ReR Quarterly, Volume 1, No. 2

SIDE 1
DUCK AND COVER...Berlin Programme, Berliner Ensemble GDR 1985 27:44
(Brecht/Eisler, Cutler/Frith, Goebhels/Harth, Cora, Krause. Lewis)

SIDE 2
JOHN OSWALD...Mystery Tapes 1 (Oswald) 6.04
CONRAD BAUER...Marzfeber (Bauer) 6:44
REPORTAZ...Fluent (All Karpinski) 3:13
REPORTAZ...Battle-painter's Song 2:11
REPORTAZ...The Day When Truth Was Not Existed 2:58
ADRIAN MITCHELL...Stufferation (Mitchell) 1:42

Re 0102 Volume I No.2
Compiled by Chris Cutler All manner of tapes spliced and Reportaz remastered at Cold Storage by Bill Gilonis Duck and Cover master edited by Chris Cutler and Heiner Goebbels at Heiner's basement studio and the whole thing cut (beyond the call of duty) by Tim at CBS (it wasn't easy) Pressed at Statetune. Label artwork by Chris Cutler Front Cover by X Back cover by Graham Keatley All silkscreen-printed by Third Step Printworks at 675 Wandsworth Rd. London sw8 England

CONNIE BAUER MARZFEBER DDR
An improvised-composition by Connie, with no overdubs and no edits.
Recorded at Cold Storage, London, April 1984. Engineered by Bill Gilonis.
There is one solo LP by Connie, on Amiga 855783, and there should be a second sometime soon. (The first is now virtually impossible to get). He appears on numerous records with other improvisors and with his quartet.
Next issue: hitting thing

REPORTAZ FLUENT; THE BATTLE-PAINTER'S SONG; THE DAY TRUTH WAS NOT EXISTED
Played by:
Andrzej Karpinski - Drums, Vocals
Piotr Takomy - Bass Guitar, Vocals
Jacek Halas - Piano, Vocals

Composed by:
Andrzej Karpinski

Recorded 'live' without public at Students Culture Center: club 'Nurt', in Poznan by Henryk Palczewski and Jasiu Siemienas on 29 January 1985.

Texts:
"FLUENT" The Flowers of the Apple-tree are Fluently
blooming in the gutter-pipe.

"THE BATTLE-PAINTERS SONG"
Let's walk on the road of victory
Let's build our castle out of hopes
Let's respect what we share now,
Not Revenge

REPORTAZ is a group probably of unique musical form in Poland. It began in May 1980 when Andrzej Karpinski and Piotr takomy first met. They got the idea to play watching their school orchestra in Poznan, and soon joined the punk band 'Sten', a group whose personnel changed often. Andrzej and Piotr (not having any musical axes to grind) were content to stay. The group was an authentic punk group of the purest form and one of few such in Poland. In June of 81 they became 'Soc' ('Realism'), also a punk group. At this time Andrzej was playing lead guitar and Piotr bass guitar. Both 'Sten' and 'Soc' were popular locally, but after a few months Andrzej left 'Soc', finding the form of punk too limiting. In December 81 he made some independent recordings in the town of Konin playing and composing everything himself, under somewhat primitive conditions. It was at this time that he had some contact. with western recordings of 'progressive' Rock music; his first contact with modern musical ideas in a rock context. "The music of the 'underground groups' got me going, brought my musical work to life, but it wasn't -and still isn't a musical influence on me."

In November 1982, Andrzej suggested a duo to Piotr (then still playing with 'Soc') and soon this duo became a trio adding Marzena Kaczmarec, who sang and played toy keyboards from the USSR), and REPORTAZ was born.

The group's first concert was in December (at Club 'Nurt' Poznan) and in 1983 Mar'zena was replaced by Jacek Halas, playing trumpet and keyboards (especially acoustic piano). Since 1982 the group has played 10 concerts. Each is prepared specially: a musical spectacle with theme and tailored form. From one such concert at a festival of New Wave groups (in 'Od Nowa' Club, Torun) came 'a cassette 'Stained Glass' (now deleted). In 83 they recorded another concert, their most successful til then, 'Stay-at-home'. Extracts of this cassette also appeared in
france. A third tape, of a concert with New York's Skeleton Crew, appeared last year -'Front Rock'; and this year a fourth -'Please Don't Repeat'. All of these tapes circulate unofficially; it is not legal to sell private cassettes in Poland. However, such groups as Reportaz, of"amateur' ,status and playing 'unusual' music, could certainly not have had their music issued through any of the official outlets.

History compiled from information supplied by Henryk Palczewski.

Stop Press: Reportaz is now restructured with a new line-up. Jacek has gone, and joined are: Pawel Paluch (Bassoon, ex-Happening), Arek Dabrowski (Piano, Guitar, Voice, also ex-Happening). and Krzysztof Fajfer.
The music is very different we are told -more ' classical', variagated and intricate. We look forward to new recordings.

This is the place to thank Henryk Palczewskl, a tireless activist in Poland, who introduced us to Reportaz, recorded them and keeps us up to date about musical developments in his country. He also keeps interested parties there up to date with 'progressive' developments here, through his (unofficial) fanzine 'PZ' & the 'ARS' cassette label (producing limited editions of 50 of each title.not for profit). Anyone interested in "PZ" (in Polish of course), or the "ARS" cassettes should write to Henryk at: Ul Ludowa 24/5 64-920 Pila Poland. Also anyone wishing to send information, records and so on, to him is encouraged to do so discreetly.

ADRIAN MITCHELL STUFFERATION U.K.
Adrian Mitchell, author of some 8 books, is a performer, poet, lyrlclst, novelist, writer for theater and TV, and one of the originators of the public poetry movement. His only other recordings are: 'A laugh, a song, and a hand grenade', an LP on Transatlantic done half and half with Leon Rosselson In 1966; two pieces on 'The Last Nightingale', a Re Records miners benefit release; and three pieces Vol.1 No.1 of this Quarterly. Adrian Is a quarterly contributor here.

Recorded at Cold Storage, London on March 26. 85. Engineered by Tim Hodgkinson.

ReR Quarterly, Volume 1, No. 1

SIDE 1
1. STEVE MOORE...The Threshold of Liberty (S.Moore) 9:25
2. LARS HOLLMER...Experiment {L.Bollmer} 1:19
3. CHRIS CUTLER/LINDSAY COOPER...Education (Cutler/Cooper) 3:45
4. 5uu's...compromisation (5uu's/Kerman) 3:00
5. JOSEPH RACAILLE...Dans Les Yeux Bleues (J.Racaille) 1:10
6. THE LOWEST NOTE...Naiwabi (The Lowest Note) 2:35
7. ADRIAN MITCHELL...Sorry 'bout That (A.Mitchell) 1:50

SIDE 2
1. KALAHARI SURFERS...Prayer For Civilisation (Warric) 5:02
2. MISSION IMPOSSIBLE...Indefinite (Mission Impossible) 2:58
3. ADRIAN MITCHELL...Song In Space (A.Mitchell) :35
4. STEFANO DELU...Pensa Un Numero (S.Delu) 2:13
5. MIKOLAS CHADlMA...A Walk Around the Brewery (M.Chadima) 6:06
6. ADRIAN MITCHELL...Saw It In the Papers (A.Mitchell) 3:40

Re 0101 volume I No.1

Compiled by Chris Cutler Wildly disparate recordings spliced and remastered at Cold Storage by Bill Gilonis Side 1 cut at CBS by Tim Side 2 cut and LP pressed by Sta­tune.

Label artwork by Chris Cutler Front by X(our nativity);back cover by Graham Keatley;silkscreen-printed by Third Step Printworks, 675 Wandsworth Rd. London.

This is not a compilation. The tracks do not appear elsewhere. Nor is it a sampler: it has no advertising function and is indif­ferent to fashion. It is, rather, an attempt to apply the format of a magazine to a record: regular 'columns', commissioned pieces, extracts from concerts, introducing 'unknowns', and unrecordeds; items of interest, and special projects are what will feature here. The written part of the magazine will contain articles - as far as possible BY musicians; interviews, or anti-interviews, where they are worth doing or where no one else would do them (in this depart­ment especially we'd like to know who you'd like to see interview­ed and we'll try to do it); features on the 'progressive' music histories of different countries; backgrounds and updates; news of forthcoming records, tours (with dates where possible), festivals, publications, and special projects relevant to the recommended in­terest - and, where possible, items answering needs and questions readers and listeners care to send in, since the idea of this pu­blication is, above all, to be USEFUL, to contain things you've always wanted to read and to hear, and to introduce new thoughts and music.

This said, of course, I hope it will develop into more than this ­growing from the known and planned into something unplanned and qualitatively new. Still: first to crawl before flying ...

Back on solid ground, let's announce at once that this project is bound to start slowly and sketchily, and so far, since we don't 'exist' yet, we've had relatively few news items, and articles in. To compound matters, I've been touring a lot and having to assemble this 1st volume inbetweentimes. Now that we do exist, I hope every­ one will remember to send in their news, interesting items, contri­butions etc.

THIS FIRST ISSUE introduces a few less-known contributors whom you'd be otherwise unlikely to hear; a couple of live items; and the first of our solo instruments and other to-be-regular 'columns'. In future issues (and I promise at least four, a year's worth) there will be amongst other things, whole sides of special project recordings; rare archive materials; concert recordings; and commi­sioned pieces from 'known' recommended groups as well as 'new' con­tributors and unsolicited lengths of tape. If I'm still on my feet after a year, we'll take stock. Meanwhile, let me encourage you as strongly as I know how to SUBSCRIBE. First because each issue will be necessarily limited in quantity: it IS a magazine, and you may not find number two before they're all gone (better to have it fall automatically through your door every three months, don't you think?). Second, it is far more expensive to produce short-run re­cords AND a substantial written magazine than it is to do a normal LP (and it is absolute Re policy always to pay our contributors. Too often committed fringe artists don't get paid, or are quietly blackmailed into exploiting themselves. It's my belief that the kind of public who will support this project are the kind who will pay a bit more to be sure that all the work that goes into it (in­cluding recording costs etc.) are paid, even if not well paid. In my own experience 'alternative' work is always expected cheap to the public and the artists and workers don't get anything; they're supposed to do it for love, or art, scrape by on the dole, or from scraps here and there. There are some odd ideas around about how musicians and writers and artists live. I hope we'll publish a few case-truths about this in future issues). Excuse me. The point is that, since production is expensive, the project is only viable if we get a certain amount of guarenteed support and the benefit of cutting out a lot of intermediary percentages (distributors, shops, importers etc, etc) by selling it to you direct. If it works we can do MORE: bigger formats, colours, who knows! So please, do think about signing up for the next few issues (we've been around for 7 stable years now and aren't about to decamp to Tobago). Also, sub­scription editions are different from normal, containing extra 'items', special prints, etc, etc.

COLUMNISTS: our regular contributors so far are Robert Wyatt, Adrian Mitchell, Peter Blegvad, Graham Keatley, X, and me. Also I hope we'll establish correspondants abroad over the next couple of issues and keep you regularly up to date, on a first and second world scale at least.

Finally, since I'm away a lot, it might take awhile to get this project smoothly running and some issues might be a bit late ­ but I'll* do my damndest to keep on time. Your indulgence, please.
And your comments ..•wishes •.. contributions!
Thanks.

*We'll. With what profound pleasure I can announce that help has arrived: Chris Gibbins has slipped quietly into the Grand Coordinator Seat. So write to him or me equally from now on.

RECORD INFORMATIONS

LARS HOLLMER EXPERIMENT Sweden
Music and text: Lars Hollmer
Translation: Von Samla
Recorded at home by Lars.
Lars Hollmer is a long-standing member of Zamla Mammas Manna, and Von Zamla (6 LPs; see RR catalogue) and 2 solo LPs.

Joseph Racaille Dans Les Yeux Bleues France

Quand le soleil se couche sur Hawaii
Lee Hawaiiens se diesnt adieu
Ils se souhaient aussi
Une bonne nuit
Le lendemain
Tout le monde se dit "Bonjour"
Dans les eaux bleues d'Hawaii
Ils se baignaent
Puis ils se coiffent
Avec un peigne...

Music by Joseph
Text by Balthasar Racaille
Recorded at home and all parts played by Joseph.

Joseph and Hector Zazaou (with Patrick Portella) were ZNR, whose first LP, 'Barricades 3', is still available from Recommended (RR7), but whose second, 'Traite de mecanique populaire', is now sadly deleted (by SCOPA). Joseph's LP with Patrick Portella, 'Les Flots Bleus', is available from Recommended (RR16), and we still have a few copies of his 6 song EP 'Six Petites Chanson' (RR16.5).

The Lowest Note Naiwabi

Live concert recording from 'Ton-Zeit-Ton' festival in Basel, February 1985.

Bole - Guitar
Bill Gilonis - Yamaha-tiny-keyboard-instrument.
Catherine Jauniaux - Singing.
Stefan Van Karo - Drums.

Engineered by Elisabeth Schuler.

Adrian Mitchell Sorry 'Bout That U.K.

Adrian Mitchell, author of some 8 books, is a performer, poet, lyricist, novelist, writer for theater and TV, and one of the originators of the public poetry movement (one of our finest, if I may say so). His only other recordings are: 'A laugh, a song, and a hand grenade', an LP on Transatlantic done half and half with Leon Rosselson in 1966; and two pieces on 'The Last Nightingale', a Re Records miners benefit release. More to come, surely. Certainly here; this is Adrian Mitchell's quarterly column.

All three pieces on this record were recorded at Cold Storage on March 26th,1985.

KALAHARI SURFERS PRAYER FOR CIVILISATION South Africa
Kalahari Surfers was formed by Warric and Hamish in Capetown after they'd finished National Service together (in the army Military Band). At school in Durban Warric was much influenced by Indian music (Durban has a large Indian population and many fine musicians -especially tabla players) . They made a double-single in '82 'Burning Tractors Keep Us Warm' -released by PURE FREUDE Records in Solingen, West Germany -which was not so good Warric says; then a C-60 cassette: 'Gross National Products'. Since the first issue of this magazine is a bit late, 'Prayer For Civitisation' now appears (in a slightly different version) on an LP 'Own Affairs', pressed in the UK and distributed by Recommended (since no South African pressing plant would touch it, predictably enough). 'Prayer For Civitisation' was recorded on an 8-track mounted in a caravan by Warric, who also played everything except: saxophone Rick; singing - Ann. First names isn't coy, only safer all round.
Direct Contact:PO Box 27513, Bertsham 2013, South Africa

Prayer For Civilisation

Most white South African males are forced to undergo two years of compulsory national service. I was no exception. After an abortive attempt to flee to Europe three months before my calI-up (I didn't have a visa; was travelling on an illegal immigrant's return ticket to Italy and was consequently deported back to South Africa), I fasted for thlrty days drinking only distilled water: I'd heard of a young American avoiding the Vietnam draft that way. Instead of the expected 'discharged as medically unfit' I was classified G one K one: one hundred percent medically and mentally fit. Thus began two years of angst and suffering at the hands of some of the most psychotic, perverted human beings I had ever encountered.

Somewhere at the top of my list of those I would recommend for major psychiatric overhauls would be the army Chaplains: menacing men of God with a pleasant manner and soft gentle hands. Afrikaaners call them Dominee. The Dominee has great power and responsibility. Amongst other things they are burdened with the theological justification of the heinos apartheid policies.

The role of the chaplain in modern military establishments can never be exaggerated. His constant reinforcement of the political ideology through the word of God is a formidable weapon of indoctrination. Those...prayers before a bizarre military manoeuvre provide the mental environment necessary to ensure a teenage soldier's obedient participation. One dusty morning on a parade....I heard a chaplain extol the virtues of obedience. He explained, in all seriousness, how the ancient laws of God came down to us from heaven via the government, the army, our commanding officer and eventually found their way into the hands of the numerous sadistic little boy corporals who were in charge of us. The gist of the chaplain's discourse was that to disobey, even one's corporal was tantamount to disobeying GOD. The frightening thing was that 90% of the people around me believed him.

