Excellent stuff ! ... A must check out for @Confused and other garden enthusiasts.
;-)
"Dariush Dolat-shahi is an Iranian-American composer and instrumentalist on the tar, the traditional Persian lute. His compositions include electronic and instrumental music as well as music for traditional
"Live recording of "Poppy Nogood and the Phantom Band All Night Flight" from the "Purple Modal Strobe Ecstasy with the Daughters of Destruction All Night Flight" concert at S.U.N.Y, Buffalo, N.Y., March 22, 1968."
Soprano Saxophone – Terry Riley Orchestra – Nacka Community
Recorded live in concert at the Nacka Auditorium, Stockholm, April 27. 1967
"Recorded live in Stockholm in 1967, this archival release appeared in 1999 to much anticipation, as it represents a vital chapter in the rediscovery of {American minimalism}. Terry Riley premiered this phenomenal work, Olson III, in Sweden -- a 53-minute composition for orchestra, chorus, and his own soprano sax. A Swedish high school orchestra performed his composition with renowned local minimalist composer Folk Rabe at the controls. The music allows a large degree of improvisation in order to create the phase variations that are one of the signatures of Riley's hypnotic music. The delight of the young students indulging in the ecstatic drones of this highly experimental new music is audible in the explosive performance that they give to the piece. Of the archival recordings of Terry Riley that are available from Organ of Corti, this piece comes with a high recommendation, along with the extraordinary Reed Streams."
>Born in Sofia, Boucourechliev studied piano at the Conservatory there. Subsequently he studied in Paris at the École Normale de Musique de Paris, where he later taught piano. His first attempts at composition date from 1954, when he was engaged in the famous contemporary music sessions at Darmstadt. He honed his compositional technique by seeking out Berio and Maderna in Milan. Following the success of works such as the Piano Sonata (1959), performed at the Domaine musical, and works involving choice and chance, he spent a period in America during which he encountered avant-garde figures such as Cage, Merce Cunningham, and Rauschenberg. The summit of his exploration of choice and freedom on the part of the performer was reached in Archipels (1967–1971). Many of his later works have gone on to refine or extend these principles. Boucourechliev died in Paris in 1997 at the age of 72
The Portsmouth Sinfonia : - "The self-proclaimed "world's worst orchestra" was founded by Gavin Bryars in 1970 when he was lecturing at the Portsmouth School of Art.
Bryars wanted to engage the masses with classical music, and sought a way to liberate the form from the pomposity of its audience. His idea was to form an orchestra of the people. Anyone could join, regardless of skill.
The orchestra comprised of known musicians playing instruments they had no knowledge of, virtuoso players and people who had never played an instrument in their lives. Their oeuvré would encompass the popular classics and rock songs - music that could be played by ear. No sight-reading skills were therefore required. The virtuoso players kept everything vaguely within the realms of what might be called a tune, with the other players reaching for (and missing) notes nearby. The result was a fascinating atonal mess of a noise, one which was considered profound by several of Bryars classical contemporaries.
The hilarious results of this experiment led to the Portsmouth Sinfonia's records being pitched at the comedy market which earned them a cult following, enough for them to be selling out the Royal Albert Hall by 1974."
- "Ba Ba Ti Ki Di Do is an EP by Sigur Rós, released in 2004. The EP consists of the songs the group composed for Merce Cunningham's dance piece Split Sides, which also involved Radiohead.
The title refers to the only spoken words throughout the whole piece. Merce Cunningham was recorded saying "ba ba, ti ki, ba ba, di do" and this can be heard in the last track, "Di Do".
Radiohead wrote music to the second half of Split Sides but are not planning on releasing their contribution."
Composed in 2007 as a 5.1 audio soundtrack for the video installation piece Soft Epic, or: Savages of the Pacific West by artists Nadia Hironaka and Matthew Suib. The 2010 release combined both a stereo mix of the original soundtrack plus a second version that was not used in the installation.
Composed using synthesized and concrete sounds.
Originally released on cassette tape by Root Strata in 2010.
