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Search Result for Artist PALESTINE CHARLEMAGNE
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LP
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ALGA 038LP
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"Alga Marghen proudly presents two seminal electronic music radical realizations by Charlemagne Palestine. These previously unpublished pieces confirm once more how advanced his Golden Research already was in the 1960s, a very personal approach to sound which would have later become so influential for future generations. 'Continuous Sound,' built by an ever-changing mix of adding and filtering white noise and simple sine tone generators, is the most solid sound construction that Charlemagne created in preparation of his lost electronic masterpiece 'L'Avventura,' inspired by the Michelangelo Antonioni movie with the same title. 'Continuous Sound' pre-dates 'L'Avventura' of just a few months and with its suspended atmospheres and its deep sense of mystery represent one of the most fascinating sonic works by Charlemagne Palestine. 'Crown Chan' is an electronic music piece created for a dance by Gus Solomon in 1970. Conceiving music for dancers gave Charlemagne the possibility to experiment and manipulate the reel tapes of some of his electronic sonorities. In a previous collaboration with Gus Salomon, Charlemagne created a new sound by simply superimposing two already existing and accomplished electronic drones. 'Holy1' and 'Holy2' thus became a completely new sonority titled 'Holy1+2' (these works were included in the CD titled Alloy, also issued by Alga Marghen). In the case of 'Crown Chan' Charlemagne worked in a more structural way, shaping his electronic sound materials into two stereo reel tapes (titled 'Crown Chan' 1&2 and 'Crown Chan 3&4') which also integrated silent parts and were meant to be played back simultaneously, thus providing a powerful live music for the dancers. Edition limited to 380 copies, with an institutional portrait of the composer on front and back sleeve for you consumers to enjoy."
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LP
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VOCSON 072LP
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"This special new edition of the now long sold out Charlemagne Palestine Voice Studies LP, pressed on dark blue vinyl and featuring a new sleeve layout, was included in the Avant Marghen Volume Four 7LP boxset edition limited to 80 numbered copies. Extra copies of this same edition are now available for sale, separately from the boxset edition. Palestine's introduction to music or sound was first with his own voice. This LP includes the very early Surrealistic Studies, using a Webcor reel-to-reel tape recorder, discovering a technique of shouting into the microphone and immediately pulling it out, creating an interior echo chamber where the sound would turn around on itself, changing and distorting. Voice + Piano Study I & II are short and beautiful piano improvisation with tape superimposition of accelerated voice pieces. In Voice Study Charlemagne sings in a falsetto duet with himself on two separate tracks in a resonant space, searching for intervals that resonate together and respond like electronic sound wave oscillators played against each other."
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3CD
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SR 297CD
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Subtitled: For Piano, Harpsichord And Strings Ensemble. 2012 repress. Sub Rosa presents mostly unpublished works by minimalist composer/vocalist/performer Charlemagne Palestine. Charlemagne Palestine wrote intense, ritualistic music in the 1970s, intended by the composer to rub against audiences' expectations of what is beautiful and meaningful in music. A composer-performer, he always performed his own works as soloist. His earliest works were compositions for carillon and electronic drones, and he is best known for his intensely performed piano works. These unpublished pieces from the mid-'70s are works built on the same principles that he developed and established over the years for the piano. This is a unique variation on composition that introduces a perpetual rise inside a continuum of sound. "All of the Strumming Music manifestations seem to have originated from Charlemagne's physical relationship with the colossal carillon bells in the tower of St. Thomas Church on Fifth Avenue in New York. I met Charlemagne Palestine in 1968. The intensity of his listening impressed me as the intensity of his playing would later, when I heard him play on the carillon and the bells to 'his church.' I realized later, when Charlemagne had started to develop his series of piano pieces called Strumming, that he was assaulting that concrete ceiling and literally pushing through its three feet to release the sonic energy in the piano, much as he had with the carillon. Charlemagne's interest and work in electronic music increased in the late '60s, and in 1970, he decamped to southern California where he became a graduate student working with Morton Subotnick. It was during this year at CalArts (1970-71) that Charlemagne developed an approach to the piano that was not only extremely repetitive and physical, but predicated on the theory that, given the right stimulus, the instrument had a voice of its own and could produce a whole array of high overtones that seem to jump out on their own as if by magic. Over the next few years, he developed and polished the music that came to be known simply as 'Strumming.' The rapid alternation between single notes and chords and different registers became a technique that he seemed to own, and it really only worked with this magic piano. 'Strumming' was the physical technique; the melodies and harmonies that resulted made the music breathe and feel alive. After a while, the ear doesn't distinguish between notes that are sounded by hammers and those which are." --extract from the liner notes by Ingram Marshall. Housed in an 8-page digipak including a 16-page book. Please note that disc 1 is the original recording of "Strumming", as originally issued by Shandar on LP (and later, New Tone on CD). Discs 2 and 3 are previously unreleased in any form.
