The classic.. A vital Minimal electric violin drone with microtonalities by La Monte Young affiliate Conrad, and scary machine beats from the Faust rhythm section (Jean-Herve Peron and Werner Diermaier) and Faust guitarist Rudolph Sosna (who plays some synthesiser here) This was undoubtedly one of the more remarkable projects to come out of Faust's famous Wumme schoolhouse (Slapp Happy's Sort Of was another). And it still holds fast as a definitive - and primal - musical statement. Added to the original (remastered) LP are other out-takes from the original sessions and another version of the ur-piece without an extra violin overdubbed later. A landmark. Nice packaging, though the text is more promotional than useful. If you already have the single CD, not a lot is added, but the quality is better. Sorry it's so expensive. But still worth it
An important minimalist document from 1989 by Conrad, film-maker, member of La Monte Young's Dream Music, collaborator with Faust and violinist. Here however he manipulates sine-wave generators and multiple glissandi. High intensity.THIS IS A VINYL RELEASE
Later work (1980) for electric violin and tambura - a drone with strong lines, harmonics, sliding and a very confident, direct and inspired top line that is completely gripping. Raw but absolutely great. No frills. And great sense of tuning.
For 3 violins, viola and cello this long, still, rather agonising work modulates very slowly over a long time. Geber says in his reflective sleeve-notes ' the piece is about gutting myself emotionally'. It explores quiet, demanding playing (of long tones), very close-mic'd - to pick up every falter and detail, and can be listen to as background or foreground to very different effect. Not for everyone; this is a demanding and somewhat excruciating composition (and performance); but it has integrity.
I feel obliged to include this because it is probably a kind of watershed. There are 5 pieces, consisting of crackling, tones, extra high frequencies, pops and scratches - all very pianissimo and without obvious form. As journalists say 'a think piece'. Remarkable in concept and execution. For the historian, experimenter and those concerned with the very unusual.
5 pieces that explore drones, microtones and the beats induced by simultaneous, slightly detuned frequencies - one for bagpipe, one for a pair of kotos, one for flute and tone generator, one for solo triangle and one for flute, saxophone and piano. All but the triangle work are first recordings. The final track is the strongest, the triangle piece the most radical.
One of the classic long wire pieces. Essentially this is a one string aolian harp (with active but steady state oscillation applied to it) - magnetically amplified (like an electric guitar). Slowly modulating pure tones, drones, silences, harmonics. Tuned to play itself by reacting to slight changes in its environment.
11 pieces that investigate instruments and recording techniques. Scored variously for groups of duochords (2 string monochords played with motorised rubber bands, hurdy-gurdy style), aluminium monochords, played with felt hammers, guitars with tails (all explained in the excellent booklet with pictures and background on all the instruments and techniques), cellos - using extended techniques, spring strings, bottles (blown) and musical bows. Mostly species of drone, but careful, thoughtful, considered. 3-fold digipack and informative, illustrated booklet. Limited art edition of 1000.
- Excuse the length of the review. Summary: Buy it.
As in his short piece Klangfarbenprobe for the Re Records quarterly many years ago, John here explores in two 30 minute pieces how much variety and structure is obtainable from a single pitch. Western ears are indoctrinated to listen through pitch, to find binding narratives in melody, harmony and their variations, the rest at best is secondary, at worst just colour. The reason so much Baroque music translates so easily to different instruments, including heavy metal guitar, is because it's the notes that really count. The notes and their ratios and their relationships. Harmony was considered part of a scared mathematics and the relations between pitches expressed absolute, fundamental cosmic realities. Pure music, the music of the spheres related directly to the Platonic forms, the unchanging verities that we can approach but never grasp. That's why it is the form that matters, the pattern behind the notes, and not the temporary body in which these are clothed. In the age of the Manufacturer and the Usurer - the age of Beethoven and after - while holding to the spiritual in theory, music was progressively seduced by the material. Orchestration came to matter more and more. And once sound recording was invented, the materiality of sound itself became an unegotiable fact. Varese, pre-eminently, relegated notes to a secondary position in his work, pursuing timbre, dynamic, mass, spatiality and contrast, but generally, all the way through to the late 1950s, especially under the sway of post serialism, notes continued to hold their own, even though their grip was slipping. That decade, however, saw two radical responses that recognised and between them reified the dilemma: In the left corner, John Cage shifted his attention to rhythm - which is the organisation of time and which, significantly, is made equally of sound and silence - for him pitch was just material to be poured into structured time; it could be anything - let the sounds be themselves; while, for La Monte Young, in the right corner, pitch became absolutely supreme. John Oswald follows neither route but approaches the problem from a completely different perspective. His work, initially closer to Schoenberg's famous short orchestra piece and Varese's explorations into dynamic, timbre and spatiality goes beyond these to an exploration of what happens when pitch becomes informationally redundant - or transparent - forcing other qualities of sound to be heard through it, and making thereby what is always missing or suppressed significant. By this simple device - the most original things are always this obvious and one wonders how come it took so long to reach them - the answer is, as always, that it takes a different kind of thinking to see the obvious. By this simple device of removing tonal data by levelling it, John is able to accentuate and make essential parts of hearing we take for granted and, when in art mode, largely ignore. He takes acoustic space, natural and un-natural sound, the outside world and the discourse of music - and by merging and flattening them arrives at strikingly unfamiliar listening aesthetic.
