Edition RZ is a German label specializing in avant garde contemporary composers, with a world-wide range. If you like dark, drawn-out cascading sheets of (mostly) string-manipulated droning sound-grind, then few labels can match the level of excitement evident on these recordings. All RZ releases have nice sound/graphics, and extensive English notes.
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RZ 10024CD
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A native of Istanbul, Turgut Erçetin (1983) studied composition and completed his doctorate studies at Stanford University. In 2016, Erçetin was awarded with DAAD Artists-In-Berlin program for a year-long residency in Berlin, and since then he has been based in Berlin. Erçetin's works engage with issues of sound, not as colors but as sonic entities that interface with time and space. Most of his works, therefore, are involved with acoustics and psychoacoustics as well as computer aided compositional processes. "String Quartet No.2" performed by Arditti Quartet; "Im Keller" performed by Neue Vocalsolisten Stuttgart; "Panopticon Specularities" performed by Ensemble Mosaik, Ensemble Apparat, Ensemble Adapter, and Sonar Quartett.
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RZ 1030CD
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Edition RZ presents Jakob Ullmann's Fremde Zeit Addendum 5, a supplement to Fremde Zeit Addendum (RZ 1026-28CD, 2011). CD comes in carton sleeve with flap (to be added to Fremde Zeit Addendum box -- CDs 1-4), with booklet in German and English.
"Do we hear what we know? How, if this is obscured? Sent on a journey of discovery into the audible, at first almost nothing appears here. But once the ear has become accustomed to the intermediate realm of the pianissimo, an abundance of timbres becomes apparent, everyday noises unexpectedly dispersing in their non-spatial aura, then the surprising appearances of short tonal shapes, which enter the flow of time standing still as if they were revelations of the ear itself with no possibility to guess their origin, verifiable on the instrument. After all, it is in fact the tone which is the improbable, out of all that is weaving in and out within the grounding, static sound, like a distant army of constellations below, taking place uneventfully at the level of the permanent. 'solo V' is not an instrumental piece for a soloist in the ordinary sense. The grand piano becomes an unknown sound body. Although there is a soloist, they could hardly carry out the performance on their own, requiring either pre-produced electronic playback or, as in the present recording by Lukas Rickli, the participation of three assistants sustaining a soundscape. Ullmann conceived a sonic space in which sound is subjected to the laws of a specific 'gravity'. Its meridians range continuously from noise to tone and from shortest single event to sustained continuity, but what constitutes the true aura of this space is its reduced dynamics, and a rhythmic sense that is averse to any kind of melody in the usual sense. 'solo V' is also 'solistic' in another way: there is no fixed notated score, it must first be created individually, and so hardly ever will any performance score be the same as another. Rickli and his partner Zora Marti had a variety of graphic and notated material at their disposal for the development of the temporal form. Following the composer's graphically notated glissandi, Rickli and Marti modify the sound of the centers and generate transitions with them. The piece to be heard unfolds in a pulsating, breathing pianissimo. Hardly bringing any instrument to mind, it opens up a harmonic cosmos, urging the listener into it -- because other than through listening to the barely recognizable, nothing is revealed. --Rainer Schmusch, translated by Peter Gebert.
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2CD
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RZ 1038-39CD
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From the liner notes by Hans-Peter Schulz; Translation by Peter Gebert: "... SOLO II: Solo II is part of a group of works with the title Buch der Stille 1 ('Book of Silence 1'). This is a series of solo pieces for flute/oboe da cacchia (solo I), trombone/bassoon (solo II), organ (solo III), low string instrument (solo IV), and piano (solo V), all of which were developed from the same compositional idea; the series is a generalisation of disappearing musics, itself a composition for three winds, two strings and two pianos written between 1989 and 1991. The individual solo-compositions can be performed separately, as well as in all combinations simultaneously. After Jakob Ullman had met John Cage in person on the occasion of a Cage festival organised by the Deutschlandfunk in 1990, this encounter developed into a lengthy and intensive exchange of ideas which had considerable impact on the compositional process that Ullmann was concerned with at the time, specifically of soli I, II and III, finished in 1992. The pieces can therefore be rightly considered as a reflection and result of this exchange of ideas . . . MÜNTZERS STERN (MÜNTZER'S STAR): Between 2014 and 2016 Jakob Ullmann composed the orchestral work steine, feuer, sterne ('stones, fire, stars'). . . . One section among these is the section for a solo bassoon, which may be performed independently under the title 'Müntzers stern'. Thomas Müntzer, born around 1490, was a keen supporter of the Lutheran Reformation. . . . After the battle near Frankenhausen, Müntzer was captured, tortured and eventually beheaded. As a priest, he strove for the renewal of divine service and translated liturgical texts and hymns from Latin to German even before Luther. The title Müntzers stern refers to the Advent hymn Gott heil'ger Schöpfer aller Stern, a translation of the medieval hymn conditor alme siderum done by Müntzer as part of this work. Ullmann spread the melody of the hymn over the total duration of the composition in a very prolonged manner. In the course of this process, the six different tone pitches of the hymn, which are heard either being sung or as an emphasised partial within the bassoon's spectrum, are supplemented by another six tones, played ordinario on the bassoon, those still missing in the twelve-tone space, until the chromatic scale is completely filled in ..."
