|
|
|
|
viewing 1 To 7 of 7 items
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
FW 1040LP
|
On this new LP, Harry Bertoia shows why he may have been the first industrial musician. Bertoia often referred to his sound sculptures as a "collaboration with industry" and on this new LP Bertoia is intentionally creating heavy, rhythmic music he described as "mechanized," "mechanical," and "factory like." This first edition is packaged in a full color sleeve with metallic inks. Mastered by Tom Eaton at Sounds & Substance. Recorded in 1971, percussion and repetition emulate the pounding rhythms of machinery on this unique pair of conceptual Bertoia compositions. Bertoia utilizes innovative performance techniques to create new sounds unheard in his ouevre. Even in the busy factory of Bertoia's mind, distant stillness rises up as Bertoia exhibits the massive amount of control he possesses over his many looming sculptures. Mechanization is just one of the many sonic directions Bertoia took while composing and recording between the late 1950s and his death in 1978. He documented all of his ideas and directions in notes accompanying the hundreds of tapes discovered in his barn. This first edition of 500 is printed using metallic inks. Bertoia's recordings are as much a celebration of sustained tones, intervallic relationships, healing vibrations, deep listening and shimmering harmonics as Indian Classical music, singing bowls, The Well Tuned Piano or Benjamin Franklin's glass armonica. Through these rich harmonics and pulsing pure tone, Bertoia was able to more clearly articulate his inner spirit than he could with sculpture alone -- a point he made himself many times in interviews. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; his brother Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania. Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, sometimes backwards, constantly improving his methods while also honing his performance skills. The story of Sonambient barn collection will slowly be told through the release of recordings from the archive as well as installations and performances built from Bertoia's own recordings, lectures and a book.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FW 1038CD
|
In 1970, Harry Bertoia had been developing his sonic sculptures for over ten years. He had only been composing/recording for two years and the four long pieces chosen for this CD find him starting to arrive at the sonic forms he had been searching for. Hints Of Things To Come is one of the most unique and melodic pieces discovered so far in the Bertoia tape archive. In this piece, you hear him slowly create and articulate a musical riff. Bertoia builds this phrase patiently until the composition reaches an intense climax where the riff is played heavily and distinctly. "7 ½ + 7 ½ Combined", another historic standout, is one of the earliest examples of Bertoia overdubbing by playing a tape and then performing along to the playback. This CD is defined by ambient passages, long drones, gongs that sound like whales, shimmering harmonics and the feeling of an artist searching for sounds deep within his own sonic sculpture.
Harry Bertoia first gained some artistic visibility in the early 1940s, then came into prominence with his sculptural, ergonomic chairs, produced by Knoll Furniture beginning in 1952, which quickly became classics of modernist furniture. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the late 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania. Harry Bertoia's recently dismantled Sonambient barn collection was an attentive listener's paradise full of warm, expressive instruments that were gorgeous visually and audibly. Nothing could prepare you, even on return visits, for the overwhelming experience of entering the spacious wood and plaster interior where gongs, some of them giant, hung among the ranks of standing sculptures of various metals. Over nearly twenty years of adding, culling and rearranging, Bertoia carefully selected nearly 100 harmonious pieces ranging in height from under a foot to more than fifteen feet. He considered this barn a full experience, sights and sounds comprising not a collection of works, but one piece unto itself. It was here, deep in the woods, that his Sonambient recording work took place.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FW 1036LP
|
Harry Bertoia's Glowing Sounds LP contains three versions of the same composition, each transferred at different tape speeds in accordance with the artist's instructions. This is the third LP to be released from Bertoia's extensive tape archive and it's the first, of many, to be released using instructions left behind by the artist himself. Bertoia wrote the concept for this Glowing Sounds LP on a note in 1975 and slipped it into the master tape case where it sat unread for 45 years. The idea was simple, transfer the original recording at its original speed and two slower speeds. Bertoia noticed that the results, however, were profound. Recorded on January 20, 1975 using two large gongs, Glowing Sounds is one of the most powerfully minimal recordings yet discovered in Bertoia's collection. The artist's note left with the tape indicated that it was recorded at a speed of 15 IPS (inches per second) but slowing it down to speeds of 7.5 IPS and 3.25 IPS were quite effective for enhanced playback. Side A features the original 15 IPS recording and the 50% slower 7.5 IPS recording. Side B features a 20-minute, ultra-slow version at 3.25 IPS. Long, deep drones and powerful overtones define the sound of this recording. Comparison of the three speeds provides a revealing magnification of Bertoia's gongs, overtones and the artist's inventive approach to performance, composition and recording.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FW 1035CD