Almost everything in our country begins and ends with a prayer; television and radio broadcasts, parliament, military parades and speeches...Atheism is no different from communism; and anyone who is not in agreement with Afrikaaner calvinist policies is communist and part of the total communist onslaught against this country. Sundays, obviously therefore, are sacred. one is not supposed to buy or sell non-food articles such as the occasional blank cassette or a tube of toothpaste. The radio and television stations broadcast hours of boring religious programmes and church services. Sundays are hell. When I think of religion I think of control, of selfishness, of the determined will of a few to survive in a paradise at the expense of many. When I think of God I think of all those prayers He gets before major military undertakings such as the destruction of Hiroshima and Nagasaki, Cambodia, Falklands, Lebanon, etc. to mention a few. The colonisation of half the world has the Lord's blessing. More recently the Lord helped with Operation Palmiet when South African troops moved into a black township near Johannesburg to help Police maintain' law and order'. The 6th commandment should read "thou shalt kiII". This would undoubtedly make the chaplain's task a lot simpler.

"with confidence in our armed forces we will gain the inevitable triumph so help us God"

"We pray thee that the end of the war may come soon and that once more We may know peace on earth. May the men Who fly this night be kept safe in thy care and may they be returned safely to us. We shall go forward trusting in thee~ knowing that we are in thy care now and forever in the name of Jesus
Christ amen"
prayer said for the crew of the 'Enola Gay' (August 1945) by Chaplain William Downey.

"These words form the preamble to the constitution of the Republic of South Africa they speak of demcoracy and our duty to our God and our Fatherland and at the same time answer the question that at the moment is so often asked: why are the South African forces in South West Africa?"
In the name of GOD we kill amen

MISSION IMPOSSIBLE INDEFINITE Sweden

Live-rehearsal recording, 1983.
Composed by Peter Briefe.

Peter Breife - Bass, Voice, Tapes.
Svante Brunnander - Guitar.
Ingemar Svensson - Drums
Jonas Astrom - Guitar.

The tape is from a discussion in the West German Bundestag and features Helmut Schmidt, Helmut Kohl and others in 1982.

ADRIAN MITCHELL SONG IN SPACE
"this poem is a dialogue between an astronaut and the planet Earth, and I wrote it after seeing the first photographs of the earth taken from space: the earth looking very blue and white and beautiful..."

STEFANO DELU PENSA UN NUMERO (solo guitar) Italy
Autodidact on guitar, Stefano is a member of L'Orchestra Cooperativa Milan; is presently studying at the University of Music, and playing in improvised groups. His first LP 'Chitarre Solo' was re leased by L' Orchestra in 1983 and is sadly now deleted. This is a new recording, made at Franco Fabbri's house on a Revox B77 with direct input and no overdubs, using his own-built 8-string guitar and both hands on the fretboard.

Direct Contact:Via S.Paulino 12, 20142 Mi lano, Italy
Next issue:the trombone

MIKOLAS CHADIMA PROCHAZA KOLEM PIVOVARY (A WALK AROUND THE BREWERY) Czechoslovakia

Along the wall and to the left
Along the wall and to the left along
the wall and to the left along
the wall and to the left along the wall

Bran odour dwindles
Dust rinses just
Bran odour dwindles
It is long until evening
to the left along the wall and to
the left along the wall

Up to the house there
To the buried, buried garden.
(translation:Mario Strelli)

Text by Ivan Wernisch
Music by Mikolas

Recorded live at a concert in Olomonc, Czechoslovakia, Autumn 1983

ADRIAN MITCHELL SAW IT IN THE PAPERS
"This is a longer poem that I wrote after reading a story in the newspapers. I rewrote it several times thanks to the advice of friends and men who I met in Gloucester Prison."

Hungarian Steam Locomotives

Side A Track 1 424,353 424,166 424,140 Track 2 324,1567 Track 3 377,269 Track 4 411,264 411,264 411,264 Track 5 520,030 520,075 520,075

-

-

Side B Track 1 375,678 Track 2 GySEV 124 Track 3 370,011 Track 4 91,011 Track 5 Gaz. II. Gaz. II. Gaz. II. Track 6 OKU 4 Track 7 BNL 10 Track 8 BNL 30 Track 9 490,043 490,043 Track 10 394,057

In the identification system of locomotives most widely used the first capital letter symbolizes the number of powered (coupled) wheelsets: B=2, C=3, D=4 or E=5 axles. The figures before and after the capital letter mean the number of the front and rear supporting wheelsets: 1 or 2.

The following small letters represent the working principle of the locomotive: n is for saturated steam and h is for superheated steam. The figure next gives you the number of cylinders for the loco: 2, 3 or 4.

The last small letter t is for tank locomotives while z is for tender engines.

SIDE A

MÁV CLASS 424
This class is said to be the most well known and most popular Hungarian locomotive type. The first units of this 4-8-0 superheated twin family had left the assembly shop of the Mávag factory in the year 1924 and the manufacture of the class lasted until the late fifties.

The MÁV needed a versatile multi-purpose locomotive type equally suitable to haul express, passenger or cargo trains. This type was designed to meet these requirements. The introduction of the class had another importance being a noticeable step in the field of the standardization of parts.

Because of the large grate area the flat fire-box boiler had to be placed high above the locomotive frame, the highest in the Hungarian practice. Thus this locomotive type gained its characteristical and monumental outlines. Years later some minor modifications has been carried out: star-shaped blowers, twin stacks and smoke deflectors has been applied. A number of these locomotives has been fitted by equipment necessary for the push-pull service. The corresponding 8 wheel tenders are of series G or J.
Arrangement: 2D h2
Axle-load: 14 t.
(That's why the class can be widely used!)
Maximum permitted speed: 90 km/h.


MÁV CLASS 324
These locomotives had been built originally for the freight service although they were used recently as passenger engines. Their first design was a compound type when the Engineering Factory of Hungarian State Railways had started to launch them. The later variants were superheated ones and also the Brotan type boilers were applied. Finally all the existing locos have been rebuilt as superheated twins.
The original 6 wheel tenders has been replaced by more spacious 8 wheel tenders of scrapped engines for the locomotives used for push-pull service.
Arrangement: 1C1 h2
Axle-load: 13,9 t.
Maximum permitted speed: 75 km/h.
We can hear the last serviceable locomotive of the class, while rearranging other cold locomotives.


LOCOMOTIVE MÁV CLASS 377
This has been the most widely spread tank locomotive type, amounting to several hundred in numbers, used on Hungarian railway side-lines, as well as on private and industrial railway lines. It has fulfilled all kinds of tracktion jobs very well.
It has been built by different firms (Engineering Factory of the Hungarian State Railways, Krauss-Linz, StEG-Vienna, Weitzer-Arad) during the last 15 years of the 19th century.
Due to the high numbers made, several of them can still be seen in actual operation at different industrial factories.
Arrangement: Cn 2t
Axle load: 9,9 t.
Maximum permitted speed: 45 km/h.
On this recording the sound of the loco No. 377.269, owned by the Sarkad Sugar Factory, can be heard.


MÁV CLASS 411
The locomotives of the class 411 joined the MÁV stock in 1947 in a large number. These locomotives had been built by various U.S. manufacturers (Alco, Baldwin and Lima) as a standard type for military purposes. The MÁV had carried out different modifications according to the domestic practice, that's how the locomotives got their present shape.
The class was performing the bulk of freight traffic, further the locomotives were used also for regular passenger traffic in the sixties.
Arrangement: 1D h2
Axle-load: 16 t.
Maximum permitted speed: 75 km/h.
One of the few last existing locomotives performs level-marshalling duties on the recording.


MÁV CLASS 520
Thousands of locomotives belonging to this class were built in 1943-44 by several locomotive manufacturers of Europe for military purposes of the German Empire. Therefore the most practical, the most simple but reliable solutions were used in the manufacture. The "austerity" locomotives were familiar nearly on all railways of Europe.
Arrrangement: 1E h2
Axle-load: 15 t.
Maximum permitted speed: 80 km/h.

SIDE B


MÁV CLASS 375
This tank locomotive built by the Mávag is one of the class that featured the branch-lines in Hungary till the recent times. The first locomotives of the class were built in 1907. There had been three basic variants with different working principles and boiler solutions and standardized in the later years as superheated twin engines with top-bar firebox boilers.
The class has been used also on the main lines with light trains for its good performance. The locomotive No. 375.1032 of this type was the very last steam engine manufactured by the Mávag factory in 1959.
Arrangment: 1C1 h2t
Axle-load: 10,7 t.
Maximum permitted speed: 60 km/h.


GySEV LOCOMOTIVE NO. 124
The Győr-Sopron-Ebenfurth Railway was numbering her locomotives not in classes as usual but in individual number-groups. Thus the engines 121-124 are identical to the MÁV class 375. The locomotive No. 124 is a former MÁV locomotive which was working under MÁV number prior to joining the GySEV stock.


MÁV CLASS 370
The first units of the class were built in 1898 in the workshops of the Engineering Factory of Hungarian State Railways under the type designation 43.
The locomotive is a compound engine, the only existing one of this kind.
The characteristic throbbing sound comes from the compound working principle.
Arrangement: C n2
Axle-load: 10,3 t.
Maximum permitted speed: 50 km/h.
The last survivers of the class work at the Nagymányok Briquet Factory. You hear the locomotive No. 370.011 moving slowly from the sidings towards the factory.


LOCOMOTIVE MÁV 91,001
This locomotive was a sole unit of her class manufactured by Krauss in Linz in the year 1914 for the Dombóvár Sleeper-Impregnating Plant. Shunting work within the plant could not be performed by standard steam locomotives because of fire-danger. That is why this fireless engine has been used for the last 70 years. The "boiler" - a steam tank - of the loco is filled with pressurized hot water from the stationery boiler of the plant time by time and the steam generating from this develops the tractive force.
Arrangement: B n2
Axle-load: 13,2 t.
Maximum permitted speed: 25 km/h.
The locomotive on the record performs her regular shunting duties.


BUDAPEST GAS-WORKS LOCOMOTIVE NO. 11
The famous Henschel Locomotiv Factory built two shunting locomotives for the Gas-works in 1913.
Arrangmenet: B n2t
On the recording the locomotive performs her regular shunting duties with a rake of wagons loaded by coal.


ÓZD METALURGICAL WORKS LOCOMTIVE NO. 4.
The Ózd Metalurgical Works has an expanded standard gauge railway network for it's own industrial purposes. The locomotives have been numbered in the sequence of purchase; some numbers of withdrawn engines having been used later again independently of the type.
The large amount of slag produced by the furnaces of the Works located in a broad valley must be transported onto the slag-heaps in the neighbouring valleys. The railway track could have been built only with steep gradients (105%) where cog-wheel traction system has been used. Three of the rack locomotives for this service were built in Winterthur in the year 1907.
You may hear one of them the No. 4 climbing up on the gradient forwarding a loaded slag-laddle wagon. The characteristic tune comes from the joint work of the two separate mechanism, i.e. the adhesion and the rack.
Arrangement: C n2zt
Axle-load: 10,9 t.
Maximum permitted speed: 35 km/h adhesion; 12 km/h rack


BORSODNÁDASD STEEL-PLATE FACTORY LOCOMOTIVE NO. 8 AND 10.
After repeated replacements of her boilers the vintage locomotives No. 8 and 10 out of the original three engines are still in the service on the industrial railway of the Factory. They have been built by the Sigl Locomotive Factory in Wiener-Neustadt in the year 1870 for this metre-gauge line.
Arrangement: C n2(t)
Originally the locomotive had been delivered as a tank engine and the tender was added later.
You may hear the locomotive working on the line.


BORSODNÁDASD STEEL-PLATE FACTORY LOCOMOTIVE NO. 30
The line service of the industrial railway between Borsodnádasd and Ózd is performed mostly by this locomotive of Mávag type 96, originally for 760 mm gauge and re-gauged for metre-gauge service. This is the last unit of the type having been built in large batches basicly for the widely spread narrowgauge railway system in Yougoslavia. The locomotive is a superheated one, a unique feature in the big family of narrow-gauge engines in this country.
Arrangement: D1 h2
Axle-load: 8 t.
Maximum permitted speed: 35 km/h.
The recording was made on the open line.


MÁV CLASS 490
The most widely spread locomotive type of the Hungarian narrow-gauge railways is the type 70 of the Mávag factory in Budapest. This tank engine having been built between 1905 and 1949 could be found on the narrow-gauge lines of neighboring countries too.
Arrangement: D n2t
Axle-load: 5,6 t.
You may hear the locomotive 490,053 the one of the last two survivers on the line of the Szob Stone Quarry Railway climbing on a long gradient and approaching a line siding.


MÁV CLASS 394
The narrow-gauge locomotives of type 106 were built by the Mávag factory and its foregoer in a large number. They were familiar on the different gauges but mainly on the 760 mm gauge lines of the MÁV, the Department of Economy Railways and other agricultural, forestry and industrial railways. The last two units of the type, the 394,023 and 394,057 form a mainstay of the Széchenyi Museum Railway at Nagycenk.
Arrangement: C n2t
Axle-load: 3,4 t.
Maximum permitted speed: 25 km/h.
On the record the locomotive 394,057 approaches in a sharp curve with train and starts to climb a gradient.

Edited by: Dr. Zsolt Károlyi
Made by: Péter Kosársky, Tibor Papp
Design: Dezső Kiss
Photo: Dr. Zsolt Károlyi
Hungaroton recording
Made in Hungary 1983
The record can be played with a stereo or mono cartridge

Zdzisław Piernik, tuba

Strona A / Side A
1. Krzysztof Penderecki -Capriccio per tuba/ Scherzo a la Polacca 4'40"
2. Marian Borkowski -Vox per uno strumento ad ottone 5'40"
3. Andrzei Krzanowski-Sonata na tube solo /Sonata for Solo Tuba 14'05"

Strona B / Side B
1. Andrzej Dobrowolski -Muzyka na tube solo / Music for Solo Tuba 12'05"
2. Witold Szalonek-Piernikiana per tuba sola 12'05"

Zdzisław Piernik, born in Torun in 1942, is the first and so far the only Polish virtuoso tuba-player. The tuba is the biggest and at the same time the least mobile of the brass instruments. While the most conspicuous in the orchestra, it has been until recently, from the musical point of view, one of the most concealed instruments and only rarely made use of. It was only in the 19th century that Richard Wagner and Anton Bruckner assigned a more significant role to the tuba (or strictly speaking to it Wagnerian variety), then in the second half of the 20th century it emancipated itself to become a solo instrument. In Poland this emancipation has been mainly due to Zdzisław Piemik who, after having completed his studies at the State Higher School of Music in Warsaw under Juliusz Pietrachowicz and having won a prize at the National Festival of Young Musicians in Gdansk in 1970, embarked on a career of tubist-soloist. Before long he hat a string of successes both at home and abroad, among them at festivals and summer courses at Bayreuth, Witten, Darmstadt, Bourges, Stockholm, and Los Angeles. He has been giving concerts in the United Kingdom, Austria, Belgium, France, Holland, Japan, Mexico, FRG, and the United States. He also appeared many times at the festival of contemporary music the "Warsaw Autumn" at which he would. mostly perform pieces written especially for him. The list of composers who have dedicated their works to Zdzislaw Piernik amounts to a dozen: Benno Amman, Zbigniew Bargielski, Andrzej Bieian, Marian Borkowski, Andrzej Dobrowolski, Roman Haubenstock-Ramati, Wojciech Kilar, Krzysztof Knittel, Andrzej Krzanawski, Krzysztof Penderecki, Boguslaw Schaeffer, ELibieta Sikora, Witold Szalonek. Five of such pieces have
been recorded on this disc.

Capriccio per tuba by Krzysztof Penderecki was written in 1980 and was performed for the first time the same year at the "Warsaw Autumn". Although it is subtitled "scherzo alla polacca" Zdzisław Piernik does not play it at the tempo of a polonaise. He probably does not do so because the composition played at a slower tempo would lose its jocular character suggested by the subtitle. The Capriccio has been written in the traditional idiom apart from a sole fragment in which Penderecki uses the highest and the lowest of the sounds that can be extracted from the tuba. This is a short, one-movement piece easy to listen to but by no means easy for the performing tuba-player.