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3CD BOX
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RZ 1033-35CD
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From the liner notes by Jakob Ullmann (translated by Peter Gebert and Molly McDolan): "It was during a break in the inaugural meeting of the East German section of the IGNM (International Society for Contemporary Music) in March of 1990 when Reinhard Oehlschlägel, the long-standing music editor of Deutschlandfunk in Cologne, suggested taking advantage of the fact that John Cage was to attend the summer courses in Darmstadt as a special guest by inviting John Cage to East Berlin. . . . Making Giacinto Scelsi's works accessible in the concert hall, the discovery of the quiet and the intangible in the late works of Luigi Nono, the deeply impressed reception even of distant traditions beyond the realm of music by Morton Feldman, and more, had led to the development of a sound phenomenon that would almost have to be called a style, and Cage's works such as 72, and perhaps even more, 103, seem to fit in seamlessly. . . . Cage wrote In A Landscape in 1948 to a choreography of Louise Lippold; the rhythmic structure of the lyrical work echoes the structure of Lippold's dance with its 15 × 15 (5-7-3) measures, while the modal soundscape of the piece is clearly modeled on the aesthetic of Eric Satie. Thirty-four years later, Cage composed a piece for 1-20 concert harps, which was premiered in the same year in Minneapolis. In this piece, Postcard From Heaven, Cage draws on three double ragas, which are used both in their ascending and descending forms, and the characteristics of which may be utilized . . . The thirteen parts of Some Of The Harmony Of Maine for organ are based upon movements from a chorale book published in 1794 by Supply Belcher in Boston. Each piece is indicated by the title and, in abbreviation, the meter of the chorale. Cage did not change any of the notes of the original movements; instead, he used chance operations to decide which notes were to be carried over, which to be removed, the duration of these notes, and in which organ registers they were to be played." Performed by: SWR Sinfonieorchester Baden-Baden und Freiburg, conductor Jonathan Stockhammer; Kölner Rundfunk-Sinfonie-Orchester, conductor: Arturo Tamayo; Gabriele Emde - harp; Jakob Ullmann - organ. Includes a booklet in German and English.
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2LP
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RZ 9010-11LP
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Michael Moser presents Antiphon Stein, taken from his site-specific sound installation. Antiphon Stein is a site-specific sound installation in the nave and choir of Minoritenkirche in Krems/Stein that engages with the architecture and sound of this church space. The material used are hanging and lying flat objects of glass and metal that are played with sound pressure transducers. These objects thus become membranes that resonate in their entire surface and mass, exuding sound to the surrounding space. The initial sounds for the installation are largely generated using a special four-channel recording technique; after the digital editing, they are left in their special four-channel arrangement, since capturing the sound from various spatial perspectives and distances allows an acoustic image of the existing space to emerge. The sound of the specific space thus plays a central role in the overall acoustic image. By way of the stringency of the early Gothic architecture, the placement or hanging of the surface objects leads to the bipartite, responsorial form of the work. Below in the nave, the eight glass plate objects, each hanging between the powerful columns, above in the former choir the tripartite metal work, arranged on the floor on white felt, thus not visible, but only audible from below. The intimacy of the apse with its triptych of metal objects contrasts with the expansiveness of the nave, with the glass surfaces hanging at a great distance. The light design, from the dark nave to the apse flooded in light, seeks to continue this dialogue. The sounds - small compositional miniatures of a duration of three to seven minutes, above more organ, below more cymbal sounds, percussion, resonant glass - are combined by the computer on the basis of a precise score into ever new constellations: aleatory in part, sometimes in fixed series and interrupted by interludes that represent in temporal intervals of thirty minutes the only moment in which an individual sound file can access all surface objects in both spaces. Klaus Lang - organ (Stiftskirche St Lambrecht, Pfarrkirche St. Oswald, Krakaudorf; Minoritenkirche); Berndt Thurner - percussion (Minoritenkirche); Michael Moser - glass plates, electronics. Comes with booklet written in both German and English.