- "(b. 1974) is a composer, improviser and sound artist. Ben has worked in collaboration with artists Siebren Versteeg, Doug Aitken, Hisham Bharoocha, Nadia Hironaka and Matthew Suib. As an improviser he has performed with Milo Fine, Fred Lonberg-Holm, Taku Sugimoto, Kevin Drumm, Yamatsuka Eye, Jim O' Rourke and C. Spencer Yeh among many others. He has played in ensembles led by Tony Conrad, Rhys Chattam, and Werner Dafeldecker. Ben led the minimalist acoustic group Town and Country for ten years and has released over twenty records on such labels as Thrill Jockey, PAN, Drag City, Amish, Bottrop-Boy, Hapna and Kranky. Awards, residencies and commissions include an Illinois Arts Council Grant for composition (2006), The Swedish Arts Grants Committee (2011). ISSUE Project Room Emerging Artists Commission (2011), Museu d'Art Contemporani de Barcelona "Composing with Process" Exclusive Works commission (2011). Composer in Residency, Diapason Space, NYC (2011), Composer in Residency, EMS Studios, Stockholm, Sweden (2011), Artist in residency Electronic Television Center, Owega, NY (2008). As both a solo artist and in collaboration Ben has presented his work in the United States, Canada, Europe, South Korea and Japan. Notable shows include Elizabeth Dee Gallery, NYC, ICA, London, England, Moonji Cultural Institute Seoul, South Korea, All Tomorrows Parties, Minehead, England; X-Initiative, New York, NY, Shinagawa Gloria Chapel, Tokyo, Japan, Festival Soy, Planètarium à Nantes, France, Gallery Ze Dos Bois, Lisbon, Portugal, The Renaissance Society, Chicago, IL, Podewil, Berlin, Germany, Museum of Contemporary Art, Chicago, IL, Museum of Modern Art, New York, NY"
Published by Wergo in 1985, Sound Sculptures is a gorgeous,
state-of-the-art overview of Austria and West Germany's instrument
builders and sculptors curated by composer and music critic Klaus
Hinrich Stahmer. A German equivalent to Bart Hopkins' Experimental
Musical Instruments compilation CDs, though the concept here being that
composers/interprets will use someone else's sculpture or sound
construction to create their soundwork. The title's double-entendre is
perfectly maintained throughout the album: sound producing actual
sculptures and soundcrafting as an artform. Particularly striking is the
variety of sonorities emited, from angklung-like metallophones to
interactive electronic sensors, from industrial bleak soundscapes to
subtle microtonal nuances, from improvised free music to drone-a-thon.
This is rather un-classifiable music only occasionaly sounding like
Stockhausen or Boulez solo percussion pieces. Apart from the sculptures,
additionnal instruments include: strings, bowed metals, metal chimes,
saxophone, sea shells, wood, processed vocals, voice, electronic
effetcs, etc. While some composers/improvisors are instrument builders
themselves, like Hans-Karsten Raecke (cf website), others are avantgarde
music composers, like Greek-born Austrian Anestis Logothetis
(1921-1994), whose enchanting and nuanced minimal music – one of the
highlights of the set – blends electronic and acoustic sounds, and have a
visual dimension often based on graphic scores (see Dmtls Merzbau's
post). Wilfried Jentzsch studied with Xenakis in Paris (1976-1981) and
is now an electroacoustic music composer living in Dresden. His piece
Lithophonie is based on electronically processed sounds from a stone
sculpture, with a decidedly stochastic touch in its clouds of high
pitched notes. Herbert Försch-Tenge'sTri-Cello II sounds like a
Zoviet-France live recording, complete with bass string instrument hit
with mallet, ethnic flute and long reverb effect. Too many good tracks
here to mention, but this is a major addition to the sound art pantheon
that can even help widen the definition of it.