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CD
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ALGA 080CD
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$19.00
NOT IN STOCK, SPECIAL ORDER
"Four Manifestations On Six Elements, one of Charlemagne Palestine most well-known works, has now finally been included in the Alga Marghen Golden Research series of CD editions presenting the composer's relevant historical recordings. In 1973 Charlemagne Palestine was commissioned to make Four Manifestations On Six Elements by the Sonnabend Gallery in New York. As the gallery was well known for its presentation of conceptual art Palestine decided to create a record similar to an exhibition space with four walls to expose on, each wall corresponding to a side on a double LP record. 'Two Perfect Fifths, A Major Third Apart, Reinforced Twice' (1973) is an electronic piece that deals with the search for the essence of timbre, sound color, through exploration of the inert chemical activity in the overtone series of tone fundamentals. In this genre of his work Palestine feels akin to a kind of sound alchemy - blending elements over and over again through the years searching for the Golden Sound - the essence of the chord or harmonic structure itself. In 'One + Two + Three Perfect Fifths, In The Rhythm 3 Against 2, for Piano' (1973) the elements introduced are now elaborated upon on the piano. The resonant Bösendorfer allows Palestine to create a more lively and complex variation of tones, intervals, overtones and rhythms. 'One Fifth' evolves by reinforcing the fundamentals of a fifth with their higher octave. Each performance of this work is different as Palestine reinterprets these simple elements, listening within them for variations of amplitude, mixture and inertia at the moment of the performance. 'One + Two Fifths' deals with the way a rhythmic sonority sounds when the sustain pedal of the piano is not used, thus focusing on its rhythmic aspect. Gradually by adding the sustain pedal the external rhythmic pattern begins to internalize, becoming an inert part of the whole tymbral fabric - a piece expressing the battle of rhythm versus timbre for dominance. In 'One + Two + Three' a third fifth is added - variations of melody and sonority reinforcements culminating in a rhythmic deceleration process ending the work. 'Sliding Fifths for Piano' (1972) is an impressionistic version of the three fifths used in the entire work. The continuous liquid waterfall of pure romantic piano sound and color is a homage to Debussy, Ravel and Monet. 'Three Perfect Fifths, A Major Second Apart, Reinforced Twice' (1973) is the complexification and continuation of wall one. A pure and sonorous phenomenon. First pressing limited to 500 copies in digipack sleeve, with a full color 12-page booklet including two essays, originals score and visual material related to these compositions."
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LP
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ALGA 031LP
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$31.00
NOT IN STOCK, SPECIAL ORDER
"Relationship Studies LP includes 2 seminal electronic music radical realizations by Charlemagne Palestine, or 'Relationship Study No. 1' (1967) and the generally titled 'Electronic' from the same year. Sounds in motion like race cars, motor cycles, war planes, rocket ships excited Charlemagne sonic imagination when we was still a young teenager. Then came the experience of listening to the electronic music of Tod Dockstader, Alwyn Nikolais, Pierre Henry and Pierre Schaffer, Xenakis and Poème Electronique by Edgar Varese. Immediately fascinated, Charlemagne Palestine bought primitive electronic equipment and started to experiment, creating his original electronic-esque language. The two previously unreleased 18 minute masterpieces presented here directly come from this early period of intense experimentations in a fluid, ever-changing mix of adding and filtering white noise and simple sine tone generators. Both pieces are late night compositions created at the electronic music studio of the New York N.Y.U. Intermedia Center using Buchla 100 and Buchla 200 systems. Even if dating back from the mid-1960s, these intense sonorities might very much recall the best early power electronic scene from the late 1970s, in particular to the first brut music works created by Maurizio Bianchi. For sure they represent a very unique and inspiring approach to electronic creation, sounding more and more actual and surprising nowadays. Edition limited to 350 copies."