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RZ 10023CD
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Italian composer Clara Iannotta (born 1983) on her work: "I am particularly interested in music as an existential, physical experience -- music should be seen as well as heard. This is one of the reasons why I sometimes prefer to talk about the choreography of the sound rather than about orchestration." "Clara Iannotta's compositions are marked by a particular intrinsic 'theatricality.' Theatricality in the sense of the physicality of sound, its inner emotion, its excitement, its instrumental genesis out of the silence; the sound is not separated from the gesture that produces it, and is presented in the context of each different instrumental structure" --Dr. Barbara Barthelmes. Clara Iannotta was a guest of the Berliner Künstlerprogramm des DAAD -- Artists-in-Berlin Program in 2013. Performed by Ensemble Intercontemporain conducted by Matthias Pintscher, Ensemble Recherche with Melise Mellinger and Barbara Maurer, Talea Ensemble, Orchestre des Èlèves du Conservatoire National Supérieur de Paris conducted by Tito Ceccherini, Quatuor Diotima, Ensemble Garage with Richard Haynes, and Trio Catch. Includes booklet in German and English.
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RZ 20006CD
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Gabriele Emde-Hauffe was born in 1953 in Darmstadt, Germany. She received a humanistic education at a local grammar school in Darmstadt and started studying the harp after her A-levels, first in Darmstadt and finishing in Cologne. Conducted by Péter Eötvös, she worked out modern chamber music and modern improvisation by J. G. Fritsch and Vinko Globokar. Passing her exams in 1980 and 1981, she continued her studies of musical science at Cologne University, based on her thesis, "The Harp between Myth and Reality." From 1981 to 1983 she was a member of Die Junge Deutsche Philharmonie and Ensemble Modern, and collaborated on productions of contemporary music with Ensemble-Köln and Ensemble 13, as well as the NDR-Sinfonieorchester Hamburg. She has performed the solo harp at various international festivals, among them many premieres and international radio, TV, and record productions. At the invitation of the Goethe-Institut, she toured North America in 1982, presenting Walter Zimmermann's works, and also performed in South Korea; her career as a performer has included performances of contemporary music by Berio, Boulez, Cage, Globokar, N. A. Huber, Schönberg, Stockhausen, Webern, I. Yun, B. A. Zimmermann, and W. Zimmermann. Until 1992 she taught harp classes in Cologne and Düsseldorf. Since 1991 she has been teaching her private harp class in Darmstadt. This CD contains recordings from 1985-'87 of pieces by John Cage, Hans Otte, and Lou Harrison.
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2LP Pic.
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RZ 9008-9LP
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Ferdinand Kriwet (b. 1942, Dusseldorf, Germany) is a German visual and audio artist who has produced films and sound works for radio and television, in particular throughout the 1960s and 1970s. As a sound artist, Kriwet is more known for his Horspiele (radioplays) series named Hörtexte (Radiotexts) produced for German public radio stations and composed with edited sound bites taken from mass media broadcasts. 2LP picture discs housed in a luxury sleeve. Includes a booklet in German.
