|
|
|
|
viewing 1 To 8 of 8 items
|
|
|
|
|
|
|
|
|
|
|
|
CD
|
|
DWAB 008CD
|
Dog W/A Bone present the release of Charles Gaines's Manifestos 2. Charles Gaines is highly regarded as both a leading practitioner of conceptualism and an influential educator at the California Institute of the Arts (CalArts). Gaines is celebrated primarily for his photographs, drawings, and works on paper that investigates systems, cognition, and language. His early experiments examined the roles that systems and rule-based procedures play in the construction of forms, objects, and meaning. In creating Manifestos 2, Charles translated language from four influential speeches or manifestos into musical notation: Malcolm X's last public speech, made in 1965 in Detroit's Ford Auditorium; Peace, Power, Righteousness: An Indigenous Manifesto (1999), by Canadian Mohawk scholar and activist Taiaiake Alfred; Indocumentalismo Manifesto -- an Emerging Socio-Political Ideological Identity (2010), by Raúl Alcaraz and Daniel Carrillo; and the Declaration of the Rights of Woman and the Female Citizen, written by French activist and writer Olympe De Gouges in 1791. Establishing a relationship between the structures of language and music, Gaines has used a rule-based system, substituting each letter with its corresponding musical note (C, D, E, F, G, A, B) and treating each letter without an equivalent note as a silent musical rest. The scores were then arranged for multiple instruments by Los Angeles composer and Opera Povera director Sean Griffin. As a result, Manifestos 2 explores the ways in which the emotive properties of music affect the content of the manifestos and their interpretation. For the performance, Griffin conducted a nine-piece ensemble, bringing the scores to life. Composed by Charles Gaines; Arranged and conducted by Sean Griffin/Opera Povera. Manifestos 2 was recorded live at REDCAT Los Angeles, December 9th 2015. Personnel: Jonah Levy - trumpet; Joelle Lamarre - soprano; Richard Valitutto - piano; Alison Bjorkedal - harp; Emily Call - violin; Madeline Falcone - violin; Melinda Rice - viola; Betsy Rettig - cello; Scott Worthington - bass.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DWAB 007CD
|
Drumming Live was recorded live in New York City at (Le) Poisson Rouge in 2013 at the Steve Reich Benefit Concert to support the Aldrich Museum. It features Steve Reich's Drumming performed by acclaimed Brooklyn based quartet, Sō Percussion, and includes a 3+ minute version of Clapping Music, performed by Steve Reich and Sō Percussion. Drumming was premiered in 1971 at the Museum of Modern Art. It was the first large-scale piece that Reich wrote and is considered one of the first minimalist masterpieces. 45 years on, it continues to be a fascinating piece of work that keeps listeners intrigued and impressed. Sō Percussion are: Eric Cha-Beach, Adam Sliwinski, Jason Treuting, Josh Quillen; featuring on Percussion: Yumi Tamashiro, Mika Godbole, Amy Garapic, Victor Caccese, and Peter Dodds; featuring on vocals: Elizabeth Myers and Daisy Press; featuring on piccolo: Jessica Schmitz. The artwork is by Sol LeWitt, "Five Geometric Figures in Five Colors (S-56)" (1986). Liner notes written by Grammy Award and Pulitzer Prize winning composer, David Lang. Lang from the liner notes: "Drumming asks for a kind of utopian community, in which a group of people come together without a conductor, building elegance and beauty out of the coordination of their intricate, intense, focused actions."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DWAB 005CD
|
The S.E.M. Ensemble's Spoken Music Concert took place on Tuesday, February 6, 1990, at the Paula Cooper Gallery in New York. The S.E.M. Ensemble (director Petr Kotik, Joseph Kubera, Chris Nappi, and Ben Neill) performed a series of text works with a number of guest performers, including John Cage, Dick Higgens, Jackson Mac Low, and Anne Tardos. John Cage's "Empty Words," written in 1973-1974, is arguably the most musical of his texts, and a rare recording of John Cage performing his own text pieces. Made up of fragments from the journals of Henry David Thoreau, it consists of four parts. The first is a chance-derived mix of phrases, words, syllables, and single letters; subsequent parts each eliminate one of these textual elements from the mix. By the fourth part (performed here), there is nothing left but single letters. As the text becomes simpler and simpler, silences become more and more prominent. Includes a 12-page booklet with texts by Jackson Mac Low and James Pritchett, and originally issued in 2002 on Dog w/a Bone.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DWAB 004CD
|
2018 repress; originally released in 2001 by the Dog W/A Bone label, this release features these 2 long pieces: For Samuel Beckett and The Turfan Fragments. Performed by: The Orchestra of the S.E.M. Ensemble, with Petr Kotik, conductor. For Samuel Beckett and The Turfan Fragments are Morton Feldman's only chamber orchestra compositions. Both were commissions: The Turfan Fragments by the Swiss-Italian Radio Orchestra in 1980, For Samuel Beckett by the Schönberg Ensemble, Amsterdam, in 1987. Both titles are descriptive and suggest how Feldman arrived at a particular concept for each piece. The Turfan Fragments is a succession of short sections, which could indeed be described as fragments. The title relates the composition to manuscripts from Turfan (the southwest region of present-day China), which are in the collection of the Preussischer Kulturbesitz in Berlin. These calligraphic remnants, going back to the 9th century, were brought to Germany before World War I and Feldman must have seen them while living in Berlin in 1971. In contrast, For Samuel Beckett is based on a single idea of several chord progressions unfolding continuously for almost an hour. In 1977, Beckett wrote a text for Feldman, to be used as the libretto for his opera Neither. Feldman's description of Beckett's writing most eloquently suggests what was on his mind when composing For Samuel Beckett: "here's something peculiar about it [Beckett's text]. I can't catch it. Finally I see that every line is really the same thought said in another way. And yet the continuity acts as if something else is happening. Nothing else is happening. What you're doing, in an almost Proustian way, is getting deeper and deeper saturated into the thought." Includes an 8-page booklet with liner notes from Petr Kotik and an extract from Morton Feldman from Give My Regards To Eighth Street (Exact Change). The Orchestra of the S.E.M. Ensemble; Petr Kotik, conductor.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DWAB 001CD