|
When Harry Bertoia's Sonambient label was resurrected, Important Records' intention was to tell the story of Bertoia's groundbreaking Sonambient work as revealed through his extensive collection of notes and recordings. When the first new LP was released in 2016, Important were only in possession of 1/20th of the archive. Now, in 2019, the label is excited to release the first LP of new material from the full archive and they present it to increase understanding of what Bertoia was doing in his sound-barn deep in the Pennsylvania woods. The recordings contained on this LP were selected because of their relationship to Bertoia's body of recorded work. The titles are from Bertoia's notes which Bertoia placed in each tape box, indicating date and describing briefly. Like his sculptures, Bertoia never titled his recordings but frequently referred to specific concepts he was pursuing. These are among the earliest known examples of Bertoia using terms which would become more common in the years to come: "experimental", "mechanical", and "long sounds". Cut from the original master tapes maintaining a straight analog signal path. CD version includes bonus track "Long Sounds".
"Experimental I": Very few of Bertoia's early experimental sessions survive on tape: he did not record many and often erased those he taped. Most were not recorded and those that were recorded, were often erased. Those that remain, however, offer fascinating insights into how Bertoia likely worked in the barn when the tape machine wasn't running. Although he left behind hundreds of tapes, one can only begin to imagine the amount of unrecorded sessions that took place in Bertoia's barn. "Experimental I" shows the artist stretching out, in no hurry and avoiding any bombastic explosiveness. You can imagine Bertoia looking around the barn much as he is seen on this album's cover; searching for the next sound in his forest of metal wires. Unheard combinations of sculptures, percussion and long strummed sections make this recording unique. This piece has an effortless, natural flow.
"Mechanical I": There appear to be at least ten tapes from 1969-1975 that Bertoia noted were "Mechanical". Bertoia thought of his sculpture as a collaboration with industry since the diameters of his rods were, ultimately, determined by what was available from the factory that manufactured them. In that sense, Bertoia's music could, quite literally, be considered industrial and this piece has the metallic rhythms of a factory pulsing through it.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FW 1035LP
|
LP version. When Harry Bertoia's Sonambient label was resurrected, Important Records' intention was to tell the story of Bertoia's groundbreaking Sonambient work as revealed through his extensive collection of notes and recordings. When the first new LP was released in 2016, Important were only in possession of 1/20th of the archive. Now, in 2019, the label is excited to release the first LP of new material from the full archive and they present it to increase understanding of what Bertoia was doing in his sound-barn deep in the Pennsylvania woods. The recordings contained on this LP were selected because of their relationship to Bertoia's body of recorded work. The titles are from Bertoia's notes which Bertoia placed in each tape box, indicating date and describing briefly. Like his sculptures, Bertoia never titled his recordings but frequently referred to specific concepts he was pursuing. These are among the earliest known examples of Bertoia using terms which would become more common in the years to come: "experimental", "mechanical", and "long sounds". Cut from the original master tapes maintaining a straight analog signal path. CD version includes bonus track "Long Sounds".
"Experimental I": Very few of Bertoia's early experimental sessions survive on tape: he did not record many and often erased those he taped. Most were not recorded and those that were recorded, were often erased. Those that remain, however, offer fascinating insights into how Bertoia likely worked in the barn when the tape machine wasn't running. Although he left behind hundreds of tapes, one can only begin to imagine the amount of unrecorded sessions that took place in Bertoia's barn. "Experimental I" shows the artist stretching out, in no hurry and avoiding any bombastic explosiveness. You can imagine Bertoia looking around the barn much as he is seen on this album's cover; searching for the next sound in his forest of metal wires. Unheard combinations of sculptures, percussion and long strummed sections make this recording unique. This piece has an effortless, natural flow.
