Dionisis Boukouvalas | 1 Apr 12:02 2003
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Imaginary landscape No. 5 (?)

One more question...
In Imaginary landscape No. 5 there are times when using the same recording 
silence is inserted. But what happens to the recording then?
To make it clear let's see an example.
A recording consists of four cords A,B,C and D major each lasting one 
second. If a passage in Im.L.5 requires 2 seconds of the recording, one 
second of silence and one more second of the recording, which of the 
following should apply?
1) A and B major chords - 1 second silence - C major chord
2) A and B major chords - 1 second silence (mute) - D major chord
I hope you get the point.
So?

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Ingvar Loco Nordin | 2 Apr 16:18 2003
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Sorry, test....


***************************
All places are here!  All times are now!
****************************

kos | 2 Apr 21:56 2003
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Cage performance & discussion at NYPL

Two upcoming events sponsored by the New York Public Library for the
Performing Arts will be of interest to Silence subscribers.  Both events are
free to the public.

Sunday, April 27, at 4:33 PM

PERCUSSIONISTS OF THE METROPOLITAN OPERA ORCHESTRA
Works by John Cage
LaGuardia High School Auditorium, Amsterdam Avenue and 65th Street

Saturday, May 3, at 3 PM
REDEFINING COLLABORATION:  THE PARTNERSHIP OF MERCE CUNNINGHAM AND JOHN CAGE
Lecture by Roger Copeland
at the NY Public Library for the Performing Arts, Bruno Walter Auditorium

Bob Kosovsky, Ph.D. -- Librarian
Music Division, The New York Public Library for the Performing Arts
    Listowner: OPERA-L <at> LISTSERV.CUNY.EDU ; smt-list <at> mail.lsit.ucsb.edu
------My opinions do not necessarily represent those of my institutions-------

Joseph Zitt | 4 Apr 02:37 2003

red fish blue fish review

http://www.andante.com/article/article.cfm?id=20459

Andante.com has a review of a recent performance of, among other items,
Cage's "Amores" and "Inlets":

"...It is Nature herself, rather than the composer or the performers, who
speaks in Cage's Inlets (1977). Demonstrating Cagean Dadaism as clearly as
any of his works, Inlets perfectly captures the Zen ideal of formlessness in
the serendipity of three performers swirling water in amplified conch. The
result is a gorgeously rich antiphony of gurgling. After waiting patiently
for several minutes, a fourth conch player enters midway, impertinently
blowing his shell like a horn; this interruption announces the entry of a
recording of pine cones burning. As if undisturbed by this interlude, the
three conch-gurglers return unceremoniously to their naive study of natural
sound. One final bubbling gesture performed solo provides the closing button
for the piece, emphasizing the irony of non-relationships which is this
work's binding principle. The key for the performers to make this
found-sound world compelling is a child-like detachment; red fish blue fish
having achieved this aptly, there is little else to critique in the
ensemble's performance - excepting perhaps Steven Schick's excellent choice
of resonant conch shells..."

Dionisis Boukouvalas | 4 Apr 11:01 2003
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Cartrdige music

Hi,
I was searching the archives about Cartridge music but found little about how to play the piece.
It's not about interpreting the score.
It's about what is a "phonograph cartridge".
Recently I bought a record player and I was wondering: Is this (a modern record player) suitable for performance?
Or phonograph cartridges are an older kind of stuff?
I even tried it at home, taking out the needle and trying to insert a pencil, but... where?
I don't think it's the right kind of cartridge anyway.
Does anyone know where I can find more on this? (eg. a book on Cage, a technical book, etc)
I really like the piece and I'd love to perform it (even if I have to search for the suitable cartridge).
Thank you.
Matthew Rogalsky | 4 Apr 15:02 2003

Re: Cartdirge music

http://www.garage-a-records.com/jpgs/10.jpg

Cartridges D10, D13 and D19 on this page look like the correct type --
with a set-screw so you can put something else in, in place of a needle.

