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Artist: FELDMAN, MORTON
Title: Clarinet and String Quartet
Format: CD
Label: Saltern
Country: USA
Price: $16.00
"Saltern returns with a gorgeous new recording of Morton Feldmans Clarinet and String Quartet (1983) performed by Anthony Burr(clarinet), Graeme Jennings (violin), Gascia Ouzounian (violin), Che-Yen Chen (viola) and Charles Curtis (cello). This performance highlights Feldmans interest in notation by treating the slight differences in intonation and rhythm literally and specifically. Recorded by Tom Erbein the living room of a friend of the musicians. Edition of 400. Housed in jackets printed at Stoughton and featuring a cover image by artist Raha Raissnia. From Anthony Burr and Charles Curtiss liner notes: "Near the end of the final Contrapunctus in The Art Of Fugue, Bach introduces a new four-note countersubject which, in the German note names, spells B, A, C, H (in our note names, B-flat, A, C, B-natural). To those within Bachs circle, and probably to any attentive musician of his day, the notes thus sounded would have unmistakably articulated Bachs name -- an embedded signature, not just a melodic motif but a salutation in musical code. Morton Feldman begins Clarinet and String Quartet with the same four notes in reverse order -- H, C, A, B, if you will. These four notes are repeated over and over by the clarinet and the cello simultaneously, the two instruments in minutely different rhythms and phrasings. These notes, however, are given anomalous names: in the cello, B, D-double flat, G-double sharp, A-sharp; and in the clarinet, C-flat, C, A, B-flat. Whether or not Feldman placed the retrograde B, A, C, H motif intentionally, it fits seamlessly into the pitch world of his late music, in which chromatic clusters (often four notes) are obsessively restated in different permutations, like anagrams." - Saltern.

Artist: WADA, TASHI
Title: Duets
Format: LP
Label: Saltern
Country: USA
Price: $20.00
"Tashi Wadas Duets LP is the first release from Saltern, his new imprint distributed through Important Records. Duets features a recording of Wadas series of string duos brilliantly realized by cellists Charles Curtis and Judith Hamann. From Curtis liner notes: "How far can we enter into a single moment, such that for that brief speck of time, for an instant, unison is registered? This would suggest a different sense of unison, as a state of complete integration hidden behind the disparity and change caused by the passing of time." Edition of 425. Recorded by Tom Erbe and cut at 45 RPM by Rashad Becker. Pressed at RTI and housed in jackets with design by Marco del Rio and printed at Stoughton. Cover image by Marcia Hafif." - Saltern.

Artist: WADA, YOSHI
Title: Off The Wall
Format: LP
Label: Saltern
Country: USA
Price: $24.00
“First vinyl reissue of composer and Fluxus artist Yoshi Wadas second album, Off The Wall, originally released in 1985 by famed free jazz label FMP. Recorded in Berlin on May 11 and 12, 1984, by a quartet featuring Yoshi Wada and Wayne Hankin on bagpipes, Marilyn Bogerd on adapted organ (hand-built by Wada), and Andreas Schmidt Neri on percussion. Edition of 750. Mastered by Rashad Becker and housed in old-style gatefold jackets printed by Stoughton.” - Saltern.
"Off The Wall belongs somewhere between the exuberant harmolodic ritual of Ornette Colemans Dancing In Your Head, a damp, medieval dirge and the inner ear soundings of composer Maryanne Amacher" --David Keenan, The Wire.
“It may be more accurate to think of Wada as a sculptor than as a composer, because his music seems to be a physical reality, like wood or stone, and also because of the way he treats this material. Most composers work with ideas. Their basic interest is in melodies, harmonies, thematic relationships, tone rows, tonal centers, emotional qualities, and other rather abstract things, all of which can then be conveyed in sound, but none of which really are sound. Wada, on the other hand, works directly with the sound itself. His music would sound silly arranged for church organ for example. And if he prefers to preserve some improvisatory freedom rather than to notate specific musical ideas, this is at least partly because he is not so interested in the kinds of musical ideas that can be written down on paper. He wants to maintain direct contact with the physical reality of the sound." - Tom Johnson.

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