Vox -per uno strumento ad attone (which means: "for a brass instrument") by Marian Borkowski, written in 1977, is a composition designed for any brass wind instrument. Its graphical score, written not on note paper but the graph one, makes it possible to play it at any register. Also the pitch of particular sounds has not been indicated by the composer, so that soloist is free to choose it. The varying texture of Marian Borkowski's piece, in which the composer makes use of all possible kinds of sound and articulation (staccato, legato, tremolando, asciUando, moUo vibrato, fruUato, etc.) enables the soloists to demonstrate their skill.

The Sonata for tuba solo by Andrzej Krzanowski was written in 1978. Contrary to its title, suggesting a four-movement form, this is a one-movement piece made up of two contrasting themes, the very quick and very slow one, both subjected to only slight transformations. Like Penderecki in the aforementioned composition, Andrzej Krzanawski too sticks in his Sonata for tuba solo to the traditional idiom.. Because of this and the very simple structure of the themes it a piece very easy to listen to and at the same time very attractive owing to two qualities it combines, the virtuoso one (first theme) and the expressive one (the lyrical second theme).

The Music for tuba solo by Andrzej Dobrowolski was written in 1973. The composition consists of three movements, of which the outer ones are played on the "classical" bass tuba and the middle movement on the prepared tuba. By contrast to Penderecki and Krzanawski, the idiom Andrzej Dobrowolski uses in his piece is completely modern. He tries to achieve by means of it all sorts of sound effects, such as snoring, growling, whistling, twittering, squealing, sometimes so high-pitched that one can hardly believe they have been extracted from a bass instrument of this sort.

The Piernikiana by Witold Szalonek, written in 1977, suggests its dedication in the very title. Szalonek specjalizes in the search for new sound possibilities of wind instruments, both wood and brass. J!:ach piece he writes for them inspires him with new ideas and these in turn require of the performer to study thoroughly all the c,omposer's explanations and signs. Moreover, having been given a high degree of freedOm in the interpretation of the piece the soloist becomes co-responsible for the ultimate artistic effect. Among the nu.merous problems to be solved, while playing this extremely complicated composition, there is also the composer's wish for the tubist, at one place, to sing on his instrument... Piernikiana is the most difficult piece among those recorded on this disc and can therefore give a very good idea of the extraordinary range of virtuosity Zdzislaw Piemik has at his command. -- Tadeusz Kaczynski

Zdzisław Piernik, "Piernik Plays"

Side A
Zdzisław Piernik:
DIALOGE FOR TUBA UND TONBAND
8' 45"

Bogusław Schäffer:
PROJEKT FUR TUBA UND TONBAND
14' 26"
Zdzisław Piernik gewidmet

Side B
Roman W. Zajaczek :
TEMA CANTABILE CON PIERNICAZIONI
per tuba universale e pianoforte
7' 34"
Zdzisław Piernik gewidmet
Zdzisław Piernik, Tuba
Maciej Paderewski, Klavier

Marian Borkowski:
VOX
per uno strumento ad ottone
4' 49"
Zdzisław Piernik gewidmet

Elzbieta Sikora :
IL VIAGGIO 1
per tuba solo con pianoforte
11' 14"
Zdzisław Piernik gewidmet
Zdzisław Piernik, Tuba
Maciej Paderewski, Klavier
Recording Producer: Gerhard Narholz
Publisher: Edition PRO NOVA, Sonoton
Coverphoto and design: Intersound


I became aquainted with Zdzisław Piernik in Torun. The master's performance on the tuba and the "prepared" tuba is, by European standards. a phenomenon. But can you compare performing on the tuba to performance by Pollini or Szeryng? It is not possible ... too bad! Could it be that music in its heterogeneous nature is undemocratic? (all are apparently equal, some more equal-some adjectives do not yield easily to degrees of comparison: equal, common, average, etc.; negative adjectives are best compared, oh God, and how pleasant to compare them, how pleasant). Then music is undemocratic. But maybe our reasoning is faulty. Zdzisław Piernik is beyond compare on the tuba. And perhaps this is important. He also performs an all-purpose instrument: into the "spirals" of the tuba he puts parts of different instruments; to realize in this wild and somewhat acrobatic means our (mine in particular) dream of a "multicoloristic" instrument. The bassoon and saxophone mouthpieces complete everything. The tone color of the tuba transforms and is rich in degrees previously unknown. Of course, this does not happen automatically, the master uses different overblowings, partially presses valves while he rages on this brass elephant with unprecedented lightness and fantasy. The best thing is that Zdzislaw performs on this super-tuba as if he were a connoisseur of contemporary structure (he isn't). He is gifted with great intuition which could arouse the envy of other instrumentalists. He has also contrived a beautiful gesture which I have never seen elsewhere: if the applause is very loud and long, he points to the tuba lying on the ground. He is a tuba phenomenon and an idealist! Fascinating on the tuba-that is to say victory of mind over matter. -- Bogusław Schäffer.

The tuba, an instrument not often met in solo performance, has secured itself a certain position on the concert stages of our coumry thanks to the performances of Zdzisław Piernik, a virtuoso whose mastery has become a sensation in our country and abroad.

The artist began on the trumpet, later in high school he studied performing on the viola and contrabass, composed a little, performed in jazz groups, and finally in 1968 embraced the tuba, beginning study with Juliusz Pietrachowicz in Warsaw's Higher School of Music. And here, perhaps, he found his calling...

As earty as 1970 Zdzisław Piernik won first prize in the general Polish competition of young musicians in Gdańsk, then he played concerts co-operated with Polish Radio and Polish Television, played in musical and dramatic theaters, and played concerts variously abroad in East Germany, West Germany, and Austria-everywhere receiving enthusiastic reviews. -- "Zycie Warszawy", Warsaw, March 4, 1977

Ivo Malec, "Triola"

Face A
TRIOLA
1. Turpituda 9'30" + long silence
2. Ombra 12'03" + long silence

Face B
TRIOLA
3. Nuda 12'30" + long silence
BIZARRA 7'30"

Igor Stravinsky, "Canticum Sacrum" & "Symphony of Psalms"

Canticum Sacrum



Symphony of Psalms

Arnold Schoenberg, "String Trio"

Whose version of Schoenberg's 'String Trio' is better?
	Los Angeles String Trio
	Trio à Cordes Francais

Olan & Miller

-- LINER NOTES --

COMPOSITION FOR CLARINET AND TAPE (1976) 5:35
David Olan
The composer has approved this recording. The work won the 1980 International Clarinet Society Composition Competition.

PIECE FOR CLARINET AND TAPE (1967; rev. 1982) 5:30
Edward Miller
The composer has approved this premiere recording.

--------------------------------------------------------------------------------------------------------------------------------------
DAVID OLAN (b. 1948) attended Columbia University and University of Wisconsin; since 1979 he has taught at the Baruch College of the City University of New York. Olan's works have been performed by such groups as Parnassus, the Group for Contemporary Music, Speculum Musicae, and the New Jersey Percussion Ensemble. His music may also be heard on CRI and New World Records. Olan comments:

"In my Composition for Clarinet and Tape, I wanted to incorporate the unique characteristics of each medium: drawing on the expressivity and fluidity of the clarinet as well as the extremes of speed, register, dynamics and percussiveness which can be achieved only with tape. I meant for this juxtaposition to be felt within a process of accommodation between the two worlds, with each medium having the opportunity to reinforce and support the other. The tape was realized at the Columbia-Princeton Music Center, and employs only electronic sources."

EDWARD MILLER (b. 1930) studied music at the University of Miami and the Hartt College of Music. He has taught composition at the Oberlin Conservatory since 1971. Miller has received many honors, and has had his works performed by the Berlin Philharmonic, Cleveland Orchestra, Minnesota Orchestra, and several other major symphonies. Works are also recorded on CRI and Opus One. Miller states:

"Completed April 1, 1967, Piece for Clarinet and Tape was my first attempt at electronic music and the tape part contained many flaws. In this recording Dr. Kireillis uses a new version of the tape part that I finished in January, 1982. I used a Sigma IX computer, a facility of the Music Technology Program at Oberlin College Conservatory of Music. The programming was MPL (Music Program Library), developed by Gary Nelson."

Charles Hamm, "Canto"

-- LINER NOTES --

CANTO Charles Hamm (1963) for soprano, speaker & chamber ensemble. Helen Hamm, soprano; Elizabeth Hiller, speaker, The Contemporary Chamber Players of the University of Illinois; Jack McKenzie, conductor....6:23

The Studio for Experimental Music at the University of Illinois was established in 1958, and placed under the directorship of Lejaren Hiller, Professor of Music, to provide facilities for the creatin, research and teaching of electronic music techniques, to investigate the application of computers to musical composition, and to encourage original instrument design and construction. These related roles the studio has fulfilled admirably, and from its relatively modest beginnings it has developed into one of the best equipped in the world.

The works on this recording provide a representative selection of the more than forty works which have been composed in the studio since its inception.

CHARLES HAMM (b. 1925), composer and musicologist, studied at the University of Virginia and at Princeton University. His teachers in composition were Randall Thompson, Bohuslav Martinu, and Edward Clone. Prior to his appointment, in 1963, as Professor of Music at the University of Illinois, he taught at the Cincinnati Conservatory of Music and at Newcomb College, Tulane University. His compositions include six operas, an orchestral work--"Sinfonia 1954"--which was commissioned by the Cincinnati Symphony, and numberous chamber, piano, and vocal works. Among his more recent works are "Mobile for Piano and Tape," "Portrait of John Cage" for piano and three tape recorders, and "Round" for unspecified instrumental or vocal ensemble.

CANTO

For the seven lakes, and by no man these verses:
Rain; empty river; a voyage,
Fire from frozen cloud, heavy rain in the twilight
Under the cabin roof was one lantern.
The reeds are heavy; bent;
and the bamboos speak as if weeping.

Autumn moon; hills rise about lakes
against sunset
Evening is like a curtain of cloud,
a blurr above ripples; and through it
sharp long spikes of the cinnamon,
a cold tune amid reeds.
Behind hill the monk's bell
borne on the wind.
Sail passed here in April; may return in October
Boat fades in silver; slowly;
Sun blaze alone on the river.

Where wine flag catches the sunset
Sparse chimneys smoke in the cross light

Comes then snow scur on the river
And a world is covered with jade
Small boat floats like a lanthorn,
The flowing water closts as with cold. And at San Yin
they are a people of leisure.

Wild geese swoop to the sand-bar,
Clouds gather about the hole of the window
Broad water; geese line out with the autumn
Rooks clatter over the fishermen's lanthorns,

A light moves on the north sky line;
where the young boys prod stones for shrimp.
In seventeen hundred came Tsing to these hill lakes.
A light moves on the South sky line.

State by creating riches shd. thereby get into debt?
This is infamy; this is Geryon.
This canal goes still to TenShi
Though the old king built it for pleasure

K E I M E N R A N K E I
K I U M A N M A N K E I
JITSU GETSU K O K W A
T A N FUKU T A N K A I

Electronic Music from the Columbia-Princeton Electronic Music Center

This recording of electronic music presents the works of four authors who come from four different countries with quite varied musical backgrounds. Two of them have considerable knowledge of electronics which stems from a formal engineering training in one case, and from a high degree of practical experience in the other. Diversity of styles is in evidence, as each composer's style is his own concern. The common experience for these composers has been the use of technical resources at the Columbia-Princeton Electronic Music Center and the investigation of specialized methods for the evolution and transformation of recorded sound materials, conducted in my course at Columbia and further demonstrated in private sessions by technicians. This work is done in Studio 106, located in McMillin Theatre on the campus of Columbia University in the same room where the older Columbia University Tape Studio was housed. The present studio has been considerably expanded in recent years and has become a part of a complex of three studios and a small laboratory established under a Rockefeller Foundation Grant given to Columbia and Princeton Universities in 1959.

With the notable exception of the very unique possibilities offered by the RCA Sound Synthesizer located in Studio 318, the standard and specialized equipment of the Center is devoted to the production of sound materials by "Classical" methods, common to all electronic music studios. Thus, materials (of either purely electronic or non-electronic origin) recorded on tape, may be subjected to manipulation by tape speed variation, electronic filtering, several types of frequency modulation, artificial reverberation, etc. Tape cutting and splicing by hand still occupies a good deal of time in preparing the sound patterns and arranging them in longer sequences. Techniques are available to create certain types of rhythmic patterns and timbre variations by semi-automatic methods, but the materials thus produced are of limited usefulness. Much time in classroom discussion is devoted to the structural considerations which we believe to be quite challenging and of paramount importance in the electronic music medium, rich as it is in unusual timbres and opportunities for the realization of complex rhythms.

It is hard to imagine that there is much occasion any more for claiming that electronic music is "dehumanized" in its content. Electronic music simply undertakes to express, by different means, human situations, ideas, and emotions.

Vladimir Ussachevsky
Professor of Music
Columbia University

SIDE 1

Band 1. Study No. 1
My main objectives in this Study were: 1. to obtain instrument-like sounds, such as the bell-like sonorities of the opening (derived from saw-tooth waves), or those in the epilogue that resemble contrabass pizzicati (derived from sine waves), with a vast range of percussive and plucking sounds in between: and 2. to create tensions and relaxations, the former achieved through complex rhythms, increased densities of tone color, and other similar effects; the latter occurring when a high degree of intensity is diluted by the introduction of "richer" and "more familiar" sounds. The sources are all electronic.

Absolute control has been excercised over the development of component materials and their final mixing, by integrating six channels coming from four precisely synchronized tape recorders. The result is a finished composition originally designed for two-channel reproduction.

Andres Lewin-Richter

SIDE 2

Band 1. Vocalise

Vocalise was composed in the Spring of 1964. Conceived as a study, it is an attempt to create electronic music of an expressive, emotional nature. Two elements are juxtaposed: the human voice (that of Pnina Avni, my wife) and sounds from electronic sources.

These elements are stated at the beginning in a pure and simple form, but later undergo changes and variations through the use of the techniques of the electronic medium.

After the first presentation of the musical material, an elaborate process of development ensues, in which the two elements -- voice and electronic sounds -- are drawn closer and closer together until it sometimes becomes almost impossible to distinguish which is which.

The third section of the work serves as a kind of recapitulation, and the piece ends in the same characteristic lyrical mood as in the beginning.

Tzvi Avni

Band 2. Variations for Flute and Electronic Sound
Band 3. Dialogues for Piano and Two Loudspeakers

Since 1954, composers of electronic music have turned their attention to the problem of combining electronic sounds with traditional instruments. The discipline, as well as requiring new compositional skills, calls on a composer's more traditional training in matters of balance and notation, and heightens his sensitivity to the formal problems of composition in general. My pieces on this disk were designed to give the live performer maximum expressive freedom within each tape cue. The cues are not "technical improvisations in sound", but are realizations of a carefully notated score in which both live and taped portions have been composed. A competent musico-technician, once familiar with my notational techniques and compositional style, could produce, from the written score, an electronic performance differing only in interpretation from the sounds heard on this record.

Variations for Flute and Electronic Sound (1964) in contrast to Dialogues, is a very strictly organized set of six variations on an eleven-bar theme stated at the outset by the flute. The first variation is a restatement of the theme (in altered rhythm) to march-like electronic accompaniment. The second is a strict canon in three parts. The third, entirely electronic, burlesques the theme, making free use of octave transposition. The flute re-enters with the fourth variation, a passionate soliloquy with only one brief electronic punctuation. Variation five, a character variation, features rapid alternation between flute and electronic sound, and a distinctive trilling figuration. Variation six, drawn freely on materials from variations one and five, brings the piece to a brisk cadence.

Dialogues for Piano and Two Loudspeakers (1963) is rhapsodic in character, deriving most of its thematic-motivic construction from an ascending series of gradually diminishing intervals, forming an almost-serial basis for the piece. Two of the themes are developed and transformed at some length, i.e., the piano's theme in twelfths at the entrance of the electronic sound, and the rhythmic novelty of a rising and accelerating series of seven eighth-notes, heard in the middle and latter portions of the piece.