These are ceramic cartridges - you can always use cheap piezo disc
transducers instead though they don't sound as good. You can solder
alligator clips on the piezo disks though, which makes attaching them to
objects very easy.
Richard Lerman has a nice guide to piezo disc microphones here:
www.floraberlin.de/soundbag/sbdownloads/piezos.pdf

There is a picture here of an old cartridge which David Tudor had set up
on a heavy aluminum bar (with felt on the bottom), with an alligator clip
permanently inserted in the needle hole, also for ease of performance...
 http://mrogalsky.net/otherthings/dtelectronics/
(click on the fourth picture down the right side)

best
mattr

On Fri, 4 Apr 2003, Dionisis Boukouvalas wrote:

> Hi,
> I was searching the archives about Cartridge music but found little about how to play the piece.
> It's not about interpreting the score.
> It's about what is a "phonograph cartridge".
> Recently I bought a record player and I was wondering: Is this (a modern record player) suitable for performance?
> Or phonograph cartridges are an older kind of stuff?
> I even tried it at home, taking out the needle and trying to insert a pencil, but... where?
> I don't think it's the right kind of cartridge anyway.
> Does anyone know where I can find more on this? (eg. a book on Cage, a technical book, etc)
> I really like the piece and I'd love to perform it (even if I have to search for the suitable cartridge).
> Thank you.
>

Robert F. Jones | 4 Apr 23:43 2003
Picon

Re: Cartrdige music


>Recently I bought a record player and I was wondering: Is this (a modern 
>record player) suitable for performance?
>Or phonograph cartridges are an older kind of stuff?
>I even tried it at home, taking out the needle and trying to insert a 
>pencil, but... where?
>I don't think it's the right kind of cartridge anyway.

Once again (as in the case of the vacuum-tube AM radios needed for Radio 
Music and Imag. Landscape), it seems we need the Period Instrument ensembles 
to tackle Cage.

peace,

Robert

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Dawn C. Culbertson | 6 Apr 09:44 2003
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25-Year Retrospective Concert recording

I own a copy of the 3-LP "25 Year Retrospective Concert of the Music of
John Cage" that took place in Town Hall in 1958 and comes with an
extensive booklet that contains notes and one page from all the scores
that were performed. Does anyone out there have any idea how many copies
of this set exist and what its value might be? A friend was recently
looking over my record collection & suggested I check this out. I don't
want to sell it, but would like to know if it's at all rare or valuable.
Any help in this matter would be most welcome. (I'm aware, btw, the the
recording was recently re-issued on CD.)

Dawn Culbertson

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Herb Levy | 6 Apr 14:19 2003

Re: 25-Year Retrospective Concert recording

>I own a copy of the 3-LP "25 Year Retrospective Concert of the Music of
>John Cage" that took place in Town Hall in 1958 and comes with an
>extensive booklet that contains notes and one page from all the scores
>that were performed. Does anyone out there have any idea how many copies
>of this set exist and what its value might be? A friend was recently
>looking over my record collection & suggested I check this out. I don't
>want to sell it, but would like to know if it's at all rare or valuable.
>Any help in this matter would be most welcome. (I'm aware, btw, the the
>recording was recently re-issued on CD.)
>
>Dawn Culbertson

You probably don't have to worry about changing your insurance 
policy. these regularly go for somewhere between US$100-200 on ebay.
--

-- 
Herb Levy
P O Box 9369
Fort Worth, TX  76147

herb <at> eskimo.com

mode | 7 Apr 04:44 2003

[Fwd: Mode Bulletin 4.2003]

Dear Silencers:
Thought this new, beautifully played Feldman disc might be of interest.
Best regards,
Brian Brandt

mode wrote:

Welcome to Mode’s Third Bulletin for 2003.

NEW THIS MONTH:
Morton FELDMAN: "Late Works with Clarinet" -- Carol Robinson plays Clarinet & String Quartet; 3 Clarinets, Cello & Piano; and Bass clarinet & Percussion (see below)

COMING NEXT MONTH:
John CAGE: The Piano Works 5 -- 4 Walls; Three Easy Pieces; Soliloquy
Haydee Schvarts, piano
Jack Bruce, voice
Haydee Schvartz, an outstanding pianist who studied with the late Yvar Mikhashoff is joined here by the amazing Jack Bruce (formerly of the legendary rock/blues group Cream)

...AND AFTER THAT:
We honor the late Lou HARRISON with  a collection of chamber works from 1939-2000 performed by the California Parallèle Ensemble, Nicole Paiement, conductor
Works of Alvin LUCIER with Hildegaard Kleeb (piano), Roland Dahinden (trombone) and The Arditti Quartet

If you do not wish to receive future email bulletins from Mode, please contact us and you will be removed from our mailing list with our apologies.

