A Closet of Curiosities: June 2009

Tuesday, June 30, 2009

Euphonium

Brian Bowman - Euphonium

LP released in 1978

Performers:

Brian Bowman - euphonium
Gordon Stout - marimba (tracks 1-4, Side A)
Marjorie Lee - piano (tracks 5-7, Side A; tracks 1-2, Side B)

About the music:

Four Dialogs for Euphonium and Marimba, composed by Samuel Adler

The Four Dialogs for Euphonium and Marimba were written in 1974 on a commission by the Tubists Universal Brotherhood Association. It was their first commission for euphonium and I felt that the combination of the mellow brass instrument and the marimba, which I consider the mellowest of the percussion instruments, would be a natural for a work of this nature. The piece is in four movements, beginning with a slow movement of improvisational character. The second and also the fourth movement are very fast and furious ones with the third movement a slow, quiet, dreamlike movement. (Samuel Adler)

Partita for Euphonium and Piano, composed by Walter Ross

This work was written especially for and is dedicated to Brian Bowman. It is a composition in three movements which I have titled Partita rather than Sonata because the movements are sectional and none of them are in sonata-allegro form. The first movement is a Toccata and, as the name suggests, allows some technical display by both instruments. The Pastorale is in a more relaxed mood and allows the euphonium a chance to sing. The final movement is a very rhythmic dance. (Walter Ross)

Andante and Rondo from the Doublebass Concerto, composed by Antonio Capuzzi; arranged by Philip Catelinet

The Andante and Rondo from the Double Bass Concerto were freely arranged and adapted for tuba or euphonium and piano by Philip Catelinet.

Sonatina for Euphonium and Synthesizer, composed by John Boda

The Sonatina for Euphonium and Synthesizer was written in 1970, and is performed by the soloist with a tape accompaniment prepared by the composer. The piece is in three sections (fast, slow, fast) played without pause. Themes from the first and second movements are used in various transformations in the third movement.

Tracklisting:

Side A

1. Four Dialogs for Euphonium and Marimba: Quite slowly {2:39}

2. Four Dialogs for Euphonium and Marimba: Fast and humorous {1:57}

3. Four Dialogs for Euphonium and Marimba: Slowly, and rather lazily {3:06}

4. Four Dialogs for Euphonium and Marimba: Fast with a happy spirit {2:00}

5. Partita for Euphonium and Piano: Allegro {3:05}

6. Partita for Euphonium and Piano: Pastorale {3:18}

7. Partita for Euphonium and Piano: Furiant {2:52}

Side B

1. Andante and Rondo from the Doublebass Concerto: Andante cantabile {4:42}

2. Andante and Rondo from the Doublebass Concerto: Rondo allegro {3:43}

3. Sonatina for Euphonium and Synthesizer {10:07}

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Sunday, June 28, 2009

Memories of Steam

Kenneth Granville Attwood - Memories of Steam

LP of recordings of steam locomotives at Carnforth, Lancashire on the London Midland Region of British Railways, and at Longmoor, Hampshire on the Longmoor Military Railway.

Note: the track names have dates when they were recorded. The dates may be confusing to some visitors as the dates are given in a certain way in England. The dates are also given the same way in most parts of the world, I think. The day comes before the month. Example: 8-6-1968 is June 8, 1968.

Tracklisting:

Side 1 or A

1. Longmoor-92203 on Bulleid Special, 8-6-1968 {1:23}

2. Longmoor-No. 600 Light, 5-7-1969 {1:58}

3. Longmoor-No. 600 on Special, 5-7-1969 {1:50}

4. Longmoor-No. 600 Light & on Train, 5-7-1969 {3:37}

5. Longmoor-No. 196 Light, 5-7-1969 {1:08}

6. Carnforth-No. 44963 on Goods, July 1968 {4:18}

7. Carnforth-No. 45390, 44871 at M & F Yard, July 1968 {2:09}

8. Carnforth-No. 44709 on Goods, July 1968 {2:17}

9. Carnforth-No. 45134 on Goods, July 1968 {1:55}

10. Carnforth-No. 45342 on Goods, July 1968 {2:29}

Side 2 or B

1. Carnforth-No. 45352 on Parcels, May 1968 {2:28}

2. Carnforth-No. 70013 on Dalesman Special, 16-6-1968 {2:26}

3. Carnforth-No. 45025 Shed, May 1968 {1:37}

4. Carnforth-No. 45017, 45342, 44709 Shed, July 1968 {2:33}

5. Carnforth-No. 92077 Light, March 1968 {1:35}

6. Carnforth-No. 48340 Goods, March 1968 {1:27}

7. Carnforth-No. 44894 on Parcels, March 1968 {0:51}

8. Carnforth-No. 45314, 75027, 75019 Goods & Parcels, March 1968 {7:15}

9. Carnforth-No. 44874 Goods, July 1968 {3:47}

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Saturday, June 27, 2009

A Closet of Trios (Vinyl Trios Part One)

About a month ago, Loopy C, who is a big fan of the Closet and another artist who generously offers his material for no cost, posted on his blog a set of his improv mashup pieces where he combined three records. This particular set is called A Closet of Trios (Vinyl Trios Part One) where he uses only stuff that's been posted here on the Closet.

Thanks, Loopy C, I enjoyed listening (likewise with your other music) and I hope everyone else does too. Perhaps it will be fun to guess which music from the Closet is being used. :)

Another Collection

We're Late For Class - Another Collection

This band is very generous in allowing the public to download their music for free. They are currently in college who make trippy psychedelic improv music in their spare time (and probably during study time too). They've been at it for a couple of years posting releases on their blog and they've made it to release number 40 which is this one. It's a compilation of their work from previous releases. The band considers it a special occasion as they've nicely asked a lot of blogs in the musicsharitysphere (including this blog) if they could write a post about it. I do appreciate their stance and it will be interesting to see if more artists make use of Web 2.0 as this band has done.

Here's a promotional write-up that the band has provided about this release:

We're Late For Class is an improvisational psychedelic college collective who've been posting free albums on line for over 2 years. Another Collection is their 40th. 2-CDs, 142 minutes, of uncharted improvisation and drug fueled excess, including a seance with Jim Morrison, a musical romp with O.J. Simpson, a homage to producer Jimmy Miller, the theme song for a low budget cable comedy sketch show, one too many accidental nods to Hawkwind and stoned tributes to Ali, Guess Who guitarist Kurt Winter, Pink Floyd and whatever was on the box that given weekend. It's all culled from their previous 19 releases (#21-#39). Last year's #20 A Collection features highlights from #1-#19. WLFC is also prone to 20, 30 & 40 minute space jams, but didn't have the space to include any this time. The best part? It's all free for the taking. You can find We're Late For Class at any local hash bar or at their blog.

Tracklisting:

Part 1

1. Herd Mentality {3:05}

2. Low Budget Cable Sketch Comedy Show Instrumental Theme Song {2:48}

3. Transmission From Jimmy Miller's Car Phone {6:46}

4. Ali Ali {4:57}

5. Under 30 Second Tribute to Kurt Winter {0:29}

6. Lab Animal {3:16}

7. Checkers {5:42}

8. Wind of the Hawk {4:20}

9. 67 {4:23}

10. The Lumbering Rex (Remix) {5:05}

11. Universal Cardigan (Live at Pompeii) {9:08}

12. Dirge Experience (In Easter Hay) {5:31}

13. Buttery Hog Mosh {8:49}

Part 2

14. Sequel to the Return of the Son of Monster Magnet {11:00}

15. The Premiere & Final Performance of Jazz From Outer Space {10:31}

16. Liquidity (The Spastic Conductor) {11:25}

17. The Jim Morrison Seance Tapes {13:57}

18. Trippin' in a Plymouth Belvedere {10:25}

19. Particle Alert {12:55}

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Friday, June 26, 2009

Contemporary Music for Harp Ensemble

The New York Harp Ensemble - Contemporary Music for Harp Ensemble

The New York Harp Ensemble: Eva Jaslar, Dagmar Platilova, Dorella Maiorescu, Barbara Pniewska
Aristid von Wurtzler, Director