Walter Carlos

1974 ISCM Electronic Music Winners

[In listening to this installment from AGP, I was stunned to hear the opening chords of the Radiohead's "Idioteque" in Paul Lansky's mild und leise @ the 43" mark. It turns out, Jonny Greenwood listened to this LP during the Kid A recording sessions and a couple of samples made their way onto the album.]

-- LINER NOTES --

In the autumn of 1974, the League of Composers-International Society for Contemporary Music, U.S. Section, organized an International Electronic Music Competition, the first undertaken by the organization. Tapes of electronic music compositions were solicited from composers and electronic music studios all over the world. A distinguished panel agreed to select the winners.

The judges were:

Bulent Arel, composer and Professor of Music at the State University of New York at Stony Brook. Mario Davidovsky, Pulitzer prizewinning composer, Co-Director of the Electronic Music Center of Columbia and Princeton Universities, and Professor of Music at City College of New York. Jean Eichelberger Ivey, composer and teacher of composition and electronic music at Peabody Conservatory of Music. J. K. Randall, composer and Professor of Music at Princeton University.

129 tapes representing composers from 15 countries were entered in the competition. Each judge listened to each tape individually, and then the judges met as a group to make their final selections. During the entire judging process, the tapes were placed in unlabeled boxes and identified only by numbers.

The winning compositions are presented in this album. It should be noted that no distinctions were made between the winning compositions, and that the order of works presented on the recording does not signify a ranking.

Program notes and biographical material have been provided by the composers.

As President of the League-ISCM and coordinator of the International Electronic Music Competition, I feel that these works, besides being excellent pieces of music, represent a wide spectrum of approaches, attitudes, styles, and technical procedures that will give the listener much enjoyment and, also, an understanding of the breadth and sophistication of current electronic music. -- Hubert S. Howe, Jr.

Maurice Wright:
Electronic Composition (1973)

Electronic Composition was completed in the spring of 1973. The piece is centered on the pitch Middle C. The timbre space is created by assigning component musical lines to various synthetic "instruments" that are comprised of simple combinations of oscillators and amplifiers and then recording these lines with careful control of reverberation and phase. Certain elements of the piece, namely the sounds that some listeners have compared to "a distant chorus," or "a mutant brass band," as well as the time-pointed clip-clop of electronically pitched horses' hooves in the brief Coda, are developed further in Cantata, a composition for tenor, percussion, and synthesized voices and instruments. -- Maurice Wright

Maurice Wright was born in Front Royal, Virginia. He was a Mary Duke Biddle Scholar at Duke University and Presidents' Fellow at Columbia University. He has studied composition with Jack Besson, Chou Wen-Chung. Paul Earls, lain Hamilton, Jacques Monod: and Charles Wuorinen; computer music and synthetic speech with Charles Dodge. He received a master's degree in 1974 from Columbia University, where he teaches Music Theory. He received the Henry Schuman Prize for Music from Duke University in 1972 and the Joseph Bearns Prize for Music from Columbia University in 1974.

Menachem Zur:
Chants, for magnetic tape (1974)

Chants, for magnetic tape was realized in the electronic studio of Columbia University in March 1974. The work is shaped by a series of phrases divided by small pauses, somewhat resembling a Gregorian chant. The pitches are organized around a nine-tone series: F Bb G, A D B, C# F# D#. The main melodic cell is the figure F ascending to Bb and descending to G. -- Menachem Zur

Menachem Zur was born in 1942 in Tel Aviv, Israel. He studied theory at the College for Teachers for Music in Tel Aviv and in the Rubin Academy of Music in Jerusalem. In 1969 he came up to New York to complete his B.M. degree in Composition at the Mannes College of Music. Mr. Zur received his M.F.A. degree in Composition at Sarah Lawrence College in Bronxville, N.Y. His master's thesis in Composition was a piece for choir, magnetic tape, brass quartet, and percussion that won first prize in a contest in Jerusalem in 1973. He is currently completing his D.M.A. degree at Columbia University in New York City, and teaches music at Queens College, City University of New York.

Side 2
Richard Cann: Bonnylee (1972)

(This song was sung by an IBM 360 model 91)


Paul Lansky: mild und leise (1973/74)

mild und leise was written and synthesized during 1973-74 using the IBM 360/91 computer at Princeton University and the Music 360 synthesis program written by Barry Vercoe. I want to thank my former student Richard Cann, composer of Bonnylee, for his help in learning how to use this program, and the Princeton University Computer Center for its generous allocation of computer time. This work is dedicated to Godfrey Winham.

I would like to advise the listener to:
listen easily and slowly--this
work takes its time,
listen to changing timbres,
to chaning chords,
to changing timres within chords,
to changing chords within timbres,
listen to repetition,
to changes within repetition,
to increasinly more complex forms of the same under repetition,
listen to different ways of doing things,
to linear shapes,
to repeated chords,
--spreading out, and contracting, registrally, to simple rhythms,
--becoming complex rhythms,
listen to combinations of different ways of doing things,
listen to starts and stops as breathing points and places where new twists begin an old material,
listen to each part of the piece as an evolving growing, and more complicated form of earlier parts of the piece,
--as a way of doing things which has only gradually become possible.
listen carefully, and easily.

-- Paul Lansky

Jacob Druckman, "Animus I"

-- LINER NOTES --

Animus I for trombone and tape was composed in 1966 in the Columbia-Princeton Electronic Music Center. The larger formal aspects of the work are concerned with the relationship between live player and the tape: man and the machine which he created in his own image. In concert performance the trombone player presents certain dramatic-theatrical elements. After the first splitting off of the tape and the ensuing dialogue the player sits while the electronic sounds move too quickly for him to compete. The man begins again with angrier, more animal-like material, the tape again enters in imitation but this time overwhelming him and driving him off the stage. The tape exhausts itself, the man reenters, the two finish in a tenuous balance.

Jacob Druckman was born in 1928 in Philadelphia. His musical studies were at Juilliard, at Tanglewood with Aaron Copland and at the Ecole Normale de Musique in Paris. In 1954 he received a Fulbright Grant for study in France and in 1956 a Guggenheim Grant in composition. Works have been commissioned by: Lado (String Quartet No. 2, for the Juilliard Quartet, 1966); Walter M. Naumburg Foundation (The Sound of Time, 1964); Juilliard (ballet music for Jose Limon, 1960); Berkshire Music Festival, Tanglewood (Violin Concerto, for Jascha Heifetz Award, 1955) and others. Mr. Druckman is the recipient of the 1967 publication award from the Society for the Publication of American Music for his Dark Upon The Harp which is recorded by C.R.I. He is a member of the faculty of the Juillard School of Music.

Animus I is published by MCA Music, New York.

Andre Smith, trombonist, was a member of Leopold Stokowski's American Symphony Orchestra for several seasons and is now with the Metropolitan Opera orchestra. He's a graduate of the Juilliard School of Music.

1970 Dartmouth Electronic Music Competition

-- LINER NOTES --

For the last three years, Dartmouth College has held an annual competition for electronic music. The winners and finalists' works from the first competition were released by Vox two years ago and we at Dartmouth felt gratified by the warm critical response to the recording. We were also pleased that the competition gave the public an opportunity to hear some of the best works by new and younger composers.

The judges for the second competition were Lars-Gunnar Bodin from Sweden, Charles Dodge and Pril Smiley from the Columbia-Princeton Electronic Music Center and Kenneth Gaburo from the University of California, San Diego. They chose the winning works anonymously after listening to nearly one hundred different entries. The winning composers were Peter Glushanok, an experienced film maker who has a small electronic music studio in his home, and Peter Klausmeer, a graduate student at the University of Michigan. The two finalists were Walter Kimmel,who is director of the electronic music studio at Moorhead State College,and Raymond Moore, who is a recording engineer for a large record company.

There were over two hundred entries in the 1970 competition which meant nearly a week of listening for judges Sal Martriano from the University of Illinois, Francois Bayle of France and James K. Randall of Princeton University. Again the prize was divided between one of Chile's leading composers, Jose Vicente Asuar and Richard A. Robinson, the director of the Atlanta Electronic Music Center. The finalists were Jean-Claude Risset who works in Marseille, France, but who realized his work at the Bell Laboratories in New Jersey,and Jonathan Weiss, a Composer in his early twenties who is in residence at the R.A. Moog Co. in Trumansberg, New York.

The listener to this album will hear enormous diversity in the approach used by the different composers. The following comments about the works were written by the composers themselves.

Jon H. Appleton, Director
Dartmouth Electronic Music Studio

Side I - 22:53 Min.

IN MEMORIAM FOR MY FRIEND HENRY SAIA - 10:35 Min.
Completed in early 1969, this piece was begun as an experiment in textures from concrete sources, and was developed as an elegy in memory of my friend Henry Saia who died by suicide just a few months before.

Henry's transient and restless quality, seen through the eyes of his friends who discussed him interminably; his depressions lightened by a sense of humor, and his life which ended without hope despite the jokes and the friends, broke traumatically into our unawareness. -- Peter Glushanok

CAMBRIAN SEA - 6:18 Min.
This piece was put together in the University of Michigan Electronic Music Studio in January, 1968. There is nothing particularly complicated about the material used; all the sounds are electronic in origin.

White noise formed the basis of the first couple of minutes of the piece. The signal was into several components, filtered through two Krohnhite band-pass filters, re-mixed and shaped by a Moog envelope generator-voltage controlled amplifier combination.

The "metal" sounds were made by modulating a mixture of three sine waves with a white noise signal whose short attack & decay envelope came from the Moog equipment mentioned above. An old tube-type balanced modulator was used here. The "belch" sounds were made in a fashion similar to that of the metallic sounds, except that a very low sawtooth wave was the modulating signal instead of the white noise, the frequency of one of the sine generators being altered by hand during the decay of the envelope.

With the return of the sea sounds at the end, the piece is closed off in the age-old, time-tested A-B-A fashion. -- Peter Klausmeyer

"TRIP THROUGH THE MILKY WAY - AN ELECTRONIC PANORAMA" - 5:57 Min.
The three basic motives of "Trip Through the Milky Way - An Electronic Panorama" are: a twenty-three-note row in which the interval of a fourth appears thirteen times; a series of thirteen fourths; and a sine wave glide tone whose ups and downs are governed by the interval of a fourth. All of the motives were created with a sine wave oscillator.

Several one-voice lines were created from these three basic motives. They in turn were copied - halving or doubling the tape speed, and hence creating a building block - i.e., a four-voice unit.

These building blocks were then combined so that in the middle of the composition there are sixteen distinct lines on each stereo channel and thirty-two in the center (Two channel version). . .. ...

Hence, "Trip Through the Milky Way - An Electronic Panorama" is a multi-voiced (64) canon at the octave.

The composition was not a planned trip through the Milky Way but rather after the fact. When it was finished (March 1969), the structure and contour of its sound densities and intensities were not unlike a sound picture (or, if you will, Panorama - in the four channel version) of a trip through the Milky Way.

Since April 1969, there have been performances of the "Trip...." in Sweden by the Fylkingen, and Rikskonserter groups, by the Swedish Radio and at the opening of the United States Cultural Center, Stockholm, Sweden, in the music-light-dance festival "Action Center U.S.A." In the July 1970 issue of High Fidelity, "Trip Through the Milky Way" was awarded Honorable Mention in its Electronic Music Contest of August 1969. -- Raymond Moore

Side II - 24:00 Min.

DIVERTIMENTO - 7:05 Min.

In works such as "Serenade para mi Voz" (1962) and "Divertimento" (1968), I've tried to bring back, using the electronic medium, recollections of the chamber music of the 18th century not by pretending to revive the classical form but by taking a thought or an idea that could have inspired music at that time and could also do it in our age. The elegance of the classical Divertimento has always interested me for within the Suite form can be outlined the "Variation", the "Dance" or the "Reprise", all in an extroverted mood, full of virtuosity and good humor.

The realization of my Divertimento is wholly electronic while its organization is greatly dependent on mathematics and biology. A kind of bio-chemistry which consists of transforming sound molecules into cells, tissues, organs, and bodies, and feeding them from the same vital tension that gives energy to the whole as well as to each one of its parts. In this way, the composition laws of the sonorous unifying elements have been the determining factor in the structure of the work, since I believe that through electronic music we can establish space-time-structure relations that can be projected in the micro form as well as in longer time lapses with the same degree of significance. In other words, I believe that the unifying factor of the form-matter (energy-matter) which has been lost, acoustically speaking, in our present-day instrumental music can be found again in the electronic medium, and this is, for me, the main reason for working out the musical-technical problems that are inherent in this form of communication. -- Jose Vicente Amar

AMBIENCE - 6:23 Min.

The source material for Ambience was produced on an "instrument" consisting of three electric bass guitar strings strung lengthwise across a long board, with a bridge and a small magnetic guitar pickup at each end. Two modes of sound production were used. One, in which transversely placed metal pipes were rolled up and down the length of the strings, of multiple glissandi. A second, predominant texture was produced by causing a number lengths to "oscillate" or rock across the strings (rather than to roll lengthwise).

This basic recorded material was then extensively transformed electronically by filtering, heterodyning, ring modulation, speed changes, etc., an 6' finally an overall structure was composed of variously complex superimpositions and juxtapositions of the two basic textural types. A light controlled channel-speaker distributing device used in the original qaudrasonic version further emphasizes this textural contrast in that gliding textures have a predominantly circling movement around the listening area, while the more active, rhythmic textures move disjunctly.

The intention of the piece, originally conceived for performance with the Atlanta Contemporary Dance Group, is to create an impression of actually being swept up in a familiar yet mysterious sound-atmosphere or ambience - perhaps somewhat like the experience of driving alone in a car at night - a sense of increasing absorption and identity with the surrounding sounds - the motor, rushing air, tires on pavement, vibrations, etc. -- Richard Allan Robinson

Pril Smiley & William Hellermann

-- LINER NOTES --

PRIL SMILEY (b. 1943)
ECLIPSE (1967) * 1st Finalist *
(Realized in the Columbia-Princeton Electronic Music Center)
Eclipse was originally composed for four separate tracks, the composer having worked with a specifically-structured antiphonal distribution of compositional material to be heard from four corners of a room or other appropriate space. This record necessarily represents a reduced two-track version of the piece, and hence (from the composer's point of view) the piece loses some part of its structural significance. Some sections of Eclipse are semi-improvisatory; by and large, the piece was worked out via many sketches and preliminary experiments on tape: all elements such as rhythm, timbre, loudness, and duration of each note were very precisely determined and controlled.

In many ways, the structure of Eclipse is related to the composer's use of timbre. There are basically two kinds of sounds in the piece: the low, sustained gong-like sounds (always either increasing or decreasing in loudness) and the short more percussive sounds, which can be thought of as metallic, glassy, or wooden in character. These different kinds of timbres are usually used in contrast to one another, sometimes being set end to end so that one kind of sound interrupts another, and sometimes being dovetailed so that one timbre appears to emerge out of or from beneath another. Eighty-five percent of the sounds are electronic in origin; the non-electronic sounds are mainly pre-recorded percussion sounds-but subsequently electronically modified so that they are not always recognizable. By Pril Smiley

WILLIAM HELLERMANN (b. 1939)
ARIEL (1967) * 4th Finalist *
(Realized in the Columbia-Princeton Electronic Music Center)
The name Ariel is related to Shakespeare's character in The Tempest: the music isn't. I chose this name for my piece only because it sounded appropriate to the music. Not because the music was especially poetic or playful, but because Ariel suggests to me a transformation of spirit, the ability to change shape at will.

