Sound Art / Spoken Word
Eleven songs for voice and lute by the Swiss singer and composer Marianne Schuppe. Schuppe is part of the Wandelweiser collective and is known for her interpretation of works by Morton Feldman. Using the voice and sustained e-bow, Schuppe presents her first Wandelweiser solo record - eleven ‘songs’ which deconstruct melody, diction, duration and timbre. Engaged in an element of drone, ‘slow songs’ is part folk, part chant, part landscape - a stand out record in the Wandelweiser catalogue.
"The richness and detail that other artists appearing on Wandelweiser achieve with complex harmony is here achieved with a single note. This can clearly be heard by comparing the two versions of the songs ‘key’ and ‘pretty ride’: while the two versions are in different keys, the insides of the notes are also a whole different story." - Fluid Radio
I see a deerI see a deer in a shield behind the trees in my sighthe is simplynot to be here with my kindwondering to bejust betweenon his shoulder he carries some lightwith an openingI haven't seenhim for long on his chairon his Hochsitzeven though it ispouring away some rain towipe out the writings in timecables go throughno rare earth to lure himsome batteries are with some risksome gazellas are with shieldsas one colouris amendedhe is standing kind ofhungry
Marianne Schuppe / voice, lute
Recorded: August 26-28th, 2015, Le Puid, France by Willy Daum. e-bows by Peter Vittali. Mixed and mastered by Willy Daum. Special thanks to Peter Vittali and Antoine Beuger
Marianne Schuppe - Slow Songs
The MaDam Electroacoustic Improvisation Collective based in Spain performs the first in Pisaro's 34 piece Harmony Series, which attempts to create the conditions for a harmonic situation without giving any actual notes, just numbers, durations of tones, and pauses; this work is based on "swell piece (for alison knowles)" (1967) by James Tenney.
colectivo maDam / voice
sometimes (harmony series no. 1) - 69:00
1. I2. II3. III 4. IV---
Recorded by Alvaro Barriuso at Teatro Pradillo in Madrid, September 4th 2013. Mastered by Wade Matthews and Alvaro Barriuso.
Michael Pisaro - sometimes
Huge collection of gorgeous organ compositions by Eva-Maria Houben, performed by Carson Cooman---Tracklisting:sonatina no. 1 (2016)01. lento sognante (dreamily slow)02. come un’ ombra movente (like a moving shadow)03. con una leggerezza fantasiosa (with an odd lightness)
sonatina no. 2 (2016)04. sogni confusi (confused dreams)05. come un leggero vapore iridato (like a rainbow-colored mist)06. con una lenta e grave eleganza (with a dignified and slow elegance)
sonatina no. 3 (2016)07. sognante / ”sogno marittimo” (dreamy / “sea-dream”)08. come un inno. da molto lontano: uscendo dalla foschia (like a hymn. from very far away: appearing out of the fog)09.con una grande dolcezza (with great tenderness)10. drones (2014)
Carson Cooman / organ ---recorded in hoofdorgel, laurenskerk, rotterdam (netherlands) august / september 2016.organ is a marcussen & son, 1973; model by jiri zurek, 2012
Eva-Maria Houben - Organ Sonatinas and Drones
The score of "Stones" consists of just a few lines of text:
Make sounds with stones, draw sounds out of stones, using a number of sizes and kinds (and colours); for the most part discretely; sometimes in rapid sequences. For the most part striking stones wfth stones, but also stones on other surfaces (inside the open head of a drum, for instance) or other than struck (bowed, for instance, or amplified). Do not break anything. Christian Wolff, STONES, (from: Prose Collection, 1968-74)
Wandelweiser Composers Ensemble:
Antoine BeugerJürg FreyChico MelloMichael PisaroBurkard SchlothauerKunsu ShimThomas Stiegler---Recorded by Peter Hecker at atelier bubu, Berlin, 1995. Executive Producer - Peter Hecker.
Christian Wolff - Stones
Three works - two for large ensembles of performers on sax, guitar, clarinet, voice, percussion, horn, flute, vibes, and objects that belie the size of the group in its fragile presences, with a shorter trio of Frey, Greg Stuart and Erik Carlson transitioning the large pieces; compositions conceived as both short presences within abundant orchestration.
We tend to connect the aspect of structure with safety and stability;the ephemeral, in contrast, in something uncertain and fleeting, something not easy to grasp. thus structure and ephemerality seem to be opposites. in a musical work, though, the can coexist equivalently.one on the one hand, the sum of constructive processes and clear formal decisions leads to a clear architecture.consistently taking it into spheres of lightness and evanescence.the persuasive, coercing power immanent to structure must be avoided. structure then becomes fragile and permeable, allowing the ephemeral to unfold its presence, and, in this presence, to evoke a gleam of permanence.a substantial part of my work takes place in this intermediate zone.a structure hardly touched gives rise to a music that simply wants sensation. a breeze, light and shadow,spaces of colour, a glimpse, a landscape.
- Jürg Frey, sketchbook, 2007.
University Of South Carolina Emperimental Music Workshop Ensemble are:
Jürg Frey / clarinetPhilip Snyder / fluteRachel Whelan / flute, pianoJames Easteppe / guitarJohn Kammerer / hornBailey Seabury / percussionBrian Bethea / saxophoneGreg Stuart / vibraphone, percussionErik Carlson / violinNikil Sairam / violinLogan McLean / voiceMichael Halbrook / objectsAJ Karp / objectsBrooke Rosenberg / objectsChris Ruggiero / objectsDrake Strobel / objectsEric Dennis / objectsJessica Russell / objectsKallam Ashmore / objectsLauren Phillips / objectsMichael Halbrook / objectsNeil Thomas / objectsOlivia Smithson / objects
Recorded, mixed and mastered by Jeff Francis at Columbia, SC, April 2016. Made possible by a grant from SC honours college through generous support of jeannette and marshall winn ’74.
Jürg Frey – Ephemeral Constructions
“The room I entered was a dream of this room.” “It wasn't the hole in the landscapethat gladdened us,it was the invitation to the weatherto drop in anytime.” John Ashbery (both quotations from: Your Name Here 2000) “...all the hard dry studied Rules that ever was prescribed, will not enable any Person to form an Air any more than the bare Knowledge of the four and twenty Letters, and strict Grammatical Rules will qualify a Scholar for composing a Piece of Poetry, or properly adjusting a Tragedy, without a Genius. It must be Nature, Nature must lay the Foundation, Nature must inspire the Thought.” William Billings (Introduction to New England Psalm Singer, 1770) “The responsibility of the artist is to imitate nature in her manner of operation” - Ananda Coomaraswamy, often quoted by John Cage
Edwin Alexander Buchholz / accordian (bugari bayan anatomic)
Joanna Becker / violin
Recorded in Frankfurt by Hans-Bernhard Bätzing and Thomas Eshler in 2005. Mixed and mastered by Hans-Bernhard Bätzing and Thomas Eshler. Coproduced by Antoine Berger and Hessischer Rudfunk.
John Cage - Early Music