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Artist: EASTMAN, JULIUS
Title: The Zurich Concert
Format: CD
Label: New World
Country: USA
Price: $16.00
"The composer is therefore enjoined to accomplish the following: she must establish himself as a major instrumentalist, he must not wait upon a descending being, and she must become an interpreter, not only of her own music and career, but also the music of her contemporaries, and give a fresh new view of the known and unknown classics."--Julius Eastman. "Just when you think you are grasping the breadth and quality of the music of Julius Eastman (1940?1990), a recording such as Julius Eastman: The Zürich Concertshows up, and you have to go back and reassess his work and wonder what will show up next. This recording is from a 1980 solo seventy-minute improvisatory concert in Zürich, a cherished cassette made by a friend of Eastmans, who recently realized its uniqueness and decided that he should share it. The Zürich Concert was performed on October 25, 1980 in the Aula Rämibühl gallery. Eastman was in Europe participating in The Kitchen tour, and a Swiss friend, Dieter Hall, a painter who had been living in the East Village, arranged the concert. Hall recorded it on a cassette machine, so there is the inevitable gap when the tape had to be turned over, as Eastman played non-stop for seventy minutes. Simply put, The Zürich Concert is a revelation. Listening to this recording, one is overwhelmed by the cascades of sound, the power of the playing. It almost seems as if the piano will start bouncing across the floor like an out-of-control washing machine. But there is also space and delicacy in the playing. As a whole, the music never flags, and your attention doesnt wane, as you are drawn in by the intensity of the playing and the coherence and wonder of the music being made." - New World.

Artist: FELDMAN, MORTON
Title: We, Like Salangan Swallows...: A Choral Gallery of Morton Feldman and Contemporaries
Format: CD
Label: New World
Country: USA
Price: $16.00
"The intense individuality of Morton Feldmans (1926?1987) art and its painterly aspect have tended to push his rich output of works into a zone all of their own, surrounded by a moat of stillness. This recording attempts the reverse process -- to bring his choral works (the previously unrecorded Chorus and Instruments, Voices and Instruments 1, Voices and Instruments 2, and The Swallows of Salangan) into a gallery of other choir compositions of his times. Through the interaction with works of other characters and aspirations, mutual illumination might become a new Feldman experience. Two of the five other works confront Feldmans textless choral singing with words. These, however, carry their own special musical intent. Three early twelve-tone gems [Three Statements] of Will Ogdon (1921?2013) move with Walt Whitman into the wordless . . . away from books, away from art, and reluctantly away from human desire, as embodied in the central poem by Thomas Campion. Robert Carls (b. 1954) The City brings a transcendentalist layered sound to the mystical reflections of the architect Louis Sullivan, contemplating the natural and the built-human in the lake and city of Chicago. The notion of wordless chorus fans out in varied directions in the other three works. As one of Feldmans closest associates in the New York School, Earle Brown (1926?2002) intrigues us as much for the stark differences from Feldman shown by his abstract choral mobiles (Small Pieces for Large Chorus). The Sound Patterns of Pauline Oliveros (1932?2016) are less abstract than their title might imply -- moving in and out of singing itself into extended vocality, and towards newly-suggested verbal exclamations of a non-semantic kind. Warren Burt (b. 1949), a former student of both Oliveros and Ogdon at the University of California, San Diego, contributes with his Elegy the most recent piece, also the closest to Feldmans simple successions of chorale-like chords. His harmonies, however, acquire their elegiac qualities from chromatic memories and their contradictions, moving along unfamiliar paths." - New World.