In listening to Ariel, it might also be helpful to know that it was not designed to illustrate any technical process or aesthetic dogma; nor was it intended to create any visual images. It is a composed performance, not a composition. A performance, because all its events are the result of live operations in real time, not the result of careful measuring and splicing. Composed, because many separate performances were then transformed, made to have new significance, by being placed in relation to each other. The performing medium was an electronic music studio: the basic sound source was a gong. By William Hellermann

Olly Wilson, "Cetus"

On April 5, 1968 composers Milton Babbitt, Vladimir Ussachevsky and George Balch Wilson came to Dartmouth College in Hanover, New Hampshire to judge the first competition devoted to electronic music. The Dartmouth Arts Council had made available a five hundred dollar prize which was awarded to Olly W. Wilson for his composition "Cetus." Babbitt, Ussachevsky (Directors of the Columbia-Princeton Electronic Music Center) and Wilson (Director of the University of Michigan Electronic Music Studio) singled out five other works which they felt were significant compositions. Over one huindred entries were received front studios around the world and the judges listened to more than sixty of these before selecting the finalists whose works are presented here for the first time. The judging was anonymous and it was a mere coincidence that two of the finalists should have come from the Columbia-Princeton Electronic Music Center and two from the Experimental Studio of the Polish Radio.

This recording is, in one sense, an historic document for it testifies to the breadth of interest in electronic music by composers and the new audiences. It is also significant that these works will reach that audience through this recording and not the concert hall. The following notes were written by the composers themselves.

Jon H. Appleton
Director, Electronic Music Studio
Dartmouth College
Hanover, New Hampshire

OLLY W. WILSON (b. 1937)
CETUS (1967) * Winner *
(Realized in the Studio for Experimental Music of the University of Illinois)

Cetus was completed during the summer of 1967 at the studio for Experimental Music of the University of Illinois. The title refers to an equatorial constellation whose arch-like configuration was suggested to the composer's mind by the form of the work. This musical structure is the result of an evolutionary process in which basically simple timbres, textural combinations, and rhythmic events become more complex before ultimately returning to simpler relationships. For example, the basic timbre of the first selection was produced by amplitude modulation of a single sine wave which evolves into a combination of modulated sound sources, the sum of which is then modulated.

The compositional process characteristic of the "classical tape studio" (the mutation of a few basic electronic signals by means of filters, signal modifiers, and recording processes) was employed in the realization of this work and was enhanced by means of certain instruments which permit improvisation by synthesized sound. Cetus contains passages which were improvised by the composer as well as sections realized by classical tape studio procedures. The master of this work was prepared on a two channel tape. Under the ideal circumstances it should be performed with multiple speakers surrounding the auditor. By Olly Wilson

Daria Semegen, "Arc: Music for Dancers"

I. ARC: MUSIC FOR DANCERS
(By Daria Semegen; Time: 13:40)

The music was composed following the choreographer's detailed graph-diagram indicating each beat of the dance and descriptions of dancers' motions on stage, combined with a plan of synchronous stage lighting effects. The dance itself does not suggest a specific programmatic idea throughout, but each section of its arc pattern seems to feature motivic gestures ranging from slow, graceful movements to rapid motions involving solo, duet, and trio combinations of the seven clmcers. Sometimes, the lighting effects themselves are featured in precise synchronization with the music, and create elaborate silhouette designs as they play across symmetrical groups of stationary dancers. The piece consists of five parts whose themes, tempos, and "orchestrations" are arranged in the shape of an arc (A B C B A). Each section is itself divided into a smaller arc (a b a ). After a brief introduction of phrases in groups of three beats each, the first prt begins with two motivic elements arranged in a simple question-answer idea: lower range sounds on the beat, and contrasting high echoed flourishes in alternation. Section B introduces both a new tempo and "orchestration" or sound texture, as well as a new motive featuringa tremolo effect on harsh sounds alternated in various patterns from one channel to the other. A six note ostinato appears toward the middle of this section and is gradually integrated into a polyphonic pasage. Section C's theme resembles an orchestral "tutti" and is followed by a variation of the tremolo idea and echo figurations heard previously. Although the music is essentially tonal and establishes various temporary tonal centers throughout, microtones and the characteristically rich textures of electronic sound sources provide dissonant impressions counterbalancing the tonal aspects.

The work was composed using a Buchla series 200 synthesizer and classic studio techniques. The music tape was synchronized at Bell Telephone Labs with the program of the Mimi Garrard Dance Theatre's portable computer-controlled lighting system by Mimi Ganard and James Seawright in preparation for Arc's first presentation in May of 1977.

Daria Semegen (b. 1946, Bamberg, Germany) studied at the Eastman School of Music, Yale and Columbia Universities, and in Warsaw, Poland as a Fulbriiht Scholar. Her composition teachers include Samuel H. Adler, Robert Gauldin, Bunill Phillips, Witold Lutoslmki, Biilent Arel, and Vladimir Ussachevsky. She has received numerous awards in composition including two BMI Awards, Chautauqua, MacDowell Colony, and Tanglewood fellowship, Fulbright Grant, two National Endowment for the Arts commissions, prizes from Yale University, Mu Phi Epsilon, and the ISCM Int'l. Electronic Music Competition for her work Electronic Composition # I. She is author of instrumental and electronic music and has published articleson electronic music in the Music Journal. Since 1972, she was on the teaching staff of the Columbia-Princeton Electronic Music Center and & worked as technical assistant to V Ussachevsky and Otto Luening. In January 1974, she joined the Dept of Music of the State University of New York at Stony Brook where she is Asst Professor and Associate Director of the Elecrronic Music Studios.

Diane Thome, "Anais"

-- LINER NOTES --

DIANE THOME
ANAIS
Diane Thome, piano; Michael Finckel, cello; tape part realized at the SUNY, Binghamton electronic music studio

DIANE THOME (b. Pearl River, New York, 1942) received her musical education at the Eastman School of Music, University of Rochester, University of Pennsylvania and Princeton University, where she was the first woman to receive a Ph.D. in Music. Among her teachers were Dorothy Taubman in piano, and Robert Strassburg, Darius Milhaud, Roy Harris, Alexander Urijah Boscovich and Milton Babbitt in composition. Her compositions have been presented in Europe and throughout the United States under important auspices. Her collaborative works include Night Passage, an environmental theatre piece, as well as compositions for dance and film. She has received many grants and awards including one from the National Society of Arts and Letters and two from the National Endowment for the Arts. She is a member of the National Council of the American Society of University Composers and Co-chairperson of the Northwest Region. She has taught at Rutgers University, the State University of New York at Binghamton and is currently (1980) on the faculty of the University of Washington School of Music in Seattle.

ANAIS, for tape, violoncello and piano, was composed at the invitation of cellist Michael Finckel during the summer of 1976. The tape portion of the work was synthesized in the analog studio at the State University of New York in Binghamton while Thome was working under a SUNY Research Grant. The piece is dedicated to the memory of the writer Anais Nin, who died shortly before its premiere in March, 1977, in Los Angeles.

Elias Tanenbaum, "Contradictions"

ELlAS TANENBAUM
CONTRADICTIONS (1974)
Tape realized at the electronic music studio of the Manhattan School of Music

ELlAS TANENBAUM (b. 1924, Brooklyn) studied trumpet at an early age. His first musical experiences were in the field of jazz, and his music reflects the openness and spontaneity of the jazz experience. After serving in World War II, he entered the Juilliard School of Music; upon graduation as a trumpet major his interests turned to composition. He studied privately with Dante Fiorillo, Bohuslav Martinu, Otto Luening and Wallingford Riegger.

Tanenbaum, who has composed extensively in all mediums, is the recipient of many prizes and awards. He is the director of the electronic music studio, a member of the composition.faculty, and conductor ofthe Composers' Improvisation Ensemble at the Manhattan School of Music. He writes:

"The material used in CONTRADICTIONS is varied. There are both electronically generated and concrete sounds. The work opens with a man's voice saying, 'Sounds are.' That phrase expresses my feelings about this work; sounds are whatever they are and stand by themselves."

AMERICAN COMPOSERS ALLIANCE
Each year, the American Composers Alliance chooses several member composers to receive the ACA Recording Award. These awards are given either to stimulate the career of a talented young composer or to call attention to the recognized achievement of a mature musician. Occasionally, the birthday of an outstanding composer is celebrated with the Award. In all cases, the selection is made by a jury of the composer's peers, whose principal criterion is artistic excellence.

Frank Wigglesworth
President

This record was made possible by a grant from the American Composers Alliance.

Producer: Carter Harman
Associate Producer: Carolyn Sachs,
Art Director: Judith Lerner
Cover Judith Lerner 1982
LC#: 82-74331 2
1982 Composers Recordings, Inc.

THIS IS A COMPOSER-SUPERVISED RECORDING
Printed in the U.S.A.
CRI
WRITE FOR A COMPLETE LISTING OF ALBUMS ON CRI
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William Matthews, "Field Guide" & "Aurora, A Waltz"

-- LINER NOTES --

WILLIAM MATTHEWS
FlELD GUIDE
Tape realized at the Institute of Sonology; Utrecht. Holland

WILLIAM MATTHEWS (b. 1950) is a flutist and conductor, as well as a composer. He studied at the Oberlin Conservatory and at the University of lowa, and is currently (1977) working with Jacob Druckman at the Yale School of Music. In 1972,1973 and 1974, he received BMI Awards to Student Composers, and in 1976 received a Charles lves Award from the National Institute of Arts and Letters.

From 1974 to 1976, he worked at the lnstituut voor Sonologie in Utrecht, Holland, using the computer facilities there to produce several works, including FlELD GUIDE on this album. He writes:

"In FlELD GUIDE, for computer-synthesized electronic sound, the composer and computer wander together through a 'field' of 103 different sound events. The program for the piece calls upon the composer to decide which general direction the music should take during the course of performance, while the computer is allowed to decide the details. Listening to FlELD GUIDE is a bit like walking through a woods in which each species of flora is found only in its particular habitat, while interloping fauna are more free to put in surprising appearances here and there."

--------------
WILLIAM MATHEWS
AURORA, A WALTZ (1981)
Tape realized using computer music equipment of the Structured Sound Synthesis Project at the University of Toronto

WILLIAM MATTHEWS (b. 1950, Toledo) studied composition at Oberlin, the University of Iowa, the Institute for Sonologie in Holland, and the Yale School of Music. His principal teachers include Richard Hervig, Gottfried Michael Koenig, and Jacob Druckman. Among his awards and prizes are three BMI Awards to Student Composers, several grants for study abroad, a Charles E. lves Scholarship from the American Academy and Institute of Arts and Letters, two ACA recording awards, and a composer-fellowship from the NEA. He has composed music of several types, including solos, orchestral, electronic and chamber music, as well as music for the theater. Since 1978 he has taught at Bates College in Maine. He writes:

"AURORA, A WALTZ, uses a few distinctly electronic timbres, but mostly uses sounds with sharp attacks and immediate decays, similar to those of the piano. These sounds were chosen to emphasize the energetic rhythmic life of the musical structures employed.

"I would like to express my gratitude to William Buxton, the Director of the SSSP in Toronto, for the invitation to work there and for technical assistance."

Ramon Zupko, "Fixations" & "Fluxus I"

RAMON ZUPKO

FIXATIONS (1974)
Nancy Elan, violin; Barbara Bogatin, cello; Andrew Thomas, piano; tape; Harvey Sollberger, conductor

FLUXUS l
Electronic tape realized at the Western Michigan University Electronic Music Studio

RAMON ZUPKO (b. 1932, Pittsburgh) started learning the piano from his mother, a good pop pianist, at the age of 8, and started to compose at about the same time. His talent for composition was encouraged in high school, in Ohio, and he went on to study with Vincent Persichetti (at the Juilliard School) and later in Vienna on a Fulbright Fellowship and at Columbia University. He lived in Europe from 1962 to 1966, studying at the Darmstadt Summer Courses and taking courses in electronic music at Bilthoven, Holland. Back in the U.S.A., he lived for a year on a Ford Foundation grant and then became Director of the Electronic Music Laboratory at Roosevelt University, Chicago. Since 1971 he has held a similar position at Western Michigan University, where he also teaches composition and theory and directs the New Music Ensemble. In 1970 his work for soprano and chamber ensemble, La Guene was chosen to represent the U.S. at the festival of the ISCM in Basel, Switzerland.

He has written the following about his music on this record:
"explore obsession
"-focus (out of chaos)
"-set in time (tradition persists)
"frozen movement-change without change . . .
"fixations
"Since about 1970 1 have been concerned with four areas of expression in my music in varying degrees of emphasis: space, timbre, expanded tonality, and theatre. FIXATIONS deals in one way or another with each of these, the last one of course being apparent only in live performance. Spatial characteristics are enhanced in live pefformance through the placement of the speakers for the tape part behind the audience. The sounds of the tape part are electronically modified and de-synthesized versions of several of the live instrumental sounds, relating-to the latter as extended timbres and dimensions of them. The pitch and rhythmic structure is derived entirely from the two hexachords and rhythmic cells of the first dozen bars, and each section of the piece deals with a fixed harmonic field, which creates its own tonal hierarchy. There are ten continuous sections within the single movement, four of which are rhythmically freer cadenzas for each of the three solo instruments, as well as the tape.

"FLUXUS I for electronic sounds (1977) is in many ways an alternate solution, employing completely different materials, to the stylistic approach developed in FIXATIONS. It was realized on the Moog synthesizer of Western Michigan University, and employs as raw material four parallel seventh chords, and pitch sequences derived from them. These are subjected to a wide ,variety of controlled manipulations, creating within the basic drone character of the piece a constant state of flux between density and transparency, simple and complex timbres, foreground and background, tonal progression and stasis, rapid and slow spatial movement, regular and irregular rhythms, dramatic declamation and reverie."

JAMES DIXON, a protege of Dimitri Mitropoulos, has established a reputation as one ot the most conscientious and musical of all conductors of new music. He is in residence at the University of lowa, and makes guest appearances in major centers. He has appeared on several CRI records.

HARVEY SOLLBERGER, flutist extraordinary, is as distinguished as a composer and conductor. He is co-director of the Group for Contemporary Music at the Manhattan School of Music and a frequent participant in CRI recordings.

This recording was made possible by a grant from the American Composers Alliance.

Produced by Carter Harman
Cover by Judith Lerner
LETTERS FROM HOME: 12'35"
Recorded by Lowell Cross, April 1977
FIXATIONS: 15'30"
Recorded by David Hancock, March 1977
FlELD GUIDE: 7'55"
FLUXUS 1: 6 min.
All ACA (BMI)
LC# MATHEWS 77-750619, ZUPKO 77-750620
1977 Composers Recordings, Inc.
THIS IS A COMPOSER-SUPERVISED RECORDING
Printed in the U.S.A.

Ramon Zupko, "Masques", "Nocturnes, "Fluxus II"

MASQUES (1973-78)
Western Brass Quintet (Donald Bullock and
Stephen Jones, trumpets; Neill Sanders, horn;
Russell Brown, trombone; Robert Whaley, tuba);
Phyllis Rappeport, piano

NOCTURNES: 1-3, 4-6 (1977)
Abraham and Arlene Stokman, pianos

FLUXUS II (1978)
Abraham Stokman, piano

RAMON ZUPKO (b. 1932, Pittsburgh) is the director of the Studio for Electronic Music and the New Music Ensemble at Western Michigan University, where he also teaches composition, music theory, and acoustics. He began his musical studies at an early age, eventually receiving composition degrees from Juilliard. He studied further at Columbia, and in Europe, where he lived for several years. His principal composition teacher was Vincent Persichetti.

Many of his works make use of the electronic medium, as well as theatrical elements. His awards include grants from the Fulbright Commission, the Ford Foundation CMP Project, the Fromm Foundation, the National Endowment for the Arts, and the Martha Baird Rockefeller Fund. Several of his works have been published, including the Concerto for Violin and Orchestra (1962) which was awarded first prize in the "Premio Citta di Trieste," and FIXATIONS for Piano, Violin, Cello, and Tape (1974), which received a 1977 ACA Recording Award (CRI SD 375). His orchestral works have been performed by the Detroit, St. Louis, and Indianapolis Symphonies. He writes:

"As is the case with most of my works, those recorded here received'their initial impetus from either poetic sources or dramatic-theatrical conceptions. Each of them deals with a re-interpretation of the resources and techniques of the past, with special attention focused on the elements of timbre, space,and an expanded concept of tonality.

MASQUES
play minstrels!
begin your journey
in sound and in motion
unfold your theatre -
allow us an image
of free spirits!