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LP
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MARGHEN 026LP
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"As the title well underlines, Sound 1, electronic sonority is a starting point in Charlemagne Palestine's research for the Golden Sonority. Previously unpublished, this radical and fundamental work has now been released on LP record in collaboration with the New Media Dept. of Centre Pompidou (National Museum of Modern Art) in Paris for the first 'Oeuvres Sonores' event, December 15th, 2008. Charlemagne Palestine started to dream of an expressive, continuous, ever-moving, ever-changing sound-form; an enormous sonorous 3-dimensional sculptural canvas in mid-air, using electronically-produced sounds. At first, he began experiments with simple sine tone generators, emitting the purest sound waves without any overtones. Then, gradually, with access to Moog and arps, he constructed sounds using the sine/sawtooth/square wave oscillators in a fluid, ever-changing mix of adding or filtering overtones and white noise to create sonorities constantly changing timbres and weight. Palestine experimented in this way from 1964 till 1974 in NYC and then, in California. Finally, he assembled his own drone machine of 16 ultra stable oscillators designed by Serge Tcherepnin and 4 band pass filters designed by Donald Buchla. He would build up a sound, oscillator by oscillator, then add ever-so-slightly to the oscillator input, tiny increments of white noise that would gradually make the sounds thicker and thicker, until they were immense, sacred machines humming like gargantuan Tibetan bees. Charlemagne played them very, very loud, making all the room and objects in it resonate, while outside all was quiet and sleeping. He worked like a painter with a palette and a canvas and he mixed and added and mixed and added over, entire nights, mixing, adding, and then lying on the mattress and listening and fine-tuning. Finally, at a certain point, after several nights, the sonority seemed ready to record. He'd put on the tape, prepare the tape machine with the proper level as not to overload it, and record the texture. This 1-sided LP was issued in an edition limited to 500 copies."
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2CD
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SR 272CD
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This is the first solo work by Charlemagne Palestine on Sub Rosa -- the first but probably not the last -- the label would also like to re-release a series of his classic works, which have previously been unavailable. From Etudes to Cataclysms is one of Charlemagne's most important works. An impressive composition of more than 140 minutes based on a unique instrument -- a double piano on which one keyboard is played by the feet. "Several years ago, Martin Kaufmann of Kaufmann Pianos in Brussels told me he had seen and heard an amazing and unique instrument in Italy. A piano with two separate bodies! One with a normal grand piano body having 88 notes to be played with the fingers, and below this piano was a second piano also with a grand piano body that could play simultaneously the lower 37 notes of a grand piano with pedals for the feet. Having known my music for years and that I had been a carilloneur where one plays with both fists and feet simultaneously, Martin Kaufmann thought that the Borgato would be perfect for my music. The inventor of this unique instrument was Luigi Borgato from Padua, who developed this instrument with his wife, Paola. I was intrigued, and through an intermediary, the Italian pianist Roberto Posseda visited the Borgatos in Lonigo where they have their workshop and found that their instrument was perfect for my body and my music. We immediately decided to organize recording sessions in a local church for one week and From Etudes to Cataclysms is the result!" --Charlemagne Palestine, October 2007
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CD
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ALGA 068CD