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2CD BOX
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RZ 1031-32CD
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Re-release of ed. RZ LP Luigi Nono plus three remarkable recordings. All works by Luigi Nono: ("A Carlo Scarpa" for large orchestra), ("A Pierre" for contrabass flute, contrabass clarinet and live electronics), ("Guia Al Gelidi Mostri" for electronically treated winds, voices and strings). Plus an additional CD of compositions not on the original LP: "Caminantes" and "No hay caminos, hay que caminar." Regarding Nono's concept of "new listenings": "This no longer means revolutionizing the entire linguistic system i.e. a subversive attack on the institution of music; rather it means progressively expanding the technical possibilities of sound produced by traditional instruments and the perceptive faculties of the listener." "Wanderer, your footsteps are the road, and nothing more; wanderer, there is no road, the road is made by walking. By walking one makes the road, and upon glancing behind one sees the path that will never be trod again. Wanderer, there is no road -- Only wakes upon the sea." --Antonio Machado
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RZ 1029CD
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An addition to the Fremde Zeit Addendum box. Available separately. "Hush! Hush! Hath not the world now become perfect? What hath happened unto me? As a delicate wind danceth invisibly upon parqueted seas, light, feather-light, so -- danceth sleep upon me. No eye doth it close to me, it leaveth my soul awake. Light is it, verily, feather-light. It persuadeth me, I know not how, it toucheth me inwardly with a caressing hand, it constraineth me. Yea, it constraineth me, so that my soul stretcheth itself out: -- How long and weary it becometh, my strange soul! Hath a seventh-day evening come to it precisely at noontide? Hath it already wandered too long, blissfully, among good and ripe things? It stretcheth itself out, long -- longer! It lieth still, my strange soul. Too many good things hath it already tasted; this golden sadness oppresseth it, it distorteth its mouth. -- As a ship that putteth into the calmest cove: -- it now draweth up to the land, weary of long voyages and uncertain seas. Is not the land more faithful? As such a ship huggeth the shore, tuggeth the shore: -- then it sufficeth for a spider to spin its thread from the ship to the land. No stronger ropes are required there. As such a weary ship in the calmest cove, so do I also now repose, nigh to the earth, faithful, trusting, waiting, bound to it with the lightest threads. O happiness! O happiness! Wilt thou perhaps sing, O my soul? Thou liest in the grass. But this is the secret, solemn hour, when no shepherd playeth his pipe. Take care! Hot noontide sleepeth on the fields. Do not sing! Hush! The world is perfect." --from Friedrich Nietzsche's Thus Spoke Zarathustra, vierter und letzter Teil, Mittags | LXX. Noontide.
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2CD
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RZ 10021-22CD
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"It has become taken for granted that nothing concerned with art is self-evident any more, neither in it nor in its relationship with the whole -- not even its right to exist." It is with these words that Theodor Adorno begins his Aesthetic Theory. Edition RZ presents works circa 1991-2009 by German composer Michael Reudenbach. Housed in a six-panel digipak with a 22-page booklet of notes in English and German.
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2CD BOX/DVD
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RZ 3006-8CD
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Five hours of electroacoustic compositions, recorded during the first 30 years of the Berlin festival "Inventionen." Box set with two audio CDs and a DVD. Includes music by Jonty Harrison, Daniel Teruggi, Hans Tutschku, Francis Dhomont, Gilles Gobeil, Scott Wilson, Kotoka Suzuki, Hanna Hartman, Richard Barrett, Pei-Yu Shi, Kees Tazelaar, Trevor Wishart, Iannis Xenakis, Sukhi Kang, Rolf Enström, Ricardo Mandolini, Takehito Shimazu, and Bogusław Schaeffer. DVD is region free, NTSC format.
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3CD
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RZ 1026-28CD
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Ranked #4 in the the Wire's Rewind 2012 best-of list. Three CD box collection with a 16-page booklet. "Experimental German composer Jakob Ullmann creates quiet music in order to give himself and his listeners the opportunity to hear more, and better. This comes about because our ability to hear is augmented when listening to quiet music. We hear better because we make an effort to hear better. That is why Ullmann likes to locate his sound-sources at the periphery, so as not to make it too easy for the ear. In order to let sounds develop and move in their own time, the pieces are usually longer than the general concert norm dictates. The opening minutes serve as the exposition of the tempo and the mode, to condition, as it were, the listening." --Bernd Leukert; Players include: "Disappearing Musics For Six Players (More Or Less)" (1989-1991): Maruta Staravoitava (flute), Pavlos Serassis (clarinet) Patrick Stadler (saxophone), Orsolya Sepsi, Éva Csizmadia (violin), Lucie Martin, Hans-Peter Schulz (clavier); "Solo I + II + III" (1992/1993/2010): Molly McDolan (oboe da caccia), Dafne Vicente-Sandoval (bassoon), Hans-Peter Schulz (organ), Assistenten des Organisten: Philipp Kusin, Markus Putzke; "Komposition Für Streichquartett 2" (1997-1999): Pellegrini-Quartett: Antonio Pellegrini, Thomas Hofer (violin), Fabio Marano (viola), Helmut Menzler (violoncello); "PRAHA: Celetná - Karlova - Maiselova" (2004-2007): Jardena Flückiger, Stimme (Gesang/Sprecherin); Christoph Bösch (flute), Dafne Vicente-Sandoval (bassoon), Helena Winkelman (violin), Oliver Margulies (viola), Ellen Fallowfield (violoncello), Clara Gervais (contrabass/percussion); Stephan Schmidt (voice), Leonardo Idrobo Arce (electronics), realization: Jürg Henneberger.
