Somei Satoh - Litania (Margaret Leng Tan, 1986)
Posted By : ooliver | Date : 27 Feb 2022 21:52:45 | Comments : 8
Satoh - Litania

Litania - Margaret Leng Tan plays Somei Satoh (1986)
Avant-Garde | EAC (ape, cue, log) | rar + 3% recovery record | 195 MB | RS.com
New Albion Records| CD NAR 008 62:52 | Cover + Info

I would like it if the listener could abandon all previous conceptions of time and experience a new sense of time presented in this music as if eternal time can be lived in a single moment.
Margaret Leng Tan, pianist, from the attached leaflet
Alfredo Casella (1883-1947) - Orchestral Works (1994)
Posted By : ooliver | Date : 15 Feb 2022 00:20:48 | Comments : 3
Casella Orchestral Works

Alfredo Casella (1883-1947) - Orchestral Works (1994)
Modern-Classic | EAC (ape, cue, log) | Haydn Orchestra Bolzano e Trento conducted by Alun Francis | Booklet 600dpi
CPO Records 999 195 | CD 68:47 | rar + 3% recovery record | 313 MB | RS.com

The temptation to call Casella's music »charming« may be great, but perhaps such a label will not do anything to take away from it. But with such a diminutive of perception one will in no way do justice to the high standards of his music and their virtuoso realization in a manner which has been recognized as having been unique along the paths leading to New Music.
Andreas K. W. Meyer, from the attached booklet
Wolfgang Rihm - 3 Lieder (2006)
Posted By : ooliver | Date : 10 Feb 2022 19:29:34 | Comments : 3

Wolfgang Rihm - 3 Lieder (2006)
Avant-Garde | (ape, cue, log) | Christoph Prégardien, tenor - Siegfried Mauser, piano | Booklet
col legno WWE 20228 | CD 74:32 | rar + 3% recovery record | 228 MB | RS.com

The traditional mode of composition for texts was violated in many ways in the twentieth century. Especially in the latter half of the century, one finds strategies for demolishing the text that are either intended to obtain syllables or phonemes as elementary elements of a related musical setting - a procedure that certainly reveals a certain proximity to the deconstructionist aesthetic - or that use collages and montages to produce intertextualities that go beyond the integral stock of a genre of text, a type of text, or even a single literary sketch. This broadening perspective, like the deconstructive techniques, permitted completely new compositional procedures for adapting texts. Such trends are found in numerous works by Wolfgang Rihm...
Siegfried Mauser, from the attached booklet
Alvin Curran - Living Room Music (2009)
Posted By : ooliver | Date : 09 Feb 2022 18:18:00 | Comments : 3
Curran-Living Room Music

Alvin Curran - Living Room Music [live version 2010]
Rai Radio 3 | 75:00 + 68:34 | rar + 3% recovery record | 600 MB | RS.com
Avant-Garde | Digital-radio satellite broadcast | PCM 44,100Hz, 16 Bit | ape, no log | Info

Living Room Music was also the title of a 1940 Cage's composition, not to speaking of Satie's "Musique d'ameublement": Alvin variant was to invite at his Roma house, between december 2008 and june 2009, fellowship traveling musicists, let them freely create and then using each recording, sometimes with street sounds trespassing from the living room windows, as "raw matter" for a radio broadcasting composition commissioned by Berlin's Deutschlandradio Kultur, broadcasted on September 2009. This is the concert version, recorded on January 2010.
Morton Feldman - The Late Piano Works Vol. 2 (Steffen Schleiermacher) 2009
Posted By : ooliver | Date : 06 Feb 2022 08:32:34 | Comments : 3
Feldman The LPW 2

Morton Feldman - The Late Piano Works Vol. 2 (2009)
Avant-Garde | (ape, cue, log) | Steffen Schleiermacher, piano | Cover
MDG Scene MDG 6131522 | CD 71:48 | rar + 3% recovery record | 116 MB | RS.com

The concentration with wich in this piece Steffen Schleiermacher dedicates himself to the interpretation of Feldman's work is stunning and shoul have model character... the character of his playing, creating the impression of floating, always groping forward, make this recording one of the best.
Wolfgang Rihm - Etude d'après Séraphin (1998) [by request]
Posted By : ooliver | Date : 26 Jan 2022 22:58:42 | Comments : 6
Etude d'après Séraphin

Wolfgang Rihm - Etude d'après Séraphin (1998)
Avant-Garde | (ape, cue, log) | Ensemble 13 conducted by Manfred Reichert | Booklet
wergo 282 055-2 | CD 45:31 | rar + 3% recovery record | 200 MB | RS.com