"As the title implies, this is an entertainment piece which combines music with ritual and pageantry. In live performance the musicians, who are costumed uniformly, move about the stage in specified patterns, creating a constantly changing visual as well as aural perspective. The 1978 version includes a number of modifications in order to render the work more suitable as a purely audible experience on disc. This recording attempts to preserve some of the sonic spatiality which one would experience if hearing the work live. Formally, the piece is a series of static sound blocks within a single movement, each one a 'disguised' version of one or more of the others. All of the pitch material is an outgrowth of a single five-note cluster: B, C, D, E, and F, and the sound 'metamorphosis' of the piece is from pitch-oriented to noise-oriented sound, then abruptly back again for the last segment.

"MASQUES was premiered by the artists on this recording on February 15, 1974, on the campus of Western Michigan University.

"NOCTURNES was written during September and October of 1977, and received its premiere by the Stokmans at the University of Chicago on January 20, 1978. Although there are six separate pieces here they form an entity. Each of them is tied to the others through its timbral, melodic, and rhythmic materials, but especially through the harmonic elements, all of which are permutations of a polychordal structure consisting of three major triads a half-step apart. The homage to Chopin is apparent throughout, as is the tone-picture quality of each of the pieces, inspired as they were by the following Haiku:

1. (Calmato)
autumn evening;
a crow perched
on a withered bough (Basho)

2. (Bizzarramente)
the sound of dancing dies;
wind among the pine trees,
insect cries (Sogetsu)

3. (Freddamente)
icy the moonshine;
shadow of a tombstone
shadow of a pine (Shiki)

4. (Ardente)
a lightening gleam
into darkness travels
a night-heron's scream (Basho)

5. (Affabile)
the water-fowl
pecks and shivers -
the moon on the waves (Zuiryu)

6. (Lontano) the bell from far away -
how it moves along in its coming
through the spring haze! (Onitsura)

"FLUXUS II was composed between February and April, 1978, and is dedicated to Abraham Stokman, who premiered the work at Alice Tully Hall on January 20, 1979. The expressive and dramatic flow of the work was strongly influenced by a poem of Dylan Thomas entitled In the Beginning, the poet's personal expression of the story of Genesis. Musically the work is concerned with Baroque and Classical keyboard embellishment, Romantic keyboard figuration and bravura, and with the relationships among static tonal centers. The piece derives its form from the melodic growth and expansion of a three-note cell. It approaches the piano as a polyphonic 'color' instrument, with many gradations of attack and dynamic, 'orchestrated' textures with foreground accompanied by one or more layers of background, various 'echo' effects and the rapid alternation of differing textures and shapes."

ABRAHAM STOKMAN was born in Israel, where he began his piano studies at the age of six. Later he came to the Juilliard School to study with Edward Steuermann, receiving his B.S. and M.S. degrees in piano. Since taking up his residency in Chicago several years ago, he has performed often as soloist with the Contemporary Chamber Players of the University of Chicago, members of the Chicago Symphony Orchestra in chamber music concerts, and most recently as soloist with the Chicago Symphony Orchestra in the Bach D Minor Concerto. He has had compositions written for him by Ralph Shapey, Robert Lombardo, and John Austin. In addition to activities as performer, piano teacher, accompanist, arranger and composer, Mr. Stokman improvises in the manner of the 19th century pianists.

ARLENE GATILAO STOKMAN is a native of the Philippines. After she received her B.S. degree from the University of Santo Tomas in Manila, she came to the Chicago Musical College of Roosevelt University, where she received the Rudolph Ganz Piano Award. She has performed frequently with her husband as a piano duo.

PHYLLIS RAPPEPORT is Professor of Music and head of the piano department at Western Michigan University. She holds degrees from Queens College and the University of Illinois, where she was a member of the Contemporary Chamber Players. She has been the recipient of a Fulbright Scholarship, and has been active throughout the country as accompanist and ensemble performer.

THE WESTERN BRASS QUINTET was founded in 1966 in Kalamazoo, Michigan. Its members are professors of music at Western Michigan University. It has performed throughout the country, including performances for the Composer's Forum on NPR, the Composer's Forum in New York, invitational performances for the Tuba Universal Brotherhood Association and the International Trumpet Guild, and at Carnegie Recital Hall in New York. The ensemble has premiered numerous works which were written for it, including the work on this album, 'Nodding Music' by Elgar Howarth, and LANDSCAPES by Pulitzer composer Karel Husa, a work commissioned by the Quintet, and recorded by them on CRI 192 (78).

This record was funded in part by a grant from the Martha Baird Rockefeller Fund for Music, Inc.

Musical production by composer
Produced by Carter Harman
Cover art Judith Lerner 1979
FLUXUS II - ACA (BMI): 13'50"
NOCTURNES - ACA (BMI): 17'45"
MASQUES - ACA (BMI): 13 min.
LC#: 79-750595
1979 Composers Recordings, Inc.
THIS IS A COMPOSER-SUPERVISED RECORDING
Printed in the U.S.A.

Ramon Zupko, "Noosphere"

American Academy and Institute of Arts and Letters Award Record

Ramon Zupko
Noosphere (1980)

New World Ouartet
(Curtis J. Macomber and William Patterson, violins; Robert Dan, viola; Ross T. Harbaugh, cello)

Ramon Zupko (b. 1932, Pittsburgh, PA) is Professor of Composition at Western Michigan University, where he also directs the Studio for Electronic Music. He began his musical studies at an early age, and studied at Juilliard, Columbia, and in Europe, where he lived for several years. His principal composition teacher was Vincent Persichetti.

He has composed more than 100 works, many of which include the electronic medium, as well as theatrical elements. His more than forty composition awards include a Guggenheim, a Koussevitzky Foundation Award, a Kennedy-Friedheim Award, an American Composers Alliance Recording Award, a Berkshire Music Center Commission, and grants from the National Endowment for the Arts. He was named a Distinguished Faculty Scholar at Western Michigan University for 1983-84.

Zupko's compositions have been performed in New York and at various festivals and college campuses throughout the country, as well as in Europe. His orchestral works have been performed by the Detroit, St. Louis, Indianapolis, Kalamazoo, Curtis, and Tanglewood Festival Orchestras. His compositions appear on CRI 375 and 425.

Zupko has become concerned with a more ecumenical approach to musical materials, which endeavors to synthesize the spectrum of contemporary compositional techniques with those of the past, as well as those of other, non-Western cultures. This approach is supported philosophically by the writings of various 20th century thinkers whose conclusions have to do with the essence of our survival as a species, particularly: the acceptance of the multiplicity of experience, and the evolution of the network of human consciousness. He writes:

"Noosphere is an interpretation, in musical terms, of the substantive elements of the philosophy of the Jesuit priest-paleontologist Pierre Teilhard de Chardin. It was Chardin's vision that the 'Noosphere,' the network of communication, information, and personal aspiration that embraces the universe, is evolving into a collective mind and soul, in which all humans participate.

"The three movements of the quartet express this evolutionary process through the incorporation of various folk songs and chants which represent most of the major world cultures. The same material is employed in all three movements.

"In the first movement, 'Alpha,' the primordial state is represented: independent, elementary energies, in search of unification. The second movement, 'Convergence,' exoloits the effects of unification, creating an increased interaction and inter-dependence among the materials, resulting in higher and more complex levels of organization. The third movement, 'Omega,' the ultimate state of convergence, brings the total inter-meshing of the materials to the forefront. While still maintaining their identities, their main focus becomes interaction with one another, in order to achieve an intensely unified 'hyperpersonal' organization, what Chardin describes as the 'Cosmic Omega.'

"This work was written under a Faculty Research fellowship from Western Michigan University."

IN MEMORIAM R. DOUGLAS

The New World String Quartet, with a repertoire ranging from the standard quartet literature to premieres of contemporary American works, has been acclaimed as one of America's most prominent young ensembles. Formed in 1977, the quartet has appeared at major halls in major cities and universities. It is currently Ouartet-in-Residence at Harvard University. It also appears on CRI SO 497.

This recording was made possible by grants from the American Academy and Institute of Arts and Letters. Each year, this organization awards four prizes to composers of outstanding accomplishment during the preceding year. The prize consists of a cash award and a recording on CRI. Thomas McKinley was a winner in 1983 and Ramon Zupko in 1982.

Charles Dodge, "Changes"

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Charles Dodge received his early musical training in Ames, lowa, where he was born in 1942. During his years as a composition student (at the University of lowa with Philip Bezonson ond Richard Hervig, at Tanglewood with Gunther Schuller and Arthur Berger, and at Columbia University with Jack Beeson, Chou Wen-chung, and Otto Luening), many of his works were awarded composition prizes. Since then, in addition to teaching in the music departments of Columbia and Princeton Universities, he has conducted reseorch in computer sound synthesis at the IBM Thomas J. Watson Research Center and lectured on the subject for musicians, scientists, and engineers at various colleges and universities.

Concerning his work, Mr. Dodge writes: "Changes was commissioned by the Serge Koussevitzky Music Foundation for performance at the Library of Congress. The texture of the composition comprises the same three elements throughout: lines, chords, and percussion; and each textural element delineates a different aspect of the composition's pitch structure. The chords play segments (3 to 6 notes) of the twelve-tone set that forms the basis of the work. In the course of the work the chords sound all 48 forms of the set. The lines play six note segments of the set which are related to the original by rotation. The percussion duplicates the pitch-class content of the chords (i.e., the percussion linearizes the pitches of the chords).

"For the computer performance I designed an 'orchestra' of 'instruments' that emphasize the different types of pitch-delineation. For the lines, a family of registral instruments was created which consist of a pulse generator (of the type used in speech synthesis) which is fed into multiple banks of filters in series. As the amplitude of the banks of filters is varied, the timbre of the note changes.

Further, the center-frequency settings of the filters are changed with each chord change, so that the timbre change itself changes as a function of the chord changes, which are themselves a function of the rate at which the lines sound all twelve tones. As the work progresses, each note in the lines incorporates more and more timbre changes, so that at the end each note changes timbre six times. All of the 'percussion' sounds entail a timbre-change which is the result of different components decaying at different rates."

Charles Dodge, "Folia" & "Extensions"

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CHARLES DODGE

FOLlA
Jeanne Benjamin, Michele Gallien, David Gilbert, Allen Blustine, George Haas, Donald Butterfield, Robert Miller, Raymond DesRoches, Richard Fitz; conducted by Jacques-Louis Monod

EXTENSIONS FOR TRUMPET AND TAPE
Ronald Anderson, trumpet; tape computed at the Columbia University Computer Center

CHARLES DODGE (b. Ames, lowa, 1942) studied composition at the University of lowa, Aspen, Tanglewood and Columbia University. He numbers among his teachers Philip Bezanson, Darius Milhaud, Arthur Berger, Gunther Schuller, Chou Wen-chung, Jack Beeson and Otto Luening. He studied electronic music with Vladimir Ussachevsky and computer music with Godfrey Winham.

Mr. Dodge won his first (of four) BMI Student Composer Awards and his first (of two) Bearns Prizes while still an undergraduate. In 1970, with his mastery of computer music already well along, he became assistant professor of music at Columbia University, and the same year his Changes and Earth's Magnetic Field appeared on Nonesuch Records. In 1971, he began research in computer-synthesized speech and vocal sounds at the Bell Telephone Laboratories, and continued to work there in 1972-3 on a Guggenheim Fellowship. In February 1974 he was visiting research musician at the University of California (San Diego) Center for Music Experiment.

FOLlA was commissioned by the Fromm Music Foundation and was premiered under Melvin Strauss at the Berkshire Music Center in 1965; it is dedicated to Paul Fromm. It has also been conducted by Ralph Shapey with the Contemporary Chamber Players of the University of Chicago, and by Mr. Dodge with New York's Group for Contemporary Music.

Mr. Dodge writes:

"After an initial flurry of activity in the piano and percussion, FOLlA begins its evolution from a unified texture of sustained tones into extended solo and ensemble passages. In these, the possible diversities (of length-of-note, timbre, articulation, register and varieties of pitch and non- and almost-pitch) are balanced with the possible unities within these sonic dimensions. The title, meaning layers, refers to the resulting texture. The tracing of paths back and forth between unity and diversity results in a series of ever heightened climaxes, and then in the music that leads from the final climax to the end of the work."

EXTENSIONS FOR TRUMPET AND TAPE was commissioned by and dedicated to Ronald Anderson, and was first performed by him at a concert of the Group for Contemporary Music in the spring of 1973. Mr. Dodge writes:

"The material for the trumpet and tape share a simple concept -equal interval divisions of pitch space - but diverge in their sonic surfaces. The trumpet part was freely composed with lyrical intent, using the pitch space of the octave and emphasizing its equal-interval divisions: tritones, thirds and seconds.

"The pitch space of the tape part is the continuum between 30 and 12,000 hz. The tape part, which consists entirely of sine-wave glissandos, begins with 16 equalinterval divisions of the pitch space. The sine-tones forming these divisions glissand to the intervallic mid-point of the pitch range, where the direction of the glissando is changed. With each change of direction, the number of tones (and thus the number of equal-interval divisions of the pitch-space) is doubled, until the last glissando, when the tape comprises 1024 tones.

"The trumpet and tape begin with successive solo statements of their respective materials. As the work evolves they overlap and the music ends as it began, with solo trumpet.
- - -
"The electronic portion was computed at the Columbia University Computer Center, using the Music 360 language, with digital-to-analogue conversion at the Nevis Laboratories."

This recording of FOLlA was made possible by grants from the Martha Baird Rockefeller Fund for Music, Inc., the Fromm Music Foundation, the Contemporary Music Society and Joseph Machlis. The recordings of EXTENSIONS, MlMlANA II and GROUP VARIATIONS were made possible by grants from the American Composers Alliance.

Francois Bayle, "Vibrations Composees"

Vibrations Composees
35'58 -- 1973

First series rosace 1 -- respiration -- rosace 2 -- texture -- rosace 3
Second series rosace 4 -- polyrythmy -- small polyphony -- rosace 5



Some motions of vibrations can be organically linked to produce compositions of forces, morphodynamic singularities beneath the threshold of the audible. There results from this a special, intense type of audition which attends carefully to the palpitations of the material, its emotivity, its "respiration", its "texture", the movement of its patterns. This is the basis of the progression, an increasing step by step richness, of the short compositions called "rosaces". In effect it is a matter of attaining, through successive stages of auditive adaptation, the central experience of the last "rosace" -- the fifth -- which presents itself as the core of the composition, the heart of the organism. Meanwhile various interjected digressions and departures offer us imaginary breathings, textures, polyrhythms, small polyphonies.
One gets a sense of perspective: the trajectory is temporarily suspended at the center of its spiral (rosace 5).
Beyond, for a later time, a larger polyphony...
(There is now a distance between the two separate pieces, which were formerly joined: they must be visited separately).
The listener is urged to pick out the vocabulary of "dynams".
* The two pieces share a repertory consisting of:
isolated instrumental notes or sound objects linear extensions of thin sounds -- lines deployed in fanlike or whiplike formations
* as opposed to more elaborate formations:
colored masses of rustlings -- muted or scanning rhythms -- veiled songs - chaotic fragments that gradually become organized or, on the contrary, stuck regularities that dissolve into drifting smoke - streams of points that wrap themselves around motifs.

First series premiered on February 12, 1974 at the Espace Cardin in Paris. The full composition
premiered on october 15, 1974 in the main amphitheatre of the Sorbonne in Paris.

