designed by donald buchla and began to travel presenting spectral continuum searches for the golden sonority day week month long journeis of harmonies and their overtones in constant evolution and transformation in space untill the late seventies when i stopped composing & performing for nearly 15 years

when i resumed in the nineties my jamaica heinekens soundscape was made using arp and rubery oscillators and filters in holland and performed many sonorities in progress these last years with several simple yamaha synthesizers and now i am constructing a small electronic studio at home in bruxelles around the analog oberheim matrix 12 and expander that i bought just before the end of analog in the late eighties electronic sound forms continue to have a major place in my compositional palette.”

...charlemagne palestine

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alga marghen (italy) #alga nmn14 cd

charlemagne palestine “continuous sound forms (golden 2)” compact disc

duo strumming for two harpsichords (1978) - three excerpts (25’25” - 6’45” - 10’40”)
piano drone (1972) 22’10”

click the play button to hear an excerpt of "duo strumming for two harpsichords (1978)"

alga marghen press release...

“elisabeth freeman and i met in 1971 at cal arts near los angeles. she was a disciple of the great harpsichord virtuoso fernando valenti and i was in residence there as assistant professor and graduate student in multi-media. immediately we had a great chemistry between us and the sound and clarity of the harpsichord perfectly fitted my sonic approach. i invented a strumming for her eventually in 1975-76 that premiered in london + ny afterwards to critical success. then in 78 we played together at a harpsichord factory of willard martin in pennsylvania and the 3 exceprts come from sessions at that time she is playing far away + me up close. they were magic moments.

in 1972 while still at cal arts terry jennings, visionary composer, wonderful woodwind player clarinet soprano saxophone always in another time sense in another world. he and i played together from time to time for the moment all recordings are lost but this piano drone played the first bosendorfer imperial that inventited my piano music styles to come is a rare and special moment. he left the room with this stuff and some years later he left this world totally for his other world.

this piano moment on the original imperial of california i dedicate to him as in those days time was different. time passes time elusive liquid time stood still all that at the same time. piano drone is from that time and for terry.”

nayastay charlemagne logo d’orta 9/2000

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alga marghen (italy) #alga nmn13 cd

charlemagne palestine “alloy (golden 1)” compact disc

holy 1 & holy 2 (1967)
alloy (1969)

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

so the listing is a little misleading on this one... the first track is a full-on straight drone piece for 20 minutes, holy 1. the second track is the same drone with extra sonorities (aka holy 2) mixed in, thus holy 1+2. the third track is merely the holy 1 + 2 tape played in a large room (possibly the merce cunningham space?) with added accompaniment from tony conrad, robert feldman, deborah glaser palestine and cp himself. regardless of what the hell is actually on this cd, it sounds like: holy 1: the bones of a large whale being bowed from inside, holy 1+2: same whale, resisting, alloy: whale, now transplanted to chelsea piers, field documentation of whale on microcassette & accompaniment by a-list of factory hangers-on/”drone music.”

alga marghen press release...

holy 1 & holy 2
recorded in new york city n.y.u. intermedia center (1967)
late night electronic sonorities

alloy
tony conrad, robert feldman, deborah glaser palestine, charlemagne palestine
recorded live at free music store, radio station wbai, new york city (1969)

“holy 1 and holy 2 were both recorded in nyc in 1967 i was reading helmholz - and listening to a lot of ethnic world music but i was also very immersed in the late night new york soundscape

my friend saxophonist bob feldman and i would often take long long walks 2 or 3 o'clock in the morning from battery park at the lowest point in manhattan to where we lived on 87th street and riverside drive and absorb the spacial sound diversity and beauty that such a big city could only express very late at night then other nights when i composed i worked also at night.

from midnight to 7 or 8 in the morning with a mattress on the floor i would build up a sound oscillator by oscillator then add ever so slightly to the oscillators input tiny increments of white noise that would gr adually make the sounds thicker and thicker untill they were immense sacred machines humming like gargantuan tibetan bees making all the room and objects in it resonate while outside all was quiet and sleeping i worked like a painter with a palette and a canvas and i mixed and added and mixed and added over entire nights

i played them very very loud mixing adding and then lying on the mattress and listening and fine tuning finally at a certain point after several nights the sonority seemed ready to record i'd put on the tape prepare the tape machine with the proper level as not to overload it and i'd record the texture. holy 1 & 2 were done in this way

later on i was asked by gus solomons a choreographer at new york university to create a texture for a new dance work he wanted to present and as he was a student of merce cunningham he had the same habit of asking a composer to create a work without ever hearing it until the performance we just agreed on how long it would be we chose something lik e 70 minutes and in 1968 i brought both holy 1 & 2 to the theatre to decide which one to use for the dance and found that for me at that moment each one was too thin played alone for such a big open space and finally tried the 2 sonorities together

they fit strangely but wellso i used them both and after that i played them sometimes separately together and sometimes and so holy 1 & 2 became a work itself

then in 1969 tony conrad asked me to make some carillon music for his: film "coming attr actions we were seeing each other regularly for that when the free music store of radio station wbai asked me to create a piece for an event they were preparing to broadcast live on radio 1 so i asked tony my saxophonist friend bob feldman my then-wife and sopr ano debor ah glaser to collabor ate on a workthat i would organise around an instrument that i invented at that time called an alumonium made from pieces of aluminium siding attached with fishing wire each a different length thus different pitch when you hit them and a spanning sound as well if you hit them a special way and they'd begin to spin

tony played an instrument that he invented the long string drone that was a long string attached to a long wooden structure and amplified bob played the chimes and a conch deborah sang and played chimes and i sang also played the chimes and some percussion instruments that we found lying around the hall where we played

the piece became alloy and the sound that begins played through loudspeakers in the hall 'were holy 1 & 2 from 1968”