In this piece, which should actually carry the title "Levels of Memory", I worked for the first time electronically formed material. ... I attempt, step by step, to enter into instinctive, atavistic regions... Leviathan? Titanic? We will not escape.
Wolfgang Rihm
Wolfgang Rihm - Chiffre-Zyklus (2006) [by request]
Posted By : ooliver | Date : 24 Jan 2022 17:35:36 | Comments : 7
Rihm - Chiffre-Zyklus

Wolfgang Rihm - Chiffre-Zyklus (2006)
Avant-Garde | (ape, cue, log) | Ulrich Loffler, piano - MusikFabrik conducted by Stefan Asbury | Covers
CPO Records 777169 | 2CD 51:25 - 37:10 | rar + 3% recovery record | 330 MB | RS.com

.. attempts to find a musical language free of prescribed sequential and elaborative procedures. What is involved is the free setting of the individual event, not caused, without consequence in the stricter sense -- the free procreation of an imagination space; the quest for sound objects, for sound signs, a sound writing.
Wolfgang Rihm
Between the Keys (1992)
Posted By : ooliver | Date : 23 Jan 2022 19:17:16 | Comments : 6

Microtonal Masterpieces of the 20th Century (1992)
Avant-Garde | EAC ape | rar + 3% recovery record | 290 MB | RS.com
Newport Classic Premier NPO 85526 | CD 70:54 | Leaflet Scan 600dpi

Each composer represented in this recording faced a critical moment, a point where the conventional tuning of twelve equally divided notes per octave was no longer adequate. American composers Charles Ives, Harry Partch, John Cage, and international citizen Ivan Wyschnegradsky, each embraced his own distinctive new tuning approach.
from the attached leaflet
Karlheinz Stockhausen - Opus 1970 (1969)
Posted By : ooliver | Date : 21 Jan 2022 19:44:04 | Comments : 11
KS_Opus 70

"Stockhoven-Beethause" 1968-69
Avant-Garde | Analog to Digital Rip (ape) | rar + 3% recovery record | 140 MB | RS.com
Deutsche Grammophon DG 139 461 | Vinyl LP 28:24 + 25:07 | Full Sleeve Scans

Created during a production between the 10th and 14th December 1969 in the Godorf/Cologne Studio
Based formally on the composition of "Kurzwellen": material is obtained from a regulating system (radio short waves), selected freely by the player and immediately developed. By "developed" is meant: spread, condensed, extended, shortened, differently coloured, more or less articulated, transposed, modulated, multiplied, synchronized.
Stockhausen, from the attached sleeve text
Stockhausen - Mantra (1971)
Posted By : ooliver | Date : 05 Dec 2021 22:31:06 | Comments : 13

Stockhausen - Mantra (1971)
IAlfons and Aloys Kontarsky, piano
Avant-Garde | Analog to Digital Rip (ape) | rar 3% recovery record | 161 MB | RS.com
Deutsche Grammophon 2530 208 | 1 Vinyl LP | Full Sleeve Scans

Naturally, the unified construction of MANTRA is a musical miniature of the unified macrostructure of the cosmos, just as it is a magnification into the acoustic time-field of the unified micro-structure of the harmonic vibrations in notes themselves
Stockhausen, from the attached sleeve text
Stockhausen - Kurzwellen (1969) re-post
Posted By : ooliver | Date : 30 Nov 2021 10:53:34 | Comments : 10

Stockhausen - Kurzwellen (1968-69)
for six players & short-wave radio
Avant-Garde | Analog to Digital Rip (ape) | rar 3% recovery record | 309 MB | RS.com
Deutsche Grammophon 2707 045 | 2 Vinyl LP 47' & 53' | Full Sleeve Scans

HOW the players react to what they hear on the radio; HOW they imitate and then modulate it, transpose it in time (longer or shorter, more or less rhythmically articulated) and in space (higher or lower, louder or softer); WHEN and HOW and HOW OFTEN they play synchronously or alternatingly, in duos, trios or quartets; HOW they call and invite each other to hear together an event which wanders among them for a prolonged period of time, letting it shrink and grow, compressing and expanding it, darkening and lightening it, concentrating or playfully decorating it.
Stockhausen, from the attached sleeve text
Bang on a Can plays Louis Andriessen (2002)
Posted By : ooliver | Date : 25 Nov 2021 09:33:51 | Comments : 6

Bang on a Can plays Louis Andriessen (2002)
Avant-Garde | EAC Rip (ape, cue, log) | rar 3% recovery | 264 MB | RS.com
Label: Cantaloupe Music | Cat. Num.: LLC. CA21012 | 1 CD 50:50 | Artwork's scans