Francois Bayle, "Grande Polyphonie"

Grande Polyphonie
36'22 -- 1974

appel 0'46

polyphonies:

1...aux lignes actives 4'20

2...aux notes repetees 2'51

3...au jardin 5'13

4...figures doubles 5'14

5 ou grande polyphonie: 1, 2, 3, 4, 5 16'20

rappel 1'42

Call...
Polyphony: 1...with active lines
The simplest concrete element, the line, thin and melodic arrives fastest at an abstraction of qualities. Active, passive, or intermediate, the true line is, according to Klee, the line subjected to a strong tension.
2...with repeated notes
Brief, equal, clear values scrabled by the patter of bells emitting call signals. Rigid, transposed, very tense repetition. Followed by a third, deep, abbreviated repetition. Transition, interrupted rubato.
3...with garden
A polyphony of space and colors. Contrast between very brief, delicate fragments--dry versus fluid - and ample quivering sheets having harmonic colors - static versus moving.
4...double figures
Combination of symmetries. Two contrasting parts - like male and female - organized in series of paired cells. These are varied up to the eighth repetition, where the first element is then brought to a completion. The mirror-repeats are enriched with successive transformations through added harmonics.
Then a new, very dynamic element appears - a man's mask bringing tidings...
5...large polyphony
A brief moment in the guise of a preface prepares the final "recall". Seven interconnected sections - though it is not immediately clear how they are related. Various sound signals are heard at frequent intervals, making it manifest that the role of the previous polyphonies was to lead up to the final combination. This makes it possible to listen in a musical way with a great deal of freedom, independence, superposing different voices. All the sound spaces used here resemble each other, from the more artificial and abstract ones to the totally concrete ones, which range from bird calls and songs to human calls and songs.
And finally, the initial call signal dissolves in a long breath,
recall...

Premiered on Radio France in Paris on April 7, 1975
Concert for the 18 Nations of the European Broadcasting Union

Mel Powell

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EVENTS for tape recorder
Voices: Mildred Dunnock, Martha Scott, Lee Bowman

IMPROVISATION
Ward Davenny, piano; Keith Wilson, clarinef; David Schwarfz, viola

SECOND ELECTRONIC SETTING

TWO PRAYER SETTINGS
New York Chamber Soloists; Charles Bressler, tenor; Melvin Kaplan, conductor

MEL POWELL (b. 1923) is Chairman of the composition faculty and Director of the Electronic Music Studio at Yale. His music is characterized by a delicate lyricism that never descends to mere preciosity, and by a passion for clarity and immediacy that illumines even his most complex works.

EVENTS (1963) uses three pre-recorded voices and electronically-generated sounds. Each of the actors was asked to read Hart Crane's "Legend." The recorded voices were then treated exactly like the electronic sounds, and their overlappings and transformations result in a poem-collage. The simultaneities, and the returns and repeats of isolated phrases and words create a number of subsidiary meanings and associations, thus "interpreting" the poem. Intertwined with the poem-collage, and interacting with it, are the electronic sounds, and the interaction makes EVENTS Powell's most overtly dramatic piece.

IMPROVISATION (1962), a commission of the Yale University Summer School of Music, and TWO PRAYER SETTINGS (1963), written for the New York Chamber Soloists, make use of tightly controlled polyphonic webs which nevertheless allow each performer considerable freedom. The controls tend to create harmonic areas with clearly delimited interval content which often coincide with and unify motivic groups, as well control of the directional thrusts of the groups and their manner of attack. At times the tempo indication requires that each player perform as fast as possible without regard for the vertical correlation of the parts.

In IMPROVISATION the fluctuations of the tempo and the relatively complex writing in the strictly ensemble sections obscure the division between these and the freer sections, creating a continuum from one to the other.

In the TWO PRAYER SETTINGS, the strings are treated as a single polyphonic instrument and set against the oboe and the voice. The work is so rooted in the delivery of the texts that often they can be understood as normal discourse. Thus, the most complex passages occur when the voice is silent as, for example, at the opening of the second setting. The words of the first setting are by Paul Goodman, those of the second are attributed to Gregory the Great.

The SECOND ELECTRONIC SETTING (1962) contrasts sharply with EVENTS. Its divertimento-like surface and straight-forward structure make apparent the amazing technical virtuosity of the work. The individuality of the parts is made explicit by their own registral, timbral and rhythmic characteristics; thus the SETTING carries to the electronic medium some of Powell's attitudes towards instrumental music. However, like every true virtuoso performance, the piece can be enjoyed for its sheer engaging sound by listeners who do not care how it was put together.

The American Academy of Arts and Letters and its parent organization, the National Institute of Arts and Letters, are honorary societies with a distinguished membership of creative artists. They are chartered by an act of Congress and are devoted to the furtherance of the arts in the United States.

Through joint committees of selection, these societies every year award fifteen grants to young artists in recognition of distinction and promise. Four of these awards go annually to composers, in addition to the Marjorie Peabody Waite Award given every third year to an established composer of distinction.

In the spring an exhibition of the works of award winners in painting and sculpture is held at the Academy building. In 1956, it was decided to inaugurate a series of recordings with the similar purpose of calling attention to the works of award winners in music. This release, presented in collaboration with Composers Recordings, Inc. offers works by 1963 award winners, Vladimir Ussachevsky and Mel Powell.

This recording has been processed in Unlversal Stereo. For best results It should be played on stereophonic equipment, but it may also be played on modern monaural machines.

Bulent Arel, "Mimiana III: Six & Seven"

Mimiana III: Six & Seven (12:23)

The music is buoyant in nature and was composed following a list of various rhythms and tempos previously designed by the choreographer Mimi Garrard. The dance consists of a total of seven dancers, numerically identified by changeable neon-light number displays on the helmets of their costumes, and grouped into a set of six against the single seventh dancer. Throughout the dance, the six reject the seventh dancer by either ganging up on, or retreating from her. The music opens with an exposition of the numbers from 1 through 7. As # 1 appears, the single basic beat is heard in the music. When #2 and # 3 arrive, the beat is subdivided into two and three (triplet) pulses respectiveIy. So it continues, in the manner of an inventory of the numbers through the introduction of the work. When a certain number is highlighted in the dance, its musical motive reappears. This beginning section uses overlapping phrases of these subdivisions forming smooth layers of sounds. The music progresses toward a gradually introduced double-bass type sound which outlines each beat clearly and dominates the ending section of the work. In the end, as the seventh dancer finally expires, repetitions of a high seven-tone ostinato are heard, as the music erds by gradually fading away.

Mimiana III was composed using electronic sounds including the Buchla synthesizer as an elaborate source material generator in combination with tape mixing and editing techniques.

Bulent Arel, "Mimiana II: Frieze"

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MIMIANA 11: FRIEZE
(By Bulent Arel; Time: 13:02)

The choreography for Frieze was completed some time before the musical score was composed. After seeing the dance, the composer's general impression was that of early Egyptian reliefs in which the human faces are seen in profile, while their torsos are facing outward. The dance suggested a feeling of a completely ritualistic procession consisting of slow and deliberate movements of the dancers. Except for a few contrasting short bursts of fast, active sequences, the dance never lost its hypnotic character.

In the musical score, all sounds are electronically produced and, coincidentally, the work reflects some tonal feelings. From the middle part of the score, where "pure sounds" or sine waves x e used, microtones are introduced and begin to give a descending character to the previously existing- pitches by gradually shifting the pitch structure downward-creating an intentionally blurred pitch relation. The sound colors and articulations are restricted only to those which seemed to best reflect the feeling of the dance.

BULENT AREL (b. Istanbul, Turkey, 1919) graduated from the State Conservatory of Ankara, with a diploma in composition, piano, and conducting. He taught harmony and counterpoint in the same conservatory and piano and history of music at the Teacher's College in Ankara. He was one of the founders of the Helikon Society of Contemporary Arts, and was the regular conductor of !he Helikon Chamber Orchestra for four years.

He studied sound engineering in Ankara under Joze Bernard and Willfried Garret of the Radio Diffusion Francaise, both members of the Club d'Essai of Paris. This collaboration marked the start of his interest in musique concrete, which later led him to electronic music. From 1951 until 1959 he worked at Radio Ankara as recording engineer and then as the Musical Director. In 1958 he pioneered in the field of electronic music combined with conventional instruments, with Music for String Quartet and Oscillator.

In 1959 he came to the United States as the recipient of a Rockefeller Research Grant for work at the Columbia-Princeton Electronic Music Center and in 1961 worked as an assistant to Vladimir Ussachevsky. The next year, he was lecturer at Yale University, where he installed an electronic music studio. Back in Turkey between 1963 and 1965, he composed the score for a musical which ran in Istanbul for over a year. In 1969 he was appointed Associate Professor and Director of the Electronic Music Studio at Yale and in September 1971, he became Professor of Music and Director of the Electronic Music Studio at the State University of New York at Stony Brook.

In 1974 he was completing a work for viols and electronic sounds commissioned by the New York Consort of Viols under a New York State Council of the Arts grant. He also received a National Endowment of the Arts grant in 1974, for completion of a large-scale piano work for pianist, Robert Miller.

He has composed symphonic works, chamber music, including For Violin and Piano (1966) recorded on CRI SD 264, and music for solo instruments. Of his many electronic works is Stereo Electronic Music No. 2 recorded on CRI SD 268.

The composer writes:

"Mimiana 11: Frieze was commissioned by the Mimi.Garrard Dance Company. The choreography was completed some time before the musical score was composed. My general impression of the dance was of early Egyptian reliefs in which the human faces are seen in profile, while their torsos are facing outward. The dance gave me the feeling of a completely ritualistic procession consisting of slow and deliberate dancers' movements. Except for a few contrasting short bursts of fast, active sequences, the dance never lost its hypnotic character.

"In the musical score, all the sounds are electronically produced. Coincidently, the composition reflects some tonal feelings. From the middle part of the score, where the 'pure sounds' or sine waves are used, micro-tones are introduced and begin to give a descending character to the previously existing pitches by very gradually shifting the pitch structure downward - creating an intentionally blurred pitch relation.

"I restricted my sound colors and articulations only to those which would reflect the feeling of the dance. The MlMlANA II: FRIEZE musical score was composed and realized at the Columbia-Princeton Electronic Music Center in 1969."

Bulent Arel, "Mimiana I: Flux"

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The myriad, diverse sonorities, expressions, and articulations of the electronic music medium provide a remarkable array of musical colors especially suitable for combination with the visual medium of dance.

The electronic music works on this recording were composed expressly for modern dance and were commissioned by choreographer Mimi Garrard in the spac of nearly a decade. Each individual musical work is uniquely related to its own choreography. Collectively, the compositions reflect varying degrees of complexity and diversity of both an aesthetic and technical nature, and a wide range of emotional expression.

In creating a dance work, often the choreographer may chart out a meticulously detailed plan of action on stage, including each beat or count of the dance in exact tempos, descriptions of dancers' movements which may form essential and recurring motives in the dance, and elaborate lighting effects. Then, the musical score is composed to synchronize with these aspects of the choreography. The dancers, in turn, synchronize their own movements to the music throughout the choreography, and the composer's musical score must be lucid, technically precise, as well as a sensitive aesthetic interpretation of the dance. Sometimes, the situation is reversed and the choreography is based on an already composed, previously commissioned electronic work, perhaps itself based on an overall expression or programmatic idea suggested by the choreographer, or else created by the composer as a work purely abstract in nature. In any event, the composer's intention is to create a work which complements the dance and is one of its essential components, and which can exist also as a complete musical work in its own right

In this recording, the composers' virtuosity and musical mastery of the medium is unmistakably evident in these singular and engaging works of electronic music for dance. Bulent Arel's series of Mimianas was produced at the Columbia-Princeton E!ecmnic Music Center, and Daria Semegen's Arc: Music for Dancers was realized at the Electronic Music Studios at the State University of New York at Stony Brook, Long Island. The complete works combining choreography, music, and lighting images have been performed by the Mimi Garrard Dance Theatre initially in New York City and subsequently on' tour.

MIMIANA 1: Flux
(By Bulent Arel; Time: 10:40)

The dance work includes a film which projects changing colors, patterns, and numbers on the dancers, creating continuously changing abstract designs. This first electronic music score of the Mimiana series was composed after the choreography was completed, and consists of purely electronic sound phrases which parallel the overall gestures of the dancers, without indicating any specific beats or metric patterns, as such.

Bulent Arel, "Stereo Electronic Music No. 1"

BULENT AREL (Turkey) has taught, and composed symphonies, ballets, and chamber and theatre music. Until recently, he was a research assistant at the Columbia-Princeton Electronic Music Center, having come there on a grant from the Rockefeller Foundation. STEREO ELECTRONIC MUSIC NO. I, composed of sounds completely derived from electronic sources, is conceived in two general sound groups: undifferentiated continuous sound texture as background, contrasted with more clearly articulated signals. Throughout the work, the motifderived texture remains as a constant, while the articulated signals are developed and expanded by a process which the composer likens to the growth of the branches of a tree.

Bulent Arel, "Electronic Music No. 1"

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ELECTRONIC MUSIC NO. 1 (1960)

The music on this record was produced at the original Columbia University Tape Music Studio and its successor, the Columbia-Princeton Electronic Music Center, and at the University of Illinois Electronic Music Studio. It includes some of the earliest electronic music released on commercial records, and is reissued by CRI after its deletion on the Son Nova and Heliodor labels. The tapes used in this reissue are all freshly mixed from the original materials.

Three fundamental types of electronic music are represented: (1) tape music composed from materials created from 'natural' (concrete) sounds such as gongs, voices, and instruments; (2) tape music composed from sounds which were generated by electronic instruments such as audio oscillators and manipulated by diverse processing devices; (3) tape music composed from mixtures of concrete and electronic sound sources.

In all of the compositions, the composers employed the customary techniques of manipulating basic source-sounds recorded on magnetic tape. For example, complex sounds were constructed by splicing together short pieces of tape cut from recordings of various basic sounds. The ear perceives a total impression of complexity without being able to distinguish each of the simple components. This mosaic-like technique, which demands considerable patience on the part of the composer, was, in the early days of tape music sometimes regarded as sufficient to the completion of a tape composition.

In these works, however, the composers found it compositionally desirable to further process basic sound sources by way of semi-automatic devices. For example, tape recorders and associated equipment were used to develop continuous patterns of sound, usually characterized by certain rhythmic rigidity, but nevertheless useful. Between the extremes of handicraft and machine work, the composers used a variety of other specialized techniques, made possible by the flexibility of tape and the versatility of electronic equipment. For example, varying speed was used to produce different pitches and timbres; filtering was used to suppress some of the timbral characteristics of a given sound; reverberation to let the echo add color, liveliness, and a sense of spaciousness.

The composers represented here all composed a number of works for conventional instruments prior to turning to the electronic medium. BULENT AREL, (b. 191 9, Istanbul, Turkey) graduated from and taught at the Ankara State Conservatory. He was the first Music Director of Radio Ankara and pioneered in the field of electronic music combined with conventional instruments with his Music for String Quartet and Oscillator (1957), later revised and retitled Music for String Quartet and Tape. In 1959 he came to the United States as the recipient of a Rockefeller Research Grant to the Columbia-Princeton Electronic Music Center and contributed significantly both to the technical development and the literature of electronic music with over a dozen major works in his more than a decade association with the Center. He has taught composition at Yale University where he designed and installed the Electronic Music Studio in 1962 and has taught composition and electronic music for several years as visiting lecturer at Columbia University. Since 1971 he has been Professor of Music and Director of the Electronic Music Studio at the State University of New York at Stony Brook. He has composed a large number of instrumental, chamber, vocal, and symphonic works as well as music for the ballet, theatre, modern dance, television and film. His works include MlMlANA I, 11, 111 for modern dance of which No. II appears on CRI SD 300, FOR VIOLIN AND PIANO (CRI SD 264) and STEREO ELECTRONIC MUSIC NO. 2 (CRI SD 268). He is recipient of National Endowment for the Arts commissions for instrumental and electronic works, Columbia-Princeton Electronic Music Center commissions, and a New York Cultural Council Foundation commission for his work Fantasy and Dance for Five Viols and Tape.

Vladimir Ussachevsky & Otto Luening, "Concerted Piece"

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Collaboration in musical composition is much rarer than, say, novel writing and even picture painting. But Otto Luening and Vladimir Ussachevsky have been collaborating with eminent success ever since they discovered the possibilities of composition for tape recorders. CONCERTED PIECE is the third and one of the most attractive results of this collaboration, as its frequent public performances attest. CRI is proud of the unusually beautiiul sound of this recording. A Luening-Ussachevsky compositional collaboration starts with a conference. Having agreed that they want to write a piece, they then decide how long it is 'to last, and then what type of effect or quality they wish it to have (it would be fascinating to eavesdrop on this part of the conference). The rest is simply deciding how to divide up the labor. Later conferences help to eliminate unsuccessful efforts and to carpenter the sections together.