Tracklisting:

Side 1

1. Tibor Serly - Canonic Prelude {2:35}

2. Arpad Fasang - Scherzo {3:08}

3. Alan Hovaness - Island of Mysterious Bells {8:16}
[the name is misspelled on the packaging, the correct spelling is "Hovhaness" and I forgot to correct the tags in the file]

4. Aristid von Wurtzler - Space Odyssey for Four Harps {6:01}

Side 2

1. Gerard Bertouille - Prelude for Four Harps {4:26}

2. Josef Wilkomirski - Passacaglia {3:57}

3. Geza Frid - Fugue for Harps, Op. 62 {4:24}

4. Adnan Saygun - Two Preludes {6:03}

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Wednesday, June 24, 2009

Music for Flute and Piano

various artists compilation - Music for Flute and Piano

The unaccompanied flute presents a special challenge to the composers represented on this disk because in writing for it their proven means of assuring variety are not available. Extreme contrast in timbre, density, and dynamics has been normal in the work of younger Europeans ever since the "Klangfarbenmelodie" of Webern; their fascination with "beauty of sound for its own sake" has led to an increasing use of noises and special sounds, produced by percussion, electronic means, or conventional instruments. Heterogeneous groups have replaced the string quartet and solo works are usually assigned to instruments capable of a large range of unconventional sound, such as the percussion battery or (preparable) piano. Music for solo flute is an exception to the trend: three octave-fulls of twelve tones, a range of timbre more restricted than that of many other instruments, one or two associated noises (the rush of breath without pitch or the tapping of hole-covers against rims) are all there are to work with. Even a texture of wide staccato leaps will have a ribbon-like continuity on the flute because of its homogeneous tone-color and comparatively narrow dynamic range. The composer will be working in miniature, articulating subtle shades of attack and tone-color at the disposal of his flutist: angle and pressure of breath, varieties in tonguing, the choice of fundamentals with which to overblow tones in the upper registers.In trying to do more with the instrument he will be pitting himself against Theobald Boehm, whose formidable arrangement of rods and levers had subjected the venerable flute to the requirements of 19th Century music. Flexibility and individuality among pitches had been sacrificed to perfect intonation and agility. But there sometimes appear composers and players imaginative enough to make instruments the servants of styles for which their builders did not intend them (such as in the unaccompanied violin music of Bach or the bassoon phrases in "Sacre"). In the pieces of Berio and Maderna, to some extent, and particularly in the one by Evangelisti, Gazzelloni is able to break through the chromatic grid of precisely bored holes and their perfectly tuned partials to give us glissandos, airy organums, the glint of distant overtones flickering in the midst of notes spoken "falsely." Such sounds give the hearer a fresh sense of the mystery of the vibrating air column and he becomes conscious of the mechanics of venting and overblowing which had formerly been private concerns of the player. (David Behrman, from the liner notes)

Severino Gazzelloni - flute
Aloys Kontarsky - piano

Tracks A1, A3 and B2 are for solo flute.
Tracks A2, B1, and B3 are for flute and piano.

Tracklisting:

Side A

1. Franco Evangelisti - Proporzioni {4:40}

2. Niccolo Castiglioni - Gymel {4:32}

3. Luciano Berio - Sequenza {6:32}

Side B

1. Olivier Messiaen - Merles Noir {7:01}

2. Yoritsune Madsudaira - Somaksah {5:56}

3. Bruno Maderna - Honeyrêves {6:15}

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Sunday, June 21, 2009

Environmental Sounds: Mountain Stream

Bernie Krause - Environmental Sounds: Mountain Stream

The universally-loved sounds of a babbling mountain stream, wandering gently over water-sculpted stones through forests filled with sounds of summer songbirds. A pure, environmental sound recording, masterfully produced to recreate one of nature's most pleasant sound experiences.