...charlemagne palestine

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alga marghen (italy) #alga nmn11 cd

“rumori alla rotonda” compact disc

john cage “duo” (1958) 07’25”
walter marchetti “gamapîrt” (1959) 04’22”
morton feldman “piano piece 1” (1954) 02’41”
juan hidalgo “ciu music quartet” (1959) 11’04”
leopoldo la rosa “musica per pianoforte e 3 timpani” (1959) 04’58”
john cage “music for piano” (1956) 06’14”
juan hidalgo “offenes trio” (1959) 04’49”
morton feldman “piano piece ii” (1954) 02’18”
walter marchetti “doppio” (1959) 05’10”
leopoldo la rosa “rímak” (1959) 12’16”

click the play button to hear an excerpt of "walter marchetti “doppio” (1959)"

fantastic compact disc documenting an historic concert which took place at the rotonda del pellegrini, milan, on january 21st 1959 featuring john cage, juan hidalgo, and walter marchetti.

alga marghen press release...

live recording at the rotonda del pellegrini, milan, january 21st, 1959.

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

...

gabriele bonomo

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

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

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

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

$20.38

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alga marghen (italy) #alga nmn08 cd

ben patterson “early works” compact disc

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

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

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

alga marghen press release...

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

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

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

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

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

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

$75.05

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alga marghen (italy) #alga nmn02 cd

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

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

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

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

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

alga marghen press release...

alga marghen
plana-c 2nmn.013

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

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

duration: 24'02"

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

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

philip corner

duration: 46'42"

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

$43.68

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alga marghen (italy) #alga akt04 cd

hermann nitsch “requiem für meine frau beate musik der 56.aktion” double compact disc set

requiem für meine frau beate musik der 56.aktion part 1 (60:00)
requiem für meine frau beate musik der 56.aktion part 2 (58:41)

click the play button to hear an excerpt of "part 2"

december 2006 release; a reissue of a 1977 3lp set (originally: edizioni morra) by aktionist-composer hermann nitsch... this is right up there along with the dieter-roth-verlag “island symphony” in terms of nitsch’s early large-ensemble dread-drone tactics... ominous, superlative work.

alga marghen press release...

h e r m a n n n i t s c h
requiem fur meine frau beate
musik der 56. aktion
cat no: plana-n 4akt.062
2cd + booklet in slipcase

alga marghen proudly present the documentation of "requiem fur meine frau beate", which took place in the chiesa di santa lucia in bologna, italy, in 1977 shortly after beate nitsch's death. this was not only one of the strongest and most powerful aktionen by hermann nitsch but also a crucial point in the development of his art.

begining 1977, beate nitsch was travelling in schwarzwald. she has been inaugurating a nursery-school and wanted to meet some relatives in stuttgart when, near ulm, she had a terrible car accident. beate had supported her husband's art not only sharing the sentimental part of their life but also actively collaborating to the organisation of his work. she organised the purchase of castle in prinzendorf, the central place where nitsch will develope his orgien mysterien theater. for hermann nitsch this loss was a complete collapse. he suddenly felt to be on the opposite side of life, alone and full of despair. in that days he reached the deepest point of black unhappiness.

nitsch decided then to go the naples where he organised a lehraktion at morra gallery. his friend kubelka joined him from usa. during the lehraktion he was told about a big performance festival that would have taken place in bologna. nitsch was invited to partecipate with an aktion to be performed in a big old church. it was clear to nitsch that he would have conceived an aktion dedicated to the memory of beate. a requiem even.before the aktion in bologna hermann nitsch music was basically released as a wall of noise. the musicians could play what they wanted and the only instruction was to play as loud as possible. only the duration, the starting point and the noise level of each instrument was fixed. for the first time with the requiem nitsch started to conceive longer tone clusters, specially for the wind instruments. the perfect acoustics of the church with its wonderful organ, which shocked nitsch with its intensity and power, suggested him a new direction in music. among the lucky audience were many friends coming from all over the world to witness the event. for everyone the requiem was an important and estatic experience. the big success of the aktion gave nitsch the strengh to continue his work. shortly after bologna he was invited to create new aktionen in canada and los angeles.

first time 2cd edition, in tri-folded digipack, reproducing the impossible to find 3lp art gallery edition issued in naples in 1977 for the radiotaxi series. including a 12 page folded insert with drawings and directions from the lp boxset original graphics. this edition also includes a 32 page shocking full colour photo documentation of the aktion, for the first time available now. edition of 1000 copies, only 700 available for distribution.

$65.52

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threads:
sound-poetry
musique-concrète
live-electronic
electro-acoustic-composition
electro-acoustic-improvisation

alga marghen (italy) #alga 24 cd

françois dufrêne “françois dufrêne • affichiste • sound poet” book and compact disc set

köchel que j’aime (9:34) 1969
le cheval lié à l’art rose (12:36) 1969
eryximaque, suite choréographique au tombeau de pierre larousse (7:19) 1965
lecture-collage: la re