Tenor Saxophone, Baritone Saxophone – Peter Brötzmann
Tenor Saxophone, Clarinet – Willem Breuker
Tenor Saxophone, Soprano Saxophone – Gerd Dudek
Trombone – Albert Mangelsdorff, Paul Rutherford (2)
Trumpet [Pocket], Flute [Chinese Shaun, South American Maya Bird], Vocals – Don Cherry (tracks: 1)
Trumpet, Cornet – Kenny Wheeler, Manfred Schoof, Tomasz Stańko
Vocals – Loes MacGillycutty (tracks: 1)
- "Recorded live at the Donaueschingen Music Festival in Germany on October
17, 1971, this rare concert has not been available on vinyl since the
seventies! This recording, while still firmly rooted in the American
free jazz tradition of Ornette Coleman and Albert Ayler (with whom Don
Cherry frequently recorded), brings in elements of traditional Indian,
African, Chinese, Mayan and Balinese music. Of the three pieces found
here, the first two are composed by Cherry and feature an international
group of musicians reminiscent of Sun Ra’s Arkestra (Cherry also
recorded with Ra). His son, the three-year-old Eagle-Eye Cherry, and his
wife Moki, can also be heard in some sections! The final piece was
written and conducted by Grammy Award-winning Polish avant-garde
composer Krysztof Penderecki, best known for his groundbreaking
‘Threnody to the Victims of Hiroshima.’
- "EM's original selection of Annea Lockwood's early works, which had once featured in Source: Music of the Avant Garde, a now-legendary magazine for new and experimental music from 1967-1973. This CD includes the album Glass World (originally issued on Tangent Records
in England, 1970), and trippy, ritual shamanic tape piece "Tiger Balm"
(1970). Also her most notable works, series performances "Piano
Transplants (1967-1982)" is now re-realized in one single special
booklet, containing "Piano Burning," "Piano Garden," etc.
Electroacoustic composer Annea Lockwood left her native New Zealand
in the early sixties, working her way through prestigious music
schools in London and Cologne (the Royal College Of Music and the
Musikhochschule, respectively) and performing across the globe.
Seventy-six of those performances were live reworkings of her LP The
Glass World (recorded between 1968 and 1970), something of a lost
masterpiece in the electroacoustic music canon. Lockwood focuses
attention on the smallest, most sonorous of sounds on The Glass World,
from the striking of gongs, to the resonant properties of wine glasses
and water. Rather than allowing post-production treatments to
overwhelm her pieces, Lockwood allows the raw acoustic material to
speak for itself much of the time, revealing a hidden universe of alien
sounds from everyday sources. The Glass World takes up all but one
track on this disc - the final piece here being 1970's Tiger Balm, a
nineteen-minute trawl through primal, sensuous sonic matter, developed
while Lockwood had been working on a series of programs for the BBC. A
very special, highly recommended release."
- "The album features songs alongside instrumental pieces for orchestra.
Martin sings and plays the instruments, supported by gospel singers Dee
Alexander and Yvonne Gage (who've worked with The Police, Madonna and
R.Kelly) and Andy Knowles (musical credits include stints with the Fiery
Furnaces & Franz Ferdinand) playing drums on If You’re Lonely, You
Return and Don’t Tell Me. Keiko Owada plays bass on Gift Attack / Don’t
Won’t. Co-produced by Martin with Andy Knowles, the album was recorded
in London, Chicago and the Czech Republic. Nick McCarthy of Franz
Ferdinand and Mark Ralph (who works with Hot Chip) provided additional
production. The Chicago songs, which form the heart of the album, were
recorded all-analogue at John McEntire's (Tortoise) Soma Studios.
Engineered by Bill Skibbe (The Kills/Franz Ferdinand). It also includes 3
specially commissioned orchestral works: Work No. 955 was originally
written for the Birmingham Symphony Orchestra, Work No. 994 was composed
for the Hiroshima Symphony Orchestra and Work No. 1375 was commissioned
by the The London Sinfonietta. These pieces were recorded for the album
by the Brno Philharmonic Orchestra conducted by Mikel Toms. All lyrics
and music on the album are written by Martin Creed, with the exception
of the The New Shutters which is Martin’s arrangement of a traditional
Neapolitan folk song. The album sleeve features one of Martin’s
paintings, Work No. 1674: Anouchka and was designed by Andy Knowles, who
has recently directed videos for Franz Ferdinand and The Cribs. Martin
has released one previous album, Love To You (Moshi Moshi) in 2012."