Tracklisting:

Side 1

1. Mountain Stream side 1 {29:28}

Side 2

1. Mountain Stream side 2 {29:27}

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Friday, June 19, 2009

Espírito do Tempo

Espírito do Tempo - Espírito do Tempo

This was sent to me by young Brazilian musician Renato Cardoso as a gift as he is a big fan of A Closet of Curiosities. Renato is the leader of the group Espírito do Tempo. He is the composer, lyricist, arranger and director of the band. He has been influenced lately by the gamelan music as well as by avant-garde chamber and orchestral music from Penderecki, Stockhausen, etc. However, none of those influences show up. This is a short 6-song album of Brazilian pop or what is called MPB (Música Popular Brasileira). It was recorded and released last year. It is different from what I usually post or listen to, but I thought it was enjoyable. It inspired me to further explore a style of music that I am not familiar with.

The first, fourth and fifth songs ("Na Primavera", "Hin-Hin" and "Meu Mito" respectively) are done in a bossa nova style. Renato said that he intended to take a different approach on the fourth and fifth songs, "the rhythm cells are the same, but they are played in a diferent context, more dissonant and with comtemporary influences." The second song, "Sem Benção", does sound like MPB from its first formative stages in the 1960s. The third and sixth songs ("Ela Não é a Única" and "Depois do Fim") are sambas. "Depois do Fim" is certainly an interesting one. Renato says that "the eletric guitar is played like a Cavaco( sort of brazilian banjo used in samba) with a Bossa nova in the contrast section." The middle part has a flute glissando form that sounds like the flute is accompanied by bird calls from the Amazon rainforest.

Credits:

All music composed, written and arranged by Renato Cardoso.

Renato Cardoso - viola, guitar, voice
Beatriz França - voice, acoustic double bass on "Meu Mito" and "Hin-Hin"
Caio Uesugui - voice, electric double bass
Bruno Degani - percussion, sonorous effects
Julliana Cavalcanti - violin
Emerson Nazário - cello
Aquiles Guimarāes - flute
Bruno Zibordi - voice on "Sem Benção"

Tracklisting:

1. Na Primavera {2:49}

2. Sem Benção {4:48}

3. Ela Não é a Única {2:47}

4. Hin-Hin {3:30}

5. Meu Mito {5:00}

6. Depois do Fim {3:59}

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Tuesday, June 16, 2009

Ulysses

James Joyce - Ulysses [film soundtrack]

Happy Bloomsday!

This is actually a 2-cassette recording of the soundtrack from the film adaptation of the James Joyce classic. The soundtrack is not the theme or any indidental music, but only some of the dialogue itself with sound effects in the background. The dialogue is all taken from the novel. The film adaptation of Ulysses was filmed on location in Dublin, where the novel takes place. It was released in 1967.

Obviously, the 2-cassette version presented here is condensed. Side 1 opens with the scene where Buck Mulligan is shaving on a roof-top platform and conversing with Stephen Daedalus where Mulligan brings up the point that his aunt thinks that Daedalus killed his mother. Sides 1, 2 and 3 depict Leopold Bloom's metaphorical The Odyssey journey (or exile from his home) through Dublin. Side 4 is devoted entirely to Molly Bloom's stream-of-consciousness soliloquy (which is over 40 pages in the book, btw). For those struggling with the novel (it can be difficult to read and understand) or those curious yet do not have the time to devote to the book, this would help in obtaining basic knowledge about the work in around 90 minutes.

Tracklisting:

Side 1

1. Ulysses side 1 {20:53}

Side 2

1. Ulysses side 2 {23:10}

Side 3

1. Ulysses side 3 {24:46}

Side 4

1. Ulysses side 4 {24:39}

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Sunday, June 14, 2009

Songs of Western Birds

Donald J. Borror - Songs of Western Birds

LP released in 1971

From the liner notes:

With the assistance of this recording the birdwatcher or nature lover can learn to recognize the versatile songs of such species as the western meadowlark, the curve-billed thrasher, and Bell's vireo, as well as the simpler songs of other species. Prepared by Professor Donald J. Borror of the Departments of Entomology and Zoology of Ohio State University, this record reproduces the songs and calls of 60 different birds that are common in the western United States.
Because the identification of western birds is based largely on where the bird is found, Professor Borror, a widely acclaimed expert in animal sound responses, has arranged the bird songs by geographic area and habitat. The order of the songs is based on their increasing complexity. The listener learns to identify the different species by the general pattern and quality of the songs, the cadence of the songs, how the bird uses its song repertoire, and just where the bird is found. This careful and thorough treatment of the songs allows the listener a knowledge not only of the particular song, but of the general kind of song as well. A fine companion to Borror's previous Dover records (Common Bird Songs and Songs of Eastern Birds), this recording of bird songs offers both beginners and practiced bird lovers a start at becoming acquainted with the songs of all western birds.

Sorry, no booklet available.

Tracklisting:

SIDE ONE

1. Clark's Nutcracker, Steller's Jay, Oregon Junco, Orange-crowned Warbler, Townsend's Warbler, Western Tanager, Solitary Vireo {6:19}

2. Black-billed Magpie, Western Wood Pewee, Western Flycatcher, MacGillivray's Warbler, Rufous-sided Towhee, Green-tailed Towhee {4:54}

3. Clay-colored Sparrow, Black-throated Gray Warbler, White-crowned Sparrow, Lazuli Bunting, House Finch, Black-headed Grosbeak {4:59}

4. Western Kingbird, Scissor-tailed Flycatcher, Lark Bunting, Cassin's Sparrow, Baird's Sparrow, Western Meadowlark {5:23}

5. Willet, Black-necked Stilt, American Avocet, Long-billed Curlew, Yellow-headed Blackbird {3:53}

SIDE TWO

1. Pauraque, Chachalaca, Great-tailed Crackle, Blackcrested Titmouse, Golden-cheeked Warbler, Painted Bunting {5:29}

2. Ash-throated Flycatcher, White-winged Dove, Cactus Wren, Rufous-winged Sparrow, Black-throated Sparrow, Curve-billed Thrasher {5:29}

3. Vermilion Flycatcher, Wied's Crested Flycatcher, Black Phoebe, Olive Sparrow, Brown Towhee, Lucy's Warbler, Bell's Vireo {6:06}

4. Mexican Jay, Cassin's Kingbird, Mexican Junco, Scott's Oriole, Rufous-crowned Sparrow {4:06}

5. White-throated Swift, Canon Wren, Rock Wren, Coues' Flycatcher, Olive Warbler, Grace's Warbler {4:16}

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Thursday, June 11, 2009

Opus 81

various artists compilation - Opus 81

LP released in 1981 featuring three pieces of Dutch avant-garde music

MEEUWIS REBEL
Varia

Performed by Netherlands Clarinet Quartet

Varia was composed for the Netherlands Clarinet Quartet, and it takes the form of a theme with variations. The theme is stated at the beginning by the bass clarinet and high E-flat clarinet, accompanied by two B-flat clarinets.

BERNARD VAN BEURDEN
Les Deux

Performed by Netherlands Clarinet Quartet

The title of the clarinet quartet, Les Deux (The Two) refers to 2 chords which play an important part in this composition. While improvising in the first part the 4 players try to discover what can be done with the two chords. A rather quiet second part leads into the final fast movement.

PETER-JAN WAGEMANS
String Quartet Opus 15

Performed by Gaudeamus Quartet

The String Quartet Opus 15 was commissioned by the Amsterdam Arts Fund. It consists of 6 parts: 3 toccatas, 2 arias and 1 recitative.

Tracklisting:

Side A

1. Meeuwis Rebel - Varia {11:58}

2. Bernard Van Beurden - Les Deux {12:35}

Side B

1. Peter-Jan Wagemans - String Quartet Opus 15 {19:49}

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Monday, June 8, 2009

Inside the Powers of Nature

Paul Horn - Inside the Powers of Nature

The challenge of this recording was to see how much could be done with flutes alone in a recording studio. No electronic sounds are used anywhere. The background sounds on Side One are all natural sounds from nature, created and put together especially for this recording. Side Two contains the actual sounds of Haida, a male killer whale living at Sealand of the Pacific in Victoria, B.C., Canada. Both sides contain a lot of multiple tracking. The Bach chorales are all played on various flutes including alto and bass flute, sometimes with a multi-vider. The Kyrie from the Palestrina Mass has seven overdubs. The making of this recording was a wonderful creative experience. (Paul Horn)

Consider this as a kind of bonus of more nature/environmental sounds for the week, although they are blended with music as the above liner notes already mention. I'm trying out another service as some folks are having trouble with the service used in the previous post. Let's hope this service works better.