"Mechanical I": There appear to be at least ten tapes from 1969-1975 that Bertoia noted were "Mechanical". Bertoia thought of his sculpture as a collaboration with industry since the diameters of his rods were, ultimately, determined by what was available from the factory that manufactured them. In that sense, Bertoia's music could, quite literally, be considered industrial and this piece has the metallic rhythms of a factory pulsing through it.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FW 1033CD
|
After nearly 40 years of silence, Harry Bertoia's Sonambient label has been resurrected in order to release the best of Bertoia's unheard recordings from his recently preserved archive of 1/4" tapes. "Clear Sounds" b/w "Perfetta" was cut straight from the original reels and is a true analog pressing. These two pieces were selected for their minimal, meditative and lush harmonic qualities; lacking in the abundance of dynamics and contrasts found on the original Sonambient records, these pieces show another approach to performance. Slow washes of shimmering metallic sculpture rustle thickly like the leaves of a white birch or tall grass in the summer sun. Gorgeous harmonics hover overhead, making audible measurements of the length and purity of Bertoia's metal rod sculptures. Both Harry Bertoia and his brother Oreste composed extensively in the Sonambient barn deep in the woods of rural Pennsylvania where Harry kept over 100 Sonambient sculptures and gongs. The first Sonambient LP Bellissima Bellissima Bellissima / Nova, released in 1970, contains a Harry Bertoia composition on side A and an Oreste Bertoia composition on side B. As an homage to the original Sonambient LP, "Clear Sounds" is a Harry Bertoia piece from June 30, 1973 and "Perfetta" is an Oreste Bertoia piece from June 28, 1971. Harry Bertoia first came into artistic prominence in the late 1930s and his sculptural, ergomonic chairs were soon modernist furniture classics. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures's sounds during his annual visits to his brother's home in rural Pennsylvania. Over nearly twenty years, adding, culling and rearranging, Bertoia carefully selected nearly 100 harmonious pieces ranging in height from under a foot to more than fifteen feet. Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, constantly improving his methods while also honing his performance skills.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FW 1033LP
|
Limited 2022 restock. LP version. After nearly 40 years of silence, Harry Bertoia's Sonambient label has been resurrected in order to release the best of Bertoia's unheard recordings from his recently preserved archive of 1/4" tapes. "Clear Sounds" b/w "Perfetta" was cut straight from the original reels and is a true analog pressing. These two pieces were selected for their minimal, meditative and lush harmonic qualities; lacking in the abundance of dynamics and contrasts found on the original Sonambient records, these pieces show another approach to performance. Slow washes of shimmering metallic sculpture rustle thickly like the leaves of a white birch or tall grass in the summer sun. Gorgeous harmonics hover overhead, making audible measurements of the length and purity of Bertoia's metal rod sculptures. Both Harry Bertoia and his brother Oreste composed extensively in the Sonambient barn deep in the woods of rural Pennsylvania where Harry kept over 100 Sonambient sculptures and gongs. The first Sonambient LP Bellissima Bellissima Bellissima / Nova, released in 1970, contains a Harry Bertoia composition on side A and an Oreste Bertoia composition on side B. As an homage to the original Sonambient LP, "Clear Sounds" is a Harry Bertoia piece from June 30, 1973 and "Perfetta" is an Oreste Bertoia piece from June 28, 1971. Harry Bertoia first came into artistic prominence in the late 1930s and his sculptural, ergomonic chairs were soon modernist furniture classics. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures's sounds during his annual visits to his brother's home in rural Pennsylvania. Over nearly twenty years, adding, culling and rearranging, Bertoia carefully selected nearly 100 harmonious pieces ranging in height from under a foot to more than fifteen feet. Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, constantly improving his methods while also honing his performance skills.
|
|
|
|