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LP
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RZ 3002LP
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Last copies of this 1985 release. Featured works: Boguslaw Schaeffer's Berlin 80 II (composed in 1980 for piano, synthesizer and 4-track tape); Ricardo Mandolini's Fabulas II (composed in 1980); Sukhi Kang's "Inventio" (composed in 1984 for piano and tape).
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RZ 3003LP
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Last copies of this 1985 release. Featured works: Takehito Shimazu's Zytoplasma (composed 1980 for tape); Boguslaw Schaeffer's Maa'ts (composed 1981 for vocals and electronics); Rolf Enström's Fractal (composed 1984 at EMS Stockholm for tape and 10 slide projectors).
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2LP
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RZ 9006/7LP
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2008 release put out in conjunction with the Marzona Collection exhibition in Berlin. Housed in a gatefold sleeve with a 36-page catalogue. The first LP is John Cage Speaks MUREAU by John Cage, its title assembled from the first syllable of the word "music" and the author's name "Thoreau." Malte Hubrig writes "The performance of Mureau -- its letters, syllables and words read by John Cage in a uniform intonation of the voice -- frees language of its meaning and opens it to sound." The second LP is Terry Fox's Culvert, a performance that took place at the University of Montana in 1977. "The performance lasted 24 hours and was divided into two unequal parts: in the first 3 hours Fox, accompanied by two students, took the rowboat to the middle of the 100-foot long, 6-foot high culvert, where they improvised on the instruments. In the remaining 21 hours, Fox stayed alone in the rowboat running a wooden baton around the rim of a saucepan lid to the point of exhaustion... The mutual dependencies of sound and surroundings -- the space itself is a resonant body -- constitute for Fox the fundamental esthetic concept of the musical sculpture. The sculptural treatment of sound -- which, in its immediacy, dialectically carries the concrete spatial situation over into the dimension of time -- opens a continuous progression in which the acoustic sculpture as a process unfurls."
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2CD
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RZ 1023/24CD
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"Finally I realized that the kind of sound made in an indeterminate situation includes what could result in no other way; for example, the sound of a player making up his mind, or having to change it. In fact, the indeterminate notation I've used is, as far as I know, the only possible one for the kind of sound I should like. And don't forget, we also like to be surprised ...and the rhythm produced by that situation is like no other rhythm." --Christian Wolff; Most of the pieces collected for this portrait of Christian Wolff document the composer's early activity and were mainly recorded around the time of their composition. Each recording exemplifies the sound gestures from their time. Housed in a digisleeve including a booklet in German and English.
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RZ 10020CD
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"Giuliano d'Angiolini is a positively unique figure in contemporary music. His profound, well-conceived and stubborn take on music has led him to what he calls "impersonal" music -- music that has fully abandoned the idea of development or form. Through successive states of presentation, which aim to elucidate, d'Angiolini wanted to "leave place in sound so that music could become less voluntary." This led him to favor the surface and present an approach that was by no means superficial: the surface as the immediacy in the propositional content of sound and the present as the very surface of the criterion of time. In his work, musical process and material are but one and are completely laid bare. What we are to hear is non-discursive, deliberately lacking formal organization. We are even free to turn away and come back of our own will -- as if the composer wanted to make positive use of the negative metamorphosis of today's urban listeners, listeners who are constantly assailed with stimuli." --Gérard Pesson
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RZ 1025CD
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Performers: Kammerensemble Neue Musik Berlin, Steffen Tast, Pellegrini-Quartett: Antonio Pellegrini, Thomas Hofer, Fabio Marani and Helmut Menzler. Born in 1938, Volker Heyn is an "outsider," or perhaps an "unloved insider," an avant-gardist when it comes to experimental music, reaching beyond the trends of his generation of "New Simplicity," "Neo-Romanticism," "New Complexity" and so forth. In 1960 he left Europe to spend more than ten years in Australia where he joined a travelling theater company, making ends meet by singing in nightclubs and working the night shift in a metal works. Heyn's music is the mise en scène of an acoustic condition, whose manifold reflections perpetually interlock and shatter, like a box of mirrors. It investigates a process, which in itself is inaccessible and cannot be reproduced on paper. Volker Heyn is not interested in sound per se -- in the positive acoustic gesture -- but, and especially, in the negative form, in the responding tone gesture, in the duplicating of friction and in discontinuous movements. His composition patterns follow the resonance -- the overhang -- that we are able to perceive only by restricting our sensors almost to zero, in order not to succumb to its violence. And this must be enough, more would be too much. Then these remnants of sound will be drained and exhausted right up to the merest subversive unit. This is the soundscape that we are given: an intricate, though ultimately innocent structure of endless macro and micro sounding reactions. Housed in a digisleeve including a booklet in German and English.