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"Alga Marghen proudly presents a new chapter in the documentation series of Charlemagne Palestine's historical works. This CD of previously unavailable recordings not only presents you Charlemagne Palestine activities in 1974, collaborating with some of most important experimental artists and composers from either the New York loft scene and Cal Arts, but also features world premiere recordings of Terry Jennings and The Fundamental D Flat Group. 'Short & Sweet' is the title of a breathtaking duo for piano and sax performed on April 24th by Charlemagne Palestine and Terry Jennings. The two composers happened to play together in very private concerts at Cal Arts, but never recorded those sessions, until a special day when Charlemagne happened to have a little tape recorder around. The recording was considered lost for more than 30 years, when finally a copy was found thanks to Tony Conrad. The piano part reminds some of the early pieces by Charlemagne Palestine titled 'Piano Drones' (as the one pre-dating of a couple of years this duo and presented on the Continuous Sound Forms CD issued on Alga Marghen. The liner notes of the same CD mention this duo with Terry Jennings at the time considered lost). Terry Jennings' soprano sax is very elaborated and decorative. Around 1967, Charlemagne was experimenting mainly with voice and electronics. He also occasionally recorded piano and sax improvisations with his friend Bob Feldman. This CD featured a very special duo by Palestine and Feldman playing electronics and flute. The two artists met in 1961 when Bob Feldman worked in a jazz record shop in the Times Square subway station. Palestine didn't know much about jazz and Feldman guided him through the new progressive jazz styles of the times. Later at the Intermedia Center of NYU where they had a Buchla synthesizer, Charlemagne and Bob Feldman experimented between jazz raga and electronics. Very little was recorded. This is one rare duet that dates probably from around 1967. The last track on this CD is the first 30 minutes of a recording from April 22, 1974 by The Fundamental D Flat Group performing in Db. During one trip back to NYC from Cal Arts, Charlemagne Palestine was invited by Tony Conrad (together with Rhys Chatham) to Albright College in New Jersey for a Sunday afternoon concert. That was the first and last time The Fundamental D Flat Group played in public (Tony Conrad: violin, horn, string drone; Rhys Chatham: flute, organ, string drone; Charlemagne Palestine: voice, pipes, snifter). Although the piece lasted all afternoon, the first 30 minutes were the only portion recorded during the performance. The Fundamental D Flat Group invite you to listen and meditate in the mode of Db. To hear this is to enter the deepest realm of knowledge of the sound current. The ear, the understanding, and the core of the spirit resonate to the mode of the single tone and its harmonic family. You read, and hear, and feel the empathy of human spirit. This CD is housed in a beautiful digipack with a full color sleeve with photos and liner notes. The edition presents some of the best recordings ever issued by Charlemagne Palestine, a highlight in the Alga Marghen catalog and a unique chance to listen to the core of Charlemagne Palestine."
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CD
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OLGA 001CD
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"Yesmissolga Records is proud to present its debut release with a stunning piano performance by Charlemagne Palestine. The Apocalypse Will Blossom brings Palestine's recorded work thundering into the 21st century. Working in the lower registers of the piano, as he did in the late '70s, this intensely powerful live performance is unlike anything previously released by Palestine. Recorded by Christoph Heemann in Aachen, Germany at the Ludwig Museum in 2000 on the occasion of the 1000 year celebration of Charlemagne and subsequently processed by Heemann, The Apocalypse Will Blossom offers the closest experience you can have to hearing Palestine live without witnessing one of his performances. This recording is offered in a CD digipak printed in full color with a collage inspired by Palestine's visual work representing the four horsemen of the apocalypse and an original collage detail of Triomph de la Morte by the French artist, Jacques Brissot. Charlemagne, NOW!"
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CD
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CB 025CD
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...For Maybeck. "A Sweet Quasimodo... is stunning music for two pianos played simultaneously in a tremolo style that Palestine calls 'strumming,' a technique that has defined his piano music since the late '60s. It spins out its sonic tapestry in surges and ebbs, and dense sonorities with hypnotically dancing overtones growing from its few opening pitches. This live recording from the Maybeck recital hall (February 2006) also contains Palestine's short spoken reminiscence about his life in California more than 30 years earlier and a few very short 'ritual' songs in his unique falsetto vocal style accompanied by the drone of a rubbed brandy snifter."
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