| 1 | Exhibit | 3:26 | |
| 2 | Piano Work - A Movement | 1:08 | |
| 3 | Mudes Flower Sutra | 0:58 | |
| 4 | Petali Pianissimo | 4:48 | |
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5 | Une Petit Prelude | 12:59 |
| 6 | Understanding | 9:42 | |
| 7 | Agnesia | 13:54 | |
| 8 | An Ideal Amen | 5:43 | |
| 9 | In Memorium, Ben | 8:08 |
Composer, musical theorist, multi-instrumentalist, and one of the founders of Fluxus, Philip Corner's debut show at OTO was funny, sincere and inventive. Alongside his wife Phoebe Neville, the pair mixed relatively unheard compositions with stage interventions and brand new improvisations. At one special point, Corner and Neville - both blind behind Javanese masks - played a borrowed Casio and named the piece 'Understanding'. Gold.
Solo, Corner performed one of his more recent pieces, 'Agnesia', a one note near-Elemental number inspired by the painter Agnes Martin. 'An Ideal Amen' was derived from the final chords of the Berlioz Requiem and features Neville adding vocals. Corner and Neville closed by playing touching tribute to their dear friend and esteemed Fluxus collegue Ben Patterson - a piano version of Patterson's 'Paper Piece'. A generous and wonderous pair of people -- more high-jinks and meditations inside.
Notes for the show as printed for the audience:
"buy something
to eat or drink
and then sometime during ……
make
consciously & explicitly
a sound with it.
Thus adding to the music …”
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Philip Corner / piano, keyboard
Phoebe Neville / vocals, keyboard
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Recorded live at Cafe OTO on Monday 19th September by James Dunn. Mixed and Mastered by James Dunn. Photo by Dawid Laskowski.
Please note, should you wish to skip the silent-ish cuts, go straight to 'Une Petit Prelude'. We thought it best to include everything.
Philip Corner (b. New York, 1933) is an American composer, theorist, visual artist and a founder of the Fluxus art movement.
An early participant in pre-Fluxus activities since 1961, he was a resident composer and musician with the Judson Dance Theatre from 1962 to 1964 and later with the Experimental Intermedia Foundation, for whose dance company he served as musician. He co-founded the Tone Roads Chamber Ensemble, Sounds Out of Silent Spaces, and Gamelan Son of Lion (still active today).
Many of his scores are open-ended, some employ standard notation, whereas others are graphic scores, text scores, etc. His music also frequently explores unintentional sound, chance activities, minimalism, and non-Western instruments and tuning systems. Contact with artists in other media, especially dance and the visual arts, as well as a long-standing interest in Eastern religions such as Zen Buddhism and study of the music of composers from the Baroque and Pre-Baroque eras, has likewise impacted his music.
He divides his work into five distinct periods, each reflective of his attitudes and interests at the time:
1. Culture 1950s
2. The World 1960s and 1970s
3. Mind 1970s and 1980s
4. Body 1980s and 1990s
5. Spirit; Soul, 1999 – present