Dutch composer Louis Andriessen turned minimalism upside down in the 1970's with his exciting and overpoweringly aggressive sounds. Earth-shattering and tribal in its elemental power, three of Andriessen's classics are now on one disc. Reissuing "Hoketus" and "Hout," plus a new blistering recording of "Workers Union," this disc is an international collaboration of the Bang on a Can All-Stars, members of London's Icebreaker ensemble, and musicians from Andriessen's own group.
Stockhausen: Examen (1991) - Eldorado/Preljocaj (2008)
Posted By : ooliver | Date : 07 Nov 2021 14:18:19 | Comments : 9

Stockhausen: Examen (1991) - Eldorado/Preljocaj (2008)
Avant-Garde | DVD SAT rip | WDR/Arte | Video 720x576 (16:9) | Audio: Stereo 48 kHz 256 kBps
30min + 90 min | Language: French, German | 17x200mb rar + 3% recovery record | 3.27 GB | RS.com

"Examen" it's life, my life.., but also life of everyone on this planet. We have to protect ourself, to learn. "Examen" it's a portion of 1° act of "Licht" (Light), and the name of this portion is "Donnenstag" (Thursday). Why Thursday? Thursday it's the learning day. The Man, into "Examen", learn and, in my opinion, he learn upmost music. Music as the most beatiful art, infinetely ingenious message, pulsations...
Karlheinz Stockhausen, extract from "Examen" soundtrack
Best Internet Links
Posted by :: Alex | Date :: Aug 20, 2021 19:05:00 | [ 34 comments ]

Vladimir Ussachevsky (1911-1990) - Electronic and Acoustic Music Music [Re-Upload]
Posted By : ooliver | Date : 16 Oct 2021 11:54:54 | Comments : 4

Vladimir Ussachevsky (1911-1990) - Electronic and Acoustic Music [Re-Upload]
Works 1957-1972 / Film Music
Contemporary | EAC (ape + cue) | 2CD 63:55 - 58:05 | Artworks & booklets | 540 MB | RS

Vladimir Ussachevsky was one of the most significant pioneers in the composition of electronic music, and one of its most potent forces. Born in 1911 in Manchuria, China, Ussachevsky was the son of a Russian Army captain. His childhood was spent on the windswept and sparsely settled Manchurian plain, visiting with the nomadic tribesmen in their tents, and singing Old Slavonic chants as an altar boy in the local Russian Orthodox church. By the time he arrived in California, at the age of nineteen, he was a skilled pianist gifted in the interpretation of Romantic music, and a fluent improvisor. ..........
Unknown to Ussachevsky, the first experiments in tape and electronic music had begun two or three years earlier in France with the "musique concrète" of Pierre Schaeffer and Pierre Henry and, one year before, in Germany with the founding of the Cologne electronic-music studio by Herbert Eimert. Ussachevsky's first experiments began in 1951 when the Columbia Music Department acquired an Ampex 400 tape recorder, which together with a microphone, a pair of earphones, and a borrowed Magnecord recorder, constituted the entire equipment of the first American electronic-music studio. ........
It is perhaps not far-fetched to describe Ussachevsky as one of the most enigmatic and self-effacing figures in new American music after World War II. He was an intensely personal man who combined Old World charm and courtliness with humor and American get-up-and-go. He talked little about himself or the fact that he had been brought up in an unusual time and place that had already ceased to exist.
pout-pourri from the attached booklets
Pioneers of Electronic Music (2006)
Posted By : ooliver | Date : 04 Oct 2021 00:07:42 | Comments : 6

Pioneers of Electronic Music (2006)
Avant-Garde | (ape, cue, log) | rar + 3% recovery record | 330 MB | RS.com | Artworks & Booklet

In 1950, the Columbia University Music Department requisitioned a tape recorder to use in teaching and for recording concerts. In 1951, the first tape recorder arrived, an Ampex 400, and Vladimir Ussachevsky then a junior faculty member, was assigned a job that no one else wanted: the care of the tape recorder. This job was to have important consequences for Ussachevsky and the medium he developed. Electronic music was born. Over the next ten years, Ussachevsky and his collaborators established the Columbia-Princeton Electronic Music Center, which Ussachevsky directed for twenty years. It was the first large electronic music center in the United States, thanks to the path-breaking support of the Rockefeller Foundation and encouragement from two of the country's leading universities. The Center became one of the best-known and most prolific sources of electronic music in the world.
All of the music on this historic reissue is the result of the pioneering work of the Center and its composers.
A.Shields - from the attached booklet

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