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[cleanzero]

Love this very much

[kandu]

Type 083
I know Xela and he's ok.
I don't know who Jefre Cantu-Ledesma is, but this split right here is a wonderful piece of work on what love defines as.

[jkudler]

he runs the root strata label and blog, and i think he was in that band tarentel.

[kandu]

already noticed, thank you anyway.

[jkudler]

http://lmgtfy.com/?q=jefre+cantu-ledesma

[kandu]

RYM helps me out in this kind of situations, I'm ok.

[bedouin]

Marion Brown - In Sommerhausen (1969)

dnld from ajbenjamin2beta.blogspot.com.

[sevenarts]

Swans | My Father Will Guide Me Up a Rope to the Sky

[yonhosago]

Christine Sehnaoui & Sven-Åke Johansson - La Vase / Slikke

blowed away

now


SLW - Fifteen point nine grams

[diederich]

currently my girlfriend is playing Fallout: New Vegas, which means I'm hearing the same seven songs over and over again, but more pertinently:

earlier I was able to listen to parts 1 and 2 of Kamerman's It Is Too Late Now, Your Life Is No Longer Beautiful in a single sitting. Have no idea if the print edition is still available, but you should at the very least download the flacs and drop him a few bucks via paypal. I've managed to listen to all of it in stages, never all at once. Definitely worth the time and attention, gorgeous, rough and raw.

[nirav]

One thing you'll unfortunately miss during listening to the recording was a dramatic event between the movements, watching a seagull eat a whole fish in one bite. And the fish was nearly the size of the bird! Amazing. On my way back home, I saw another seagull do the same to a crab. Richard's piece clearly brings out the instincts in the birds of prey.

(the music was pretty damn great too, a wonderful morning of music!)

[Jesse]

I have noticed an increase in my snacking following listening to Delicate Sen.

[lukaz]

i was just reminded of this online free release (on AudioTong) by AVVA (Billy Roisz & Toshimaru Nakamura) & Läuse (Billy Roisz w Dieb 13 & eRikm) which i am listening now:



AVVA & LÄUSE: Live In Prague

http://audiotong.net/cmsms/index.php?page=tng3007

[926am]

Alkan symphony for solo piano

[yonhosago]

Ensemble Musica Negativa - Music before revolution - works by Cage, Brown, Wolff, Feldman & Ichiyanagi

[simon reynell]

^ ^ ^ ^ ^
intrigued by this. Can you tell more about what it is, Yonsonago?

[frozen reeds]

Alkan symphony for solo piano

How nice that they used the same image as this cover:

[leroysghost]

^ ^ ^ ^ ^
intrigued by this. Can you tell more about what it is, Yonsonago?

it's a 4-lp set from the early 70's of some germans performing pieces and some interviews with the composers. Credo In Us was famously(?) sampled by NWW on one of their early (not that great) albums. the performances are pretty "traditional" for the time period (i'm not a big classical music guy but it seems that a lot of orchestral avant-garde stuff from that time sounds the same, even when dealing with scores like Four Systems and Sapporo) but i have good feelings toward the record in general.

the track list is here: http://www.discogs.com/Ensemble-Musica- ... ase/872739

[yonhosago]

^ ^ ^ ^ ^
intrigued by this. Can you tell more about what it is, Yonsonago?

it's a 4-lp set from the early 70's of some germans performing pieces and some interviews with the composers. Credo In Us was famously(?) sampled by NWW on one of their early (not that great) albums. the performances are pretty "traditional" for the time period (i'm not a big classical music guy but it seems that a lot of orchestral avant-garde stuff from that time sounds the same, even when dealing with scores like Four Systems and Sapporo) but i have good feelings toward the record in general.

the track list is here: http://www.discogs.com/Ensemble-Musica- ... ase/872739

If LG hadn't posted this earlier I'd have post the same link.
Didn't know about the NWW sample. The phonograph part in Credo in us is Dvorak's New World Symphony. The version of Imaginary landscape 1 is very interesting, or at least interesting when the only other version I've in my memory is the HatHut one.
LG is right about the traditional versions of some of the pieces, precisely the two he mentions, Sapporo & Four systems. Looking at the score of Sapporo, very sparse and open, is very curious to hear a music almost without silence or stasis; like if the only have read the notations and not the spaces in between them. The other Ichiyanagi piece, Life music, is what you can expect from it's description.

“The original version of this work was composed on magnetic tape in 1964. In the version recorded here, the taped segments are played through large speakers situated behind the orchestra–which performs and interacts with the taped sounds. The “live” performers are picked up by contact microphones attached to their instruments. This is amplified and electronically processed for a modified quality. The result is music consisting of several elements: the unmodified “live” orchestra; that sound mixed with its own processed sounds; and any combination intermixed in continually varying ways. Accompanied by coordinated, shifting light effects on stage, the effect is a striking one. The “chance” element in the music expressed through the use of silences as well as the fluid give-and-take juxtaposition of live, recorded and live/processed sounds.”

For me, the Wolff and Feldman pieces are the most interesting. I have the score of both of the Feldman pieces, so it's good to compare the versions, following the way different groups of musicians reads a score like Between categories, where precisely measured music is superposed to "proportionally" measured music.
And yeah, maybe the Cage Piano Concerto "sounds the same", but hey, it was 1971. My initial impression is that it is a more harsh version of the "same" avant garde sound.

[hatta]

LG is right about the traditional versions of some of the pieces, precisely the two he mentions, Sapporo & Four systems. Looking at the score of Sapporo, very sparse and open, is very curious to hear a music almost without silence or stasis; like if the only have read the notations and not the spaces in between them.

Yeah this is where making an assessment on a realization of a score based on a few scans off the internet is highly misleading. Sapporo is 16 pages, each different, each filled with a differing amount of notation. These are played simultaneously in up to 16 parts. There are rules for suddenly changing what part of the score you are playing, or for exchanging your score with another players. So if you add up 16 layered performances, pages of varying density and the fact that any given player may not be playing from just one single page throughout the recording, you really have no way to make that assessment. It should also be noted that Ichiyangi gave no instructions on how to handle the dispersal of the material on the page. Personally I do treat it as a space in which I don't play, but it is up to the interpreter.

There are very few versions of Sapporo out there and I think this one is pretty good, that is to say it sounds like a chamber group playing it pretty convincingly. Of course I'd take the version that accompanies the video of the dance this was made for with Tudor and Cage playing live electronics over this any day. Not much space in that one either.

As for the rest of this set I found it of only historical interest. Since I've been spending all year practicing Sapporo for a recording this was actually the most interesting piece, for me and like I said I think it is a reasonable realization. Really disliked the Brown realizations, the Wolff aren't bad, Credo is pretty great, the Feldman all exist in better versions. The interviews are interesting, but they were recorded from tape and there are sections of them being fast forwarded as they are recorded, which is just bizarre.