Cowws Quintet: Rudiger Carl - accordion, clarinet, percussion
Irene Schweizer - piano, percussion
Phil Wachsmann - violin, viola, electronics
Stephen Wittwer - electric guitar
Jay Oliver - double bass
Recorded live by Ansgar Ballhorn on January 12th and 13th, 1993, during a
WDR Jazzmeeting at the Ottenbrucher Bahnhof in Wuppertal.
Comments
"Live recording of "Poppy Nogood and the Phantom Band All Night Flight" from the "Purple Modal Strobe Ecstasy with the Daughters of Destruction All Night Flight" concert at S.U.N.Y, Buffalo, N.Y., March 22, 1968."
Terry Riley - Olson III
Soprano Saxophone – Terry RileyOrchestra – Nacka Community
Recorded live in concert at the Nacka Auditorium, Stockholm, April 27. 1967
"Recorded live in Stockholm in 1967, this archival release appeared in 1999 to much anticipation, as it represents a vital chapter in the rediscovery of {American minimalism}. Terry Riley premiered this phenomenal work, Olson III, in Sweden -- a 53-minute composition for orchestra, chorus, and his own soprano sax. A Swedish high school orchestra performed his composition with renowned local minimalist composer Folk Rabe at the controls. The music allows a large degree of improvisation in order to create the phase variations that are one of the signatures of Riley's hypnotic music. The delight of the young students indulging in the ecstatic drones of this highly experimental new music is audible in the explosive performance that they give to the piece. Of the archival recordings of Terry Riley that are available from Organ of Corti, this piece comes with a high recommendation, along with the extraordinary Reed Streams."
~ Skip Jansen, All Music Guide
Ensemble Musica Negativa - Music Before Revolution (1942 - 1964)
Ensemble – Les Percussions De Strasbourg
Piano – Georges Pludermacher
Commissioned by the French Ministry of Cultural Affairs for the International Days of Contemporary Music in Paris.
Composed between February and September 1969 and first performed at the Palais De Chaillot in the same year.
- "The self-proclaimed "world's worst orchestra" was founded by Gavin Bryars in 1970 when he was lecturing at the Portsmouth School of Art.
Bryars wanted to engage the masses with classical music, and sought a way to liberate the form from the pomposity of its audience. His idea was to form an orchestra of the people. Anyone could join, regardless of skill.
The orchestra comprised of known musicians playing instruments they had no knowledge of, virtuoso players and people who had never played an instrument in their lives. Their oeuvré would encompass the popular classics and rock songs - music that could be played by ear. No sight-reading skills were therefore required. The virtuoso players kept everything vaguely within the realms of what might be called a tune, with the other players reaching for (and missing) notes nearby. The result was a fascinating atonal mess of a noise, one which was considered profound by several of Bryars classical contemporaries.
The hilarious results of this experiment led to the Portsmouth Sinfonia's records being pitched at the comedy market which earned them a cult following, enough for them to be selling out the Royal Albert Hall by 1974."
The title refers to the only spoken words throughout the whole piece. Merce Cunningham was recorded saying "ba ba, ti ki, ba ba, di do" and this can be heard in the last track, "Di Do".
Radiohead wrote music to the second half of Split Sides but are not planning on releasing their contribution."
Discogs
Ben Vida - Music for a Soft Epic
- Truely amazing stuff !
- Vinylworld
Annea Lockwood – Early Works 1967-82
- Soundohm.
Martin Creed:
Ongaku / Symphony No. 11 / Thesis
Cowws Quintet:
Rudiger Carl - accordion, clarinet, percussion
Irene Schweizer - piano, percussion
Phil Wachsmann - violin, viola, electronics
Stephen Wittwer - electric guitar
Jay Oliver - double bass
Recorded live by Ansgar Ballhorn on January 12th and 13th, 1993, during a WDR Jazzmeeting at the Ottenbrucher Bahnhof in Wuppertal.