Artist: PARTCH, HARRY
Title: And On The Seventh Day Petals Fell In Petaluma - Performed by The Gate 5 Ensemble
Format: LP
Label: New World
Country: USA
Price: $23.00
Performed by The Gate 5 Ensemble: Harry Partch (director), Danlee Mitchell, Harry Partch, Michael Ranta, Emil Richards, Wallace Snow, Stephen Tosh. Limited edition LP release (180 gram vinyl) with previously unpublished bonus tracks + free download card. "In late 1962 Harry Partch returned to California and began a project that would not only become the bones of a masterwork, Delusion of the Fury, but have a life of its own. In a too-small space within an abandoned Petaluma chick hatchery, Partch gathered the instruments he had designed and built -- new and old -- eager to once again expand the boundaries of his compositional fabric. He learned each individual part as he composed, establishing that it could be played. And On The Seventh Day Petals Fell In Petaluma (1963-64, rev. 1966) was born of his exploration and assembled with that minimum of players over a three-year period. In spite of rough conditions and meager resources Partchs dogged persistence, along with the efforts of his dedicated assistants, eventually succeeded in realizing the 34 verses of expanded duets. With this album we revisit an important work and turning-point, guided by the original Statement Partch wrote for the first commercial release of the piece. Previously only excerpted, it is a voicing of his beliefs that transcends one project to illuminate an entire purpose. We also reprise exquisite notes by the late Bob Gilmore, who distills and explains the story of Petals so clearly and eloquently. No one wants a dead reissue, so by digging into the archives, I am pleased to offer hidden gems. First, The Petals Sessions is an aural glance into the cramped quarters of the recording space, as composer and players labor to bring new notes to life, Harry himself giving direction. The montage ends with a test take by Danlee Mitchell and Michael Ranta that could have easily been a keeper! Finally, we present the original Verse 17. In 1964 Partch wrote two duets that used the Adapted Viola; by the time the piece was finished in 1967, he had excised them. The ending track -- never before released -- brings Harry back to life, playing and recording Adapted Viola for one of the last times. I was completely unaware of this recording until I examined the outtakes and it glows, fifty years on. That Petals ever came to be, like much of Partchs story, stands somewhere between determination and miracle." - Jon Szanto, The Harry Partch Foundation.

Artist: PARTCH, HARRY
Title: Performed by The Harry Partch Ensemble, The Gate 5 Ensemble
Format: LP
Label: New World
Country: USA
Price: $23.00
"Limited edition LP release (180g vinyl) + free download card. Selecting illustrative works from the lifetime of a creative person is a daunting task; doing so with a singularly individual artist like Harry Partch is all the more difficult. In the more than four decades since Partchs death, interest in his both his life and his compositional output has continued to grow, and there remains a place for documents that can offer insights, suggest paths, and give new life to that creators endeavors. Even as duplicate instrumental ensembles are beginning to appear, and the original Partch instrumental resources have found a new home for performance and study, there is considerable value in returning to the many recordings he crafted over his lifetime of composition and performance. These are recordings that carry not only the stamp of the author, but his voice as well -- Partch himself appears in every single track of this record, either as singer, instrumentalist, or both. This remastered version of The Dreamer That Remains has never been available before and is making its first appearance in any format. The 12-page booklet includes an essay by the Harry Partch Foundations Jon Szanto and numerous rare photographs provided by the foundation and other sources. An invaluable document for both Partch enthusiasts and neophytes! Limited to 700 copies." - New World.

Artist: ROSENBOOM, DAVID
Title: In the Beginning (1978-1981)
Format: Double CD
Label: New World
Country: USA
Price: $32.00
"David Rosenboom (b. 1947) is a composer/performer known as a pioneer in American experimental music. This series of eight works, created between 1978 and 1981 and presented on these discs in chronological order of their composition, demonstrate a remarkable extension of Rosenbooms techniques from his ...Plymouth Rock... series of 1969-71 using the harmonic and sub-harmonic series. The In the Beginning series exemplifies the idea of model-building as a compositional process. A simple process is defined, and is carried out rigorously at as many different levels of the music as possible, producing a complexity from simple elements that can be felt, somehow, while moving ones attention freely from its micro to macro levels, and everywhere else between. The composer plays inside it, using it freely, stretching it into different forms. The play one experiences in hearing the work is a reflection of the purposeful play that went into its creation." - New World.