Tracklisting:

Side One

1. The Mahabhutas (Elements) {19:05}
(a) Prithivi (Earth) (b) Vayu (Air) (c) Tejas (Fire) (d) Apas (Water) (e) Akasha (Space)

Side Two

1. Haida {5:23}

2. Bach Chorales {4:07}

3. Centaur {6:04}

4. Mass: Kyrie {2:30}

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Sunday, June 7, 2009

National Geographic: Songs of the Humpback Whale

Roger Payne - National Geographic: Songs of the Humpback Whale

This recording is on an Eva-Tone soundsheet. It was inserted in the January 1979 issue of National Geographic to accompany marine biologist Roger Payne's article "Humpbacks: Their Mysterious Songs". Roger Payne first discovered that humpback whales sing and has been recording their music for many years. He gives commentary that explain the songs heard on the record and how he recorded the songs. The whales on this record were recorded at Bermuda and Hawaii. An excerpt from the article that explains more in detail is here.

Tracklisting:

Side 1

1. Songs of the Humpback Whale side 1 {4:56}

Side 2

1. Songs of the Humpback Whale side 2 {5:08}

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Thursday, June 4, 2009

Music for Clarinet and Tape

various artists compilation - Music for Clarinet and Tape

LP released in 1978

performers:

Phillip Rehfeldt - clarinet
Jonathan Kramer - mixer
Gene Kimball - electronics

Ran I.X. for Solo Clarinet and Tape (1976) by Victor Saucedo

RAN I.X. for Solo Clarinet and Tape was completed in April 1976. An algorithm was used to generate musical processes and a score on the IBM 360/22 computer at Southwestern College. The first part of the title, RAN, refers to the random number generator used in a subroutine to define parameters, i.e. rhythms, modes of execution, dynamics, etc. Limited dimensions were placed on the parameters and specific distribution curves applied to insure compatible melodic contours, rhythms, and dynamics between the final computer composition and the clarinet. I.X., a variable name for the values that are transferred from the subroutine to the main program, initiates distinct random number generation sequences. As the value of I.X. changes so does the random number sequence and subsequently the parameter definition, i.e., the general outline of the composition. The program, with the set values for I.X. then, is the essence of the clarinet part.
...
In this music the "dynamic rhythm" and reiterative melodic concepts of Amerindian music have been diametrically transformed and modulated as complements. The result is a duality similar to the duality concept of clarinet multiphonics versus computer multiphonics or clarinet random notes versus computer random notes, or even the idea itself of using an advanced technique such as the computer to generate primitive concepts associated with mystic ritual. (Victor Saucedo)

Antiphon II for Solo Clarinet and Tape by Michael Horvit

Antiphon II was written on commission from Phillip Rehfeldt and Barney Childs. It is the second in a series of works which combine solo performers with electronic tape, others being for saxophone, piano, violin, organ and marimba. The work is in two movements played without pause: "Atmospheres" and "Moto Perpetuo." It is based upon a twelve tone row but is freely tonal, particularly the jazzy second movement. "Atmospheres," as its title implies, is concerned primarily with color. It opens the row presented polyphonically on the tape alone. A dialogue follows between the tape and the clarinet during which they respond to each other, first the clarinet, then the tape, leading the way. Out of this grows a highly "atmospheric" section, arching higher and higher until the uppermost limits of the tessitura are reached. After remaining on this plateau for a moderate span, the music gradually descends, returning to a brief restatement of the opening material. "Moto Perpetuo" is built around a rhythmic ostinato. Jazzy in style, the clarinet and tape take turns with soloistic "rides." (Michael Horvit)