Brian Brandt
mode records

Mode 119 ? Feldman Edition 7
MORTON FELDMAN (1926-1987)
LATE WORKS WITH CLARINET
Carol Robinson, solo clarinet & bass clarinet

1. Three Clarinets, Cello and Piano (1971)
Pierre Dutrieu, clarinet, Olivier Voize, clarinet   Elena Andreyev, cello Vincent Leterme, piano

 2. Bass Clarinet and Percussion (1981)
Françoise Rivalland, percussion  Peppie Wiersma, percussion

 3. Clarinet and String Quartet (1983)
Quatuor Diotima: Eiichi Chijiiwa, violin  Nicolas Miribel, violin  Franck Chevalier, viola  Pierre Morlet, cello

Renowned Parisian based clarinettist Carol Robinson is accompanied by leading European musicians in a magical disc of Feldman’s music.

• These works are combined on one disc for the first time.

• Clarinet and String Quartet. A meandering clarinet line blends into and colors the string quartet sound, generating a hybrid timbre, almost as if the clarinet were taking on the identity of a string harmonic. Without melody, the listener somehow reaches a momentary solemnity, and even, elation.

• Three Clarinets, Cello and Piano.  Feldman thought of this piece as a still life, and indeed its calm is immediately striking to the listener. Shimmering clusters resonate, solo lines of utter simplicity emerge expressively. Noteworthy are the extreme dynamics, particularly the loud moments, highly unusual for Feldman.

• Bass-Clarinet and Percussion. Music of a floating quality with rhythms that expand and contract against a steady but unheard pulse. A piece of extremes: brutally high for both timpani and bass clarinet, with large interval leaps and discretely modulating timbres, all within an exaggeratedly reduced dynamic. This is perhaps among Feldman’s most mysterious and otherworldly pieces.

• The two-part liner notes consist of an essay by Ernstalbrecht Steibler, former director of Neue Musik at the Hessischer Rundfunk in Germany; and detailed notes on the works by Carol Robinson.

Also by Carol Robinson on Mode Records
Alain BANCQUART: Le Livre du Labyrinthe (mode 120/121, 2-CDs)
Luigi NONO: Voices of Protest (mode 87)
Giacinto SCELSI: Music For High Winds (mode 102)

Also by Morton Feldman on Mode Records:
Vol.1: Piano works played by Aki Takahashi. (mode 54)
Vol. 2: First Recordings: 1950s—with the Turfan Ensemble (mode 66)
Vol. 3: Complete Works for Violin and Piano—Sabat/Clarke Duo (mode 82/83, 2-CDs)
Vol. 4: The Straits of Magellan; Durations; Projections; Two Pieces—the Turfan Ensemble (mode 103)
Vol. 5: Voices and Instruments—the Barton Workshop (mode 107)
Vol. 6: String Quartet No.2—FLUX Quartet (mode 112, 1-DVD or 5-CDs)
 

ORDERING INFORMATION:
Please add appropriate sales tax in New York.
Payable by: Mastercard or Visa (include card number & expiration) or via check or Money Order in U.S. funds.
SHIPPING & HANDLING:
U.S.: $3.00 for the first disc, $1.00 each additional (or $7 for the mode 112 CD set, $3 for the mode 112 DVD).
FOREIGN air: $6.00 first disc, $2.50 each additional (or $16 for the mode 112 CD set, $6 for the mode 112 DVD).
*Please note different shipping & handling charge will apply to mode LPs.

Order by email; mode <at> mode.com
or by phone or fax: 1-212-979-1027
or by mail:
Mode
PO Box 1262
New York NY 10009 USA
 
 


Gmane