Artist: TENNEY, JAMES
Title: Harmonium
Format: CD
Label: New World
Country: USA
Price: $16.00
"Asked whether he would describe his music as Sound for the sake of sound, James Tenney (1934?2006) replied, Its sound for the sake of perceptual insight -- some kind of perceptual revelation. This release aptly demonstrates Tenneys deep exploratory fascination with the nature and potentialities of aural perception. His attraction to these topics was simultaneously intellectual and sensuous, and its musical products at once invite both sustained reflection and the most immediate of corporeal responses. A number of his works feature pitch collections that progressively approach or diverge from the structure of the harmonic series, or that gradually move between its harmonically complex or dissonant upper reaches and its harmonically simple or consonant lower regions. A paradigmatic example is provided by Harmonium #1 (1976). For 12 String (rising) (1971) represents an arrangement for strings of Tenneys classic electroacoustic composition For Ann (rising) (1969), which predated his interest in harmony. It nonetheless shares with much of his subsequent music a ruthless simplification of form and structure that eschews narrative drama in order to highlight the subjective processes and perceptions of the listener. The first movement of Two Koans and a Canon (1982) is entitled "First Koan (a gentler Beast)" and constitutes a variation upon Tenneys earlier Beast (1971) for solo double bass. It is a study in acoustical beating, an alluring rhythmic pulsation audible between tones whose pitches are sufficiently close to each other. The "Second Koan" in turn recalls Tenneys Koan (1971) for solo violin. It exhibits another of his radically reduced formal designs: a steady cross-string tremolo that gradually migrates upwards in register across the strings of the instrument. The brief final "Canon" is the most structurally complex of the movements. Alone of the three it employs a live tape-delay system. From 1975?84, Tenney produced a number of other compositions calling for the use of a tape-delay system in live performance, which he once referred to as the poor mans orchestra for its ability to produce lush textures from few instruments. The most texturally sophisticated of these pieces is Voice(s) (1984), which requires the use of four separate tape machines. The final track, Blues for Annie (1975), offers a glimpse into the breadth of Tenneys personal musical interests. His appreciation for the blues is expressed forthrightly in a literal transcription and arrangement of Jaybird Colemans 1927 recording of No More Good Water Cause the Pond is Dry." - New World.

Artist: WINTER, MICHAEL
Title: Lower Limit
Format: CD
Label: New World
Country: USA
Price: $16.00
"The immersive sonic textures that characterize Michael Winters (b. 1980) music are crafted from comprehensive lists of data, with each composition encompassing a musical question that is addressed algorithmically. A performance lasts for as long as it takes to answer the question, expressing all results as efficiently as possible. Winter leaves room for unanticipated results by keeping things open, notably in the instrumentation, which, rather than specifying instruments, tends to designate certain properties such as plucked strings," or sustaining instruments. In this way, each performance offers a different manifestation of the same underlying structure. For Winter, beauty is the experience of something new, and to experience something new is to evolve. Even though he allows for a great many possibilities, the recordings here evince a highly tuned aesthetic filter. All of the five works included in this collection use plucked string instruments (guitar, virginal, and harp) and pure tones (ebowed guitar and pure tones). Together, they form a metacomposition, bound together by two versions of necklaces. The titles describe the processes that form each work: necklaces represents picking patterns with aperiodic necklaces (strings of data with specific constraints of rotational and symbolic permutation), and in mass and band a constraint akin to a band pass filter is applied to an Ockeghem mass. Likewise, in chorale and finely tuned resonators, instruments resonate the harmonics of a chorale, and quieting rooms makes use of phase cancellation to quiet a room. The title of the piece lower limit refers to Winters intention to use the smallest amount of code possible -- in other words, to find the lower limit for programming a composition. This idea, in fact, applies to all of the pieces here, since all are concerned with how to express ideas in a maximally efficient way." - New World.

by artist / 0-9    A    B    C    D    E    F    G    H    I    J    K    L    M    N    O    P    Q    R    S    T    U    V    W    X    Y    Z    V/A \   by label