CONCERTED PIECE was composed in 1960 on commission by Leonard Bernstein and the New York Philharmonic, and premiered by them that year. The music bears some resemblance to a movement from a classical concerto, with the tape recorder in the role of soloist or concertino. The first part, composed by Mr. Luening, ends with the cadenza for taped sounds alone. It is somewhat more homogenous than the second, composed by Mr. Ussachevsky, which makes considerable use of an antiphonal interplay between the orchestra and tape.

OTTO LUENING had a long and distinguished musical career before he undertook composition on electronic tape. Of his more than 200 compositions, 15 make use of the tape medium; his SYNTHESIS is on CRI 215. In addition to his teaching activities at Columbia University, he is a director of the Columbia-Princeton Electronic Music Center.

VLADlMlR USSACHEVSKY is Professor of Music at Columbia University and-Chairman of the Electronic Music Center. A public presentation of his first tape experiments In May, 1952, was the first performance of what became known as tape music-an indigenous American development. Besides a number of compositions for tape, he has produced two extensive film scores, one for "No Exit", a screen adaptation of Jean Paul Sartre's famous play, and another for a forty-five minute zbstract movie "Line of Apogee", by Lloyd Williams. In 1967 and 1968 he was invited by the Bell Telephone Laboratories at Murray Hill, N. J. to investigate possibilities of sound synthesis on computers.

Otto Luening, "Gargoyles"

OTTO LUENING (United States) studied music in Munich and Zurich. The artistic influence of Andreae, Jarnach and Busoni helped to form his career. He has composed over two hundred works, and is also an active conductor and educator. Since 1952, he has been a close collaborator with Vladimir Ussachevsky in the field of electronic music. GARGOYLES is a composition for violin solo and synthesized sound. The synthesized sound material was produced on the Synthesizer, and later manipulated by tape techniques. The composition consists of a subject and series of short variations, each complete in itself. Some are synthetic and others are for the solo violin. Several variations combine solo and tape. The single tones of the subject introduce different shades of the same type of sound, and continue to accumulate until the end of the piece when the subject is transformed completely. The violin variations function as lyric contrasts to the synthetic ones, which are mostly dramatic and brilliant. The violin solo part is played by Max Pollikoff.

Milton Babbitt, "Composition for Synthesizer"

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MILTON BABBITT (United States), Professor of Music at Princeton, composer, writer and lecturer, has had compositions performed both here and abroad. He received the National Institute of Arts and Letters Award, among other recognitions of his work. COMPOSITION FOR SYNTHESIZER is a purely electronic work. It was created entirely on the Synthesizer and the output has not been subjected to any further mutations or modifications. The composition is less concerned with "new sounds and timbres" than with the control and specification of linear and total rhythms, loudness rhythms and relationships, and flexibility of pitch succession, which can be secured through the programming control of the Synthesizer.

Halim El-Dabh, "Leiyla and the Poet"

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HALIM EL-DABH (Egypt) is United States-educated and was awarded a Guggenheim Fellowship in 1959. He has composed symphonies and concertos, and his ballet, Clytemnestra, was recently performed by Martha Graham and her company. LEIYLA AND THE POET uses purely electronic sounds sparingly but obtains most of its effects by applying the tape manipulation technique of speed transposition, and electronic reverberation, to the instrumental and vocal materials prepared and recorded by the composer. The work is an incident from a work in progress, Electronic Drama, No. 1. Mr. El-Dabh's libretto, inspired by the ancient Arabic ode Majnum LeiyIa, is concerned with a madman and a poet who attempt to persuade Leiyla to follow different paths, either that of a free woman or that which would bind her to unbreakable ties. The chorus, when uttering words recognizable and unrecognizable, inflicts opposing ideas on the drama's three characters.

Mario Davidovsky, "Synchronisms 1 & 2"

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MARIO DAVIDOVSKY
Three Synchronisms for instruments and electronic sounds
NO. 1 FOR FLUTE (1963) HARVEY SOLLBERGER (flute)
NO. 2 FOR FLUTE, CLARINET, VIOLIN, CELLO (1964) Sophie Sollberger (flute) Stanley Drucker (clarinet)
Paul Zukofsky (violin), Robert L. Martin ( cello), Efrain Guigui (conductor)

MARIO DAVIDOVSK (b. Buenos Aires, Argentina, 1934) pursued his musical studies in Argentina, working in composition with Guillermo Graetzer, Teodoro Fuchs, Erwin Leuchter, 2nd Ernesto Epstein. In the United States he has studied with Otto Luening and Aaron Copland. Since coming to the United States in 1958, Mr. Davidovsky has won more than a dozen major awards, fellowships and commissions, among them two Guggenheim Fellowships, a Rockefeller Foundation grant, a Koussevitzky Foundation commission and a Fromm Foundation commission for the Synchronism No. 2 recorded here.

While Mr. Davidovsky's reputation has rested largely on the works composed in connection with his association with the electronic music center at Columbia and Princeton universities, his catalog of compositions includes a considerable variety of scores for non-electronic media - chief among them being twp string quartets, a clarinet quintet, Ylanos for orchestra, El Payaso ballet suite, and Serie Sinfdnica. A 1965 Fromm Foundation commission has resulted in Mr. Davidovsky's composition, Inflexions for 14 Players.

Concerning the Three Synchronisms recorded here, Mr. Davidovsky notes that "They belong to a series of short pieces wherein conventional instruments are used in conjunction with electronic sounds. The attempt here has been made to preserve the typical characteristics of the conventional instruments and of the electronic medium respectively - yet to achieve integration of both into a coherent musical texture."

"In the planning and realization of these pieces," Mr. Davidovsky notes further, "two main problems arise - namely proper synchronization (a) of rhythm and (b) of pitch. During the shorter episodes where both electronic and conventional instruments are playing, rather strict timing is adhered to. However, in the more extended episodes of this type, an element of chance is introduced to allow for the inevitable time discrepancies that develop between the live performer(s) and the constant-speed tape recorder.

"To achieve pitch coherence between the conventional instruments which use the 12-tone chromatic scale and the electronic medium which is non-tempered, use is made of tonal occurrences of very high density - manifesied for example by a very high speed succession of attacks, possible only in the electronic medium. Thus, in such instances - based on high speed and short duration of separate tones, it is impossible for the ear to perceive the pure pitch value of each separate event; though in reacting, it does trace so to speak a statistical curve of the density. Only in a very few instances have tempered electronic pitches been employed in the Synchronisms. Throughout all three pieces, the tape recorder has been used as an integral part of the instrumental fabric."

Mario Davidovsky, "Electronic Study No. 2"

MARIO DAVIDOVSKY
ELECTRONIC STUDY NO. 2 (1962)
Tape realized at the Columbia-Princeton
Electronic Music Center

The music on this record was produced at the original Columbia University Tape Music Studio and its successor, the Columbia-Princeton Electronic Music Center, and at the University of Illinois Electronic Music Studio. It includes some of the earliest electronic music released on commercial records, and is reissued by CRI after its deletion on the Son Nova and Heliodor labels. The tapes used in this reissue are all freshly mixed from the original materials.

Three fundamental types of electronic music are represented: (1) tape music composed from materials created from 'natural' (concrete) sounds such as gongs, voices, and instruments; (2) tape music composed from sounds which were generated by electronic instruments such as audio oscillators and manipulated by diverse processing devices; (3) tape music composed from mixtures of concrete and electronic sound sources.

In all of the compositions, the composers employed the customary techniques of manipulating basic source-sounds recorded on magnetic tape. For example, complex sounds were constructed by splicing together short pieces of tape cut from recordings of various basic sounds. The ear perceives a total impression of complexity without being able to distinguish each of the simple components. This mosaic-like technique, which demands considerable patience on the part of the composer, was, in the early days of tape music sometimes regarded as sufficient to the completion of a tape composition.

In these works, however, the composers found it compositionally desirable to further process basic sound sources by way of semi-automatic devices. For example, tape recorders and associated equipment were used to develop continuous patterns of sound, usually characterized by certain rhythmic rigidity, but nevertheless useful. Between the extremes of handicraft and machine work, the composers used a variety of other specialized techniques, made possible by the flexibility of tape and the versatility of electronic equipment. For example, varying speed was used to produce different pitches and timbres; filtering was used to suppress some of the timbral characteristics of a given sound; reverberation to let the echo add color, liveliness, and a sense of spaciousness.

The composers represented here all composed a number of works for conventional instruments prior to turning to the electronic medium.

Pulitzer Prize-winner MARIO DAVIDOVSKY (b. Argentina, 1934) has lived in New York since 1960, the year of his first Guggenheim Fellowship. Since then he has become renowned for his important SYNCHRONISMS series for electronic,sound and traditional instruments (CRI SD 204 and 268), and for the elegance and refinement of his instrumental works (CRI SD 305). He has won the Naumburg, the Brandeis Creative Arts and the National Academy of Arts and Letters Awards, two Guggenheim Fellowships and two Rockefeller Fellowships. He has received commissions from, among others, the Koussevitzky Foundation, the Pan American Union, the New York Chamber Soloists, the University of Pennsylvania, Yale University, the Fromm Foundation and the Juilliard String Quartet. He is now (1976) Associate Director of the Columbia-Princeton Electronic Music Center and Professor of Music at the City College of New York.

SIDE 1
Davidovsky: ELECTRONIC STUDY NO. 2 is a tightly organized work, basically a succession of percussive sounds. The pitch is indeterminate, but the quality of sound gives the impression that it originated from a variety of resonant membranes. The composer here avoids using any semi-automatic processes of generating or modifying the sounds, and works for the complete control of every detail of his composition. This work was originally distributed on four tracks of tape, each connected to a separate loudspeaker. Even in this two-track stereo version, the place of origin of any given sound combination has a definite structural significance.

Mario Davidovsky, "Electronic Studies 1 & 3"

Mario Davidovsky, Electronic Study No. 1
Mario Davidovsky, Electronic Study No. 3

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INTRODUCTORY REMARKS TO A PROGRAM OF WORKS PRODUCED AT THE COLUMBIA-PRINCETON ELECTRONIC MUSIC CENTER, GIVEN AT THE MCMILLIN THEATRE OF COLUMBIA UNIVERSITY ON MAY 9 AND 10, 1961:
Your presence here, at a concert of electronic music, is a compliment to the composers, as well as to the two Universities that sponsor their work; and while I extend to you a welcome on behalf of the Universities i also wish to convey the composers' hope that you will be as gratified by hearing their works as they are by your willingness to listen.

No doubt your expectations are mixed. You are ready to be surprised, to have your curiosity satisfied, and possibly even to experience snatches of enjoyment as you would at an ordinary concert. If that is your state of mind I am fairly sure you will not be disappointed. But it may be that you are here in a mood of combined trepidation and resistance: this, after all, is the Age of Anxiety. . . .Or you may be bent on proving that electronic music is not music -- doing this by the most painful test of endurance, or else you may be feeling caught because you have been brought by a friend and friendship is dearer to you than prudence.

If for these or any other reasons you are ill at ease, allow me to suggest a very few considerations which should make you more serene, while leaving you your full freedom of opinion, your entire right to dislike and reject. I suggest, to begin with, that we are not here to like or approve but to understand. And the first step to understanding a new art is to try to imagine why the maker wants it the way it is. That is interesting in itself, even if we ultimately disown the product. To understand in this fashion does not mean to accept passively because someone says that the stuff is new and therefore good, that many believe in it, that it's going to succeed anyway, so it's best to resign oneself to the inevitable. This kind of reasoning has gone on about modern art for some thirty years and nothing has been more harmful to the arts. It is an inverted philistinism, which eliminates judgment and passion just as surely as did the older philistinism of blind opposition to whatever was new.

What then is the decent, reasonable attitude to adopt? Very simple: make the assumption, first, that the old style-whatever it is-has exhausted its possibilities and can only offer repetition or trivial variations of the familiar masterpieces. I do not suggest that you should be convinced that your favorite music is obsolete. I invite you to assume that it may be: for by trying to think that it is, as the new composer obviously has done, you will begin to discover what he is up to. By way of encouragement let me remind you that you make this very assumption automatically four or five times in every classical concert, in order to adjust your ear to the changes in style between Bach and Mozart, Mozart and Richard Strauss, and-if you can between Strauss and Alban Berg. If styles and genres did not suffer exhaustion, there would be only one style and form in each art from its beginnings to yesterday.

But, you may say, electronic music is something else again; it is out of bounds; the jump is too great. There is no semblance of scale, the sounds are new, most of them are in fact noises. Ah noise! Noise is the most constant complaint in the history of music. In the heyday of music it was not only Berlioz and Wagner who were damned as noisy. Mozart before them and Haydn, and even earlier Lully and Handel. I suspect that the reason Orpheus was torn to pieces by women is that he made horrendous noises on his lyre while they were washing their clothes at the river in what they thought was melodious silence. The argument of noise is always irrelevant. The true question is: does this noise, when familiar, fall into intelligible forms and impressive contents? To supply the answer takes time. One hearing, two, three, are not enough. Something must change in the sensibility itself, in the way that a foreign language suddenly breaks into meaning and melody after months or years of its being mere noise. As a veteran of the premiere of Stravinsky's Sucre du Printemps in Paris, I can testify to the ieality of the change. At the end of the piece, the conductor Pierre Monteux turned around amid the furious howls of the audience and said that since they had liked the piece so much he would play it again. The response was no better and the police had to quell the tumult. But now, fifty years after, the young accept those hammering rhythms and dissonant chords as if they were lullabies. They relish them while dallying in canoes, at the movies to accompany Disney's abstractions, and at the circus, where the music is used for the elephants to dance to.

Associations, in short, and assumptions and expectations rule our judgments. They govern our feelings, which we think are altogether spontaneous and truthful. But our sensibility is always more complex and more resourceful than we suppose, and that is why I have ventured to bring to your conscious notice what you knew all the time but might not allow for sufficiently in listening to electronic music for the first time.

The word "electronic" suggests a final objection with which it is well to have come to grips. Most people of artistic tastes share the widespread distrust and dislike of machinery and argue that anything pretending to be art cannot come out of a machine: art is the human product par excellence, and electronic music, born of intricate circuits and the oscillations of particles generated by Con Edison, is a contradiction in terms. Here again the answer is simple: the moment man ceased to make music with his voice alone the art became machineridden. Orpheus's lyre was a machine, a symphony orchestra is a regular factory for making artificial sounds, and a piano is the most appalling contrivance of levers and wires this side of the steam engine.

Similarly, the new electronic devices are but a means for producing new materials to play with. What matters is not how they are produced but how they are used. And as to that we are entitled to ask the old questions--do we find the substance rich, evocative, capable of subtlety and strength? Do we, after a while, recognize patterns to which we can respond with our sense of balance, our sense of suspense and fulfillment, our sense of emotional and intellectual congruity? Those are the problems, beyond the technical, which our composers have tried to solve. We shall now attend to their handiwork with pleasure and gratitude (I hope) and certainly with a generous fraction of the patience they have themselves invested in their efforts to please us. -- JACQUES BARZUN

The Columbia-Princeton Electronic Music Center was established in 1959 with the assistance of a grant from the Rockefeller Foundation. The Center provides three studios for composition and research in the electronic production of music. One studio houses the RCA Electronic Sound Synthesizer and related recording equipment, the others contain specialized equipment for sound generation and modification. Earlier grants from the Foundation made through Barnard College, allotment of space and other assistance by Columbia University have enabled Otto Luening and Vladimir Ussachevsky of Columbia to conduct joint experiments in the medium, with technical assistance from Mr. Peter Mauzey. The Center is jointly administered by Otto Luening and Vladimir Ussachevsky of Columbia University and Milton Babbitt and Roger Sessions of Princeton University.

MARIO DAVIDOVSKY (Argentina) studied composition with Maestro Guillermo Graetzer in Argentina and Aaron Copland in the United States. He has written ballet, chamber, theatre and film music. Awarded a Guggenheim Fellowship to study at the Columbia-Princeton Electronic Music Center, he is presently a staff member there. The sounds for ELECTRONIC STUDