mimaroglu music sales ☞ restocks & relistings

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... happy spring everyone !!! to commemorate our favorite season (and to help* get this place back to some sort of workable condition)* we're having a "spring cleaning" sale !!! please visit the *spring (2013)* cleaning page to view a list** of (recent, mostly 2012) releases that we're now offering at reduced prices (while supplies last, no rainchecks, etc) ...

mimaroglu music sales restocks & relistings

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$14.62

back in stock as of
may 15th, 2013

first in stock on
june 22nd, 2007

threads:
modern-composition
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

$14.62

back in stock as of
may 15th, 2013

first in stock on
june 22nd, 2007

threads:
modern-composition
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

$14.62

back in stock as of
may 15th, 2013

first in stock on
june 22nd, 2007

threads:
modern-composition
experimental-instruments

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.

$14.62

back in stock as of
may 15th, 2013

first in stock on
june 22nd, 2007

threads:
modern-composition
experimental-instruments

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.

$29.23

back in stock as of
may 15th, 2013

first in stock on
august 24th, 2006

threads:
modern-composition
electro-acoustic-composition

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.

$14.62

back in stock as of
may 15th, 2013

first in stock on
august 24th, 2006

threads:
modern-composition
minimalism-drones
electro-acoustic-composition

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.

$14.62

back in stock as of
may 15th, 2013

first in stock on
october 3rd, 2007

threads:
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.

$14.62

back in stock as of
may 15th, 2013

first in stock on
november 28th, 2007

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

$14.62

back in stock as of
may 15th, 2013

first in stock on
august 24th, 2006

threads:
modern-composition
electro-acoustic-composition

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.

$14.62

back in stock as of
may 15th, 2013

first in stock on
october 19th, 2006

threads:
minimalism-drones
modern-composition

new world (usa) #nw 80578 cd

charlemagne palestine “schlingen-blängen” compact disc

schlingen-blängen (71:38)

one of the better contemporary charlemagne palestine outings: a single solo organ piece lasting precisely 71 minutes and 38 seconds. heart-stopping stuff... includes liner notes by ingram marshall.

new world press release...

charlemagne palestine, organ schlingen blängen is an invaluable addition to the slender but precious discography of charlemagne palestine, one of the legendary figures of the amazingly fertile new york and west coast experimental music/art scene of the sixties and seventies. he is considered to be a seminal figure of early minimalism—as important as his better-documented contemporaries. his performances on the giant bells at st. thomas church and his evening-length bösendorfer shows are still spoken of with awe by those who were present. palestine left the music scene in the mid-seventies to focus on his visual art; he eventually moved to europe where he still resides.

schlingen blängen —a 70-minute long perambulation through the organ’s sonic landscape—was recorded in 1988 (ten years after its initial performance) in a small dutch church near the north sea. it is difficult to describe because so little happens in it, yet at the same time an immensity of activity is going on and there is so much of it that it boggles the mind. we experience sounds set into motion by the initial choosing of a chord and its timbres (the setting of the registers or stops); the melodic changes that occur are subtle and few. in short, it is a relentless and uncompromising exploration of the physicality of sound as well as its spiritual dimensions. palestine's music left its mark on a number of slightly younger composer-performers, among them rhys chatham and glenn branca. absolutely essential for a comprehensive understanding of the roots of minimalism and its offshoots.

$14.62

back in stock as of
may 15th, 2013

first in stock on
november 22nd, 2006

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

new world (usa) #nw 80577 cd

ingram marshall “ikon and other early works” compact disc

cortez (8:29)
weather report (12:12) the emperor's birthday (13:36)
rop på fjellet (cries upon the mountains) (6:59)
sibelius in his radio corner (8:26)
ikon (9:06)

new world press release...

ikon and other early works

this cd comprises the text-sound works (1974-1980) on which ingram marshall concentrated throughout the seventies and falls into two parts: the works from the fragility cycles period (cries upon the mountains, sung, sibelius in his radio corner, and ikon) and the earlier works (cortez, weather report, and the emperor’s birthday).

“cortez, weather report, and the emperor’s birthday form a kind of trilogy representing my work with “text-sound” in the early seventies. the techniques used to generate musical fabrics and structures out of spoken text are similar in all three works, but the source materials are all quite different. i used tape loops to create repetitive patterns from words or phrases; musical structures were developed out of the resulting fabric. it is not the original utterance or sound bit that is the building block, but the whole cloth created from it.”

sung and ikon are both based on poems by swedish poet gunnar ekelöf. the first piece, referring to the sung dynasty, is scored initially as a solo/duo recitative by painter jan håfström and dancer margareta åsberg, after which the tape processes multiply their voices into a ghostly chorus as marshall’s spectral bass appears with the english translation, to be in turn transformed into its own small chorus.

ikon, marshall’s setting of ekelöf’s ayiasma, is a mystical meditation on an ancient ikon seen in a greek church. the air of apocalyptic finality in the text is enhanced by the electronics, with the pervasive soundscape being that of an entropic cosmic machine. marshall again intones the english translation; the incantatory recitation of the swedish original is by ekelöf himself.

“rop på fjellet (cries upon the mountains) again uses materials “collected” in scandinavia, most significantly an ancient recording of locklåtar and rop from swedish mountain herdinner (shepherdesses) traditionally used to call goats and cattle from great distances, although clearly also cultivated for their own intrinsic, shrill beauty. the live element is my own voice, a high keening processed through a tape delay system.”

sibelius in his radio corner was inspired by a photograph of the finnish composer during his “forty years of silence,” sitting in an armchair and listening to his own work being performed on the radio. “in his old age sibelius enjoyed pulling in distant broadcasts of his music off the short-wave. i imagined that with all the static and signal drift, some of these listening experiences might have been proleptically like a modern-day electronically processed kurzwellen piece.”

marshall’s brooding, mysterious sonic landscapes are essential listening for anyone interested in minimalism and the musique concrète tradition in electronic music.

$14.62

back in stock as of
may 15th, 2013

first in stock on
november 28th, 2007

threads:
modern-composition
free-improvisation

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

$14.62

back in stock as of
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first in stock on
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threads:
1960s-electronic
digital-musics
electro-acoustic-composition
plunder-phonic
musique-concrète

best of 2006 !!!

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

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.

$73.08

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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

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.

$14.62

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threads:
modern-composition
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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threads:
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electro-acoustic-composition

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

best of 2006 !!!

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

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

$29.23

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

best of 2006 !!!

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

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 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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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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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).

$14.62

back in stock as of
may 15th, 2013

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).

$14.62

back in stock as of
may 15th, 2013

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).

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