Renascence for Clarinet, Tape Delay System and Pre-recorded Tape (1974) by Jonathan Kramer

Renascence was commissioned in 1974 by Phillip Rehfeldt and Barney Childs under a faculty research grant from the University of Redlands. The title refers to (1) the rebirth of diatonic modality and constant pulse in contemporary music, (2) the rebirth of continuity from fragmentation within the piece, and (3) the poem by Edna St. Vincent Millay. The work is scored for solo clarinet, tape delay system, and prerecorded tape. The tape delay system records music played by the clarinetist and allows it to be played back some 20 seconds later, at which time it may again be recorded for later playback, etc. After an introduction the technician selects, in accordance with the score, certain fragments of the solo line to go into the tape delay system. When this music returns after 20 seconds, more music is added by the clarinetist, some of which is again selected for recording by the technician. In this manner a multi-layered texture is built up. At first the clarinet supplies more and more notes to fill in gaps in a melody previously recorded, so that a continuous line eventually emerges (right channel). This tune is strange, since it is continuous in terms of notes and rhythms but not in terms of tone quality, since each successive re-recording in the tape delay system diminishes the richness of the clarinet sound a bit.

Tracklisting:

Side 1

1. Victor Saucedo - Ran I.X. for Solo Clarinet and Tape {19:59}

Side 2

1. Michael Horvit - Antiphon II for Solo Clarinet and Tape {9:57}

2. Jonathan Kramer - Renascence for Clarinet, Tape Delay System and Pre-recorded Tape {10:20}

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Tuesday, June 2, 2009

The New Music Volume 3

various artists compilation - The New Music Volume 3

LP released in 1968

Performers:

Rome Symphony Orchestra, Bruno Maderna - conductor

Severino Gazzelloni - flute

The term "modern music" no longer suffices to describe the latest expressions of recent avant-garde cmposers. Modern music still means the music that came after Debussy and Strauss. It is Stravinsky and Ravel, Hindemith and Falla; it is Bartok, Prokofieff, Britten and Malipiero. Modern music is the breakdown of tonality and traditional harmony and the development of the twelve-tone system used by the masters of the Viennese school - Schonberg, Berg and Webern - and the spreading of this method in every country since the war. Modern music is still Dallapiccola and Petrassi, and the ready listener has little by little grown accustomed to all these expressions - the more recent ones (those relating to the relinquishing of traditional tonality) with somewhat greater difficulty.

But the works of the latest generation, those composers who have come to the fore since Hiroshima, seem to cut away violently from this pattern, as difficult as its acceptance had proved to be. So, for them the term "new music."

The evolution which has led to today's baffling results is governed by an inner logic. Once the use of the twelve-tone "series" was firmly established, the desire quite naturally arose to extend this serialization process to the other "parameters" of music, that is, to subject its rhythmic, timbral and dynamic aspects to the same laws governing the disposition of the pitch of the notes.

"Structuring" (the organization of musical material) by means of total serialization of parameters was the first step the new music took beyond Webern. This extension of the serialization process to all parameters brought about a heightening of interest and investigation into the qualities and components of sound. The increased concern for this "tone color" and other hitherto unstructured aspects of sound and the diminishing interest in pitch as the primary structural element made it necessary to alter traditional listening habits. Where pitch distribution had been the primary expressive unit, now the other parameters took on equal or greater importance.

The new music, like all other forms of contemporary art, may or may not be liked, but its consistency cannot be questioned. There is an inner logic which has determined the various phases described above and which is already creating others in more and more rapid succession, and they must not be taken as gratuitous and unrestrained expressions of individual extravagance. (from the liner notes)

Tracklisting:

Side 1

1. Luigi Nono - Y su sangre ya viene cantado {15:57}

2. Kazuo Fukushima - Hi-kyo {9:19}

Side 2

1. Luciano Berio - Serenade I {10:22}

2. Hans Ulrich Lehmann - Quanti {10:50}

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A Closet of Curiosities