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2CD
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RZ 1011/2CD
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1998 release. The first CD release of works by Evangelisti (1926-1980), the founder of Nuova Consonanza (infamous early '60s Italian avant garde ensemble that included Mario Bertoncini, Roland Kayn, Ennio Morricone, Frederic Rzewski and others). This two disc retrospective features studio audio-footage and lab-experiments, featuring performers Aloys Kontarsky, David Tudor, Eberhard Blüm and the LaSalle Quartet. Spanning the last 40 years, virtually all forms of post-1950 invention are represented here from the pure electronics of "Incontri di fasce sonore, composizione elettronica" (recorded at the WDR, 1957) to the stuttering orchestral developments of "Ordini, strutture variate per sedici strumenti" (composed in 1955, presented here as a 1993 recording by the Ensemble Streumentale de Camera). A key player in the field of pan-stylistic modernalia.
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2CD
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RZ 1015/6CD
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2014 restock; 2003 release. Amazing Iannis Xenakis collection of historical recordings of essential works. Disc one features all works on CD for the first time; Disc 2 features different mixes of Xenakis' most famous electronic works. "Disc one with the orchestra works represents an era of Xenakis' development of polytope, geometrical, mathematical, based works from the late 1950s to the 60s in historical recordings earlier released on LP except for "ST/48" which has not previously been released." Includes: CD1: "ST/48" (for 48 Instruments, 1959-62); "Le Polytope de Montreal" (for four Orchestras, 1967); "Nomos Gamma" (for large orchestra scattered among the audience, 1967-68); "Terretektorh" (for large orchestra scattered among the audience); "Syrmos" (for 18 strings, 1959); "Achorripsis" (for 21 instruments, 1956-57). CD2: "Persepolis 'avec mouvement' version" (electroacoustic music on 8-track tape, 1971); "Polytope de Cluny" (electroacoustic music on 8-track tape, 1972.
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RZ 4006CD
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2007 release. The live electronics that Luigi Nono worked with for the first time in the early 1980s at the Freiburg Experimental Studio also serves the musical displacement: the music moves away from clear spatial and timbral assignations. Due to electronic processing, the sonic characteristics of both instruments, bass flute and cello, can hardly be recognized. Tones and gestures are lengthened into seeming infinity and move in space. Features the 1960 piece for electronics and tape, Omaggio A Emiolio Vedova, plus Canciones a Guimar (1962-63, for soprano, choir, ensemble; performed by Nova Ensemble) and Quando Stanno Morendo (1982, for Frauenstimmen, flute, cello and live electronics).
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RZ 1009CD
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1992 release. Italian improvisation group formed in 1964. The group featured Mario Bertoncini (percussion, piano), Walter Branchi (double-bass), Franco Evangelisti (piano), Hohn Heineman (trombone, cello), Roland Kayn (Hammond organ, vibraphone, marimba), Egisto Macchi (percussion, celesta) and (most famously) Ennio Morricone (trumpet). Frederic Rzewski (piano) also appears. Historic stuff, ala AMM or MEV.
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RZ 4004CD
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2003 release. Volume 2 of the CD documentation of the Berlin festival Inventionen (volume 1 containing Horatiu Radulescu's string quartet no. 4), a various artists retrospective sampler including recordings of works by the following composers: Hildegard Westerkamp, Salvatore Sciarrino, John Cage ("Music For Piano", performed by Herbet Henck), Sainkho Namtchylak, Joe Jones ("Solar Orchestra" from 1990) Giacinto Scelsi, Masanori Fujita, John Driscoll.
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2CD
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RZ 10009/10CD
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1999 release. A documentary of pieces performed at the Inventionen Festival in Berlin, 1998. Works by Unsuk Chin, Patrick Kosk, Werner Cee, INA-GRM stalwart Francois Donato, Robin Minard, Wolfgang Mitterer, Francis Dhomont, Swedish EMS agent Erik Mikael Karlsson and northern-UK composer/programmer Trevor Wishart. The perfect mix of analogue tape and computer-medium concerns, very strong efforts from all involved. Booklet includes notes in English and German.
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