Of course, John's work with recordings has always been about listening - as well as to a certain extent about perspective, and both concerns are strongly represented here. His method of work involves gradually tuning every sound to a single pitch (an A). There are 10 audible octaves and so 10 degrees of this pitch with which to work. Two human performers are featured, a piano tuner and a cellist, the rest of the material is derived from a library of recorded sounds built up over time - pure sine tones, orchestral instruments playing A's, voices, environmental sounds: birds, weather, animals, insects, spaces - and so on. It is all - naturally or un-naturally - pitched to an A. This is the material. The second crucial technique employed throughout this piece is morphing: that is, gradually blending one thing into another. A note becomes a storm becomes a flock of birds - think of some of Trevor Wishart's extraordinary work in this area, except that here the pitch is uniform and the blend can, if desired, be almost imperceptible. A change of object or event becomes simply one of timbres and detail; to morph is effectively to crossfade very slowly. Sounds may gradually turn into one another, or be sunk inside one another like harmonics, to create shifting banks of timbres. An entire aviary of birds winds up at A and A becomes the aether in which they, and everything else, moves.
Because of the variety of sources and the individual recording of them, spatiality moves to the fore; there is much work here with soundscape, interior and exteriority, distance and shape. Such work with scale and reflection and with the sounds of weather and nature inevitably invokes a visual response, and John often speaks in narrative and visual terms in his interview, 'it's raining in the piano', 'a conical clarinet curls into a french horn and then straightens out into a didgeridoo', 'like a giant hummingbird' &c. But because the pitch is constant, our hearing is focused in an entirely unfamiliar way. He quotes Stockhausen's comparison between the filmic model of seeing a variety of things under a constant light as opposed to seeing the same thing continually under differing lights. Perspective, space and scale permeate this work, in a way I can not refer to any other work. In one section all 88 notes of the piano sound as an A. And how are we to hear this? John in his excellent and comprehensive accompanying interview points out that this could usefully be described as a shift in scale: the piano notes do not change, but the size of the piano does; the lowest note on the keyboard sounding the A would be strung in a 10 inch concert grand, the highest in one over 100 feet long. This is in some ways analogous to the effect of light speeds on length and time: the light is moving at a constant speed while objects shrink and elongate and time stretches and expands.
There are two versions of the piece on this CD, which is an indispensable work. Not merely a piece of music - or a parade of organised sounds - but a meditation on listening.
Not the whole of it, of course, that would take a day or so. But here are the first 40 repeats of Satie's disarming motif. Dating from 1893, this piece, its first complete performance organised by John Cage in 1963, stands as a monument to a deceptively revolutionary musical mind. The score calls for 840 repeats, but to say that is only to repeat words - it can't approach the physical experience of listening; and of course no played repeat is really a repeat. Can you listen to it? Of course, for a while, then like any repeated thing, figure repositions itself as ground, then it gets interesting. Because not mechanical, this is furniture music with personality. It is also a musical landmark and it's good news that someone has at last set it on a record.
Pieces based on a 'procedural score' for composition with environmental sounds. The title track, made in 1967 is a very early environmental composition and is fascinating, as well as being of historical significance. All the other works are later orchestrations evolved out of different readings or electronic analyses of this one recording, three electronic and one for acoustic instruments, all of them mostly drone-centred. For me, the acoustic piece is far and away the best. In fact this 1980 work and the original 1967 recording, are reason enough to buy this CD.