LINDSAY COOPER CONCERT
HENRY COW, MUSIC FOR FILMS, NEWS FROM BABEL and OH MOSCOW play the music of LINDSAY COOPER
on FRIDAY 21 NOVEMBER | LONDON Barbican as part of the EFG London Jazz Festival
and SATURDAY 22 NOVEMBER | HUDDERSFIELD Lawrence Batley Theatre as part of the Huddersfield Contemporary Music Festival.
Tickets here: (Barbican): http://www.barbican.org.uk/music/event-detail.asp?ID=16696
CASSIBER BOX ITEM
Yes there's a long delay on this. Apologies all round. But we have all your addresses and one day ...
ALESSANDO ACHILLI’s radio tribiute (with some interview fragments)
http://prospmus.blogspot.com/ scroll down to "29/9/13".
MATTHEW WATKINS radio tribute, with a great deal of interview material (interviewer: Val Wilmer)
CHRIS CUTLER: PROBES - MACBA RADIO LINKS:
I've been working on a series of radio programmes/lectures for the museum of modern art in Barcelona, Nos 1 - 4 of which are now complete and no.1 along with a 30 minute auxiliary programme with more musical examples (and no talk) is online here:
You can download them as podcasts, and the texts, credits and playlists as .pdf files.
This sixth programme continues to explore probes into pitch through the preparation and modification of conventional instruments – looking at the many tapings, wrappings, clampings, clippings, attachments and impairments applied across the family of strings, before moving on to the less familiar territory of prepared winds. Some people get up to some pretty strange behaviour in the pursuit of unusual sounds.
Much interesting music
Here’s the series blurb:
In the late nineteenth century two facts conspired to change the face of music: the collapse of common practice tonality (which overturned the certainties underpinning the world of Art music), and the invention of a revolutionary new form of memory, sound recording (which redefined and greatly empowered the world of popular music). A tidal wave of probes and experiments into new musical resources and new organisational practices ploughed through both disciplines, bringing parts of each onto shared terrain before rolling on to underpin a new aesthetics able to follow sound and its manipulations beyond the narrow confines of ‘music’. This series tries analytically to trace and explain these developments, and to show how, and why, both musical and post-musical genres take the forms they do.