|
2019 repress forthcoming. Originally issued in 2000, this is the first release from this 20th century composer's label, based out of the Paula Cooper Gallery in NYC; performed by Petr Kotik's S.E.M. Ensemble, with John Cage on one piece. This CD was recorded in 1987 by S.E.M. (including Ben Neill on trumpet) and was originally released in 2000; the Ampersand version was recorded in 1976. Duchamp's often overlooked musical work was composed for the most part between 1912 and 1921. His method was based on chance and represented a radical departure from the way music was done at the time. The Entire Musical Work includes the artist's complete oeuvre, namely "Erratum Musical" (For Three Voices), "La Mariée mise à nu par ses célibataires même," "Erratum Musical" (in two different versions for player piano and chamber ensemble), and the conceptual piece "Sculpture Musicale" (with a special version performed by John Cage). The liner notes contain reproductions of Duchamp's handwritten scores, as well as photographs of the instrumental "apparatus" used to create the second version of "La Mariée mise à nu par ses célibataires même (a funnel, seven open top cars and six sets of balls)." Also included is a mesostic (a poem legible both horizontally and vertically) by John Cage.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
4CD
|
|
DWAB 002CD
|
2019 repress forthcoming. Originally released in 2000. Looking for just one Morton Feldman CD to give to someone that you like more than yourself? There's more than one correct answer to this elusive question, but this overwhelming set (closing in on 300 total minutes) is an utter classic, with paralyzing sonic power. Feldman is recognized as one of the 20th century's most influential composers. Feldman's artistic principles were shaped in the early 1950s by his association with composers John Cage, Earle Brown and David Tudor, and painters Philip Guston, Mark Rothko, Jackson Pollock and Robert Rauschenberg, to name a few. In keeping with Feldman's aesthetic privileges of scale over form, For Philip Guston, composed in memory of his late friend, expands to a monumental five hours. On the front cover of the comprehensive 4CD set is a reproduction of Feldman's portrait by Philip Guston. The 16-page liner notes include a conversation between composers Walter Zimmerman and Petr Kotik, exploring the many facets of Feldman's music. Recorded in 1995 and performed by S.E.M. Ensemble (Petr Kotik, flute, alto flute, piccolo; Joseph Kubera, piano, celeste; Chris Nappi, vibraphone, marimbaphone, glockenspiel, chimes).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
3CD
|
|
DWAB 003CD
|
Digitally remastered from the original 1981 Labor Record release, and originally released by Dog W/A Bone in 2000, Czech composer/conductor/flutist Petr Kotik's Many Many Women has long been considered a masterpiece of underground music. The polyphonic composition sets Gertrude Stein's entire novella Many Many Women to music and marks the crystallization of Kotik's musical aesthetic. Described by Richard Kostelanetz as "continually austere and yet engaging, realizing a musical reinterpretation of Stein's text," Many Many Women highlights both the musicality of Stein's poetry and Kotik's distinctly personal treatment of melody. The 12-page liner notes include excerpts from the original text, plus essays by Kostelanetz and Village Voice critic Kyle Gann. 3 hours 35 minute excerpt on a 3CD set, performed by the S.E.M. Ensemble.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DWAB 006CD
|
Dog W/A Bone, the recording label established by the Paula Cooper Gallery, is pleased to announce the CD release of Graffiti Composition by American visual artist and composer Christian Marclay. In 1996, Marclay plastered more than 5,000 posters of blank sheet music in public places throughout Berlin during a month-long sound festival. The posters functioned as an open invitation to the public to scribble musical notes, or any other type of graffiti. Marclay photographed the graffitied sheets, selected 150 from the group, and compiled them into a portfolio intended to be interpreted and performed by musicians. Graffiti Composition is the live recording of a one-time performance at the Museum of Modern Art, New York in 2006. Led by Elliott Sharp, it features five world-renowned guitar players: Melvin Gibbs, Mary Halvorson, Lee Ranaldo, Vernon Reid, and Elliot Sharp. The release of Graffiti Composition coincides with the opening of Christian Marclay: Festival at the Whitney Museum of Art, a groundbreaking exhibition highlighting the interplay between the visible, audible and performance that is the hallmark of Marclay's work. The show will focus on the artist's graphic scores: art works with visual cues to be interpreted by musicians in performance. The exhibition will feature select musicians' daily live performances of Marclay's scores and runs from July 1st through September 26th, 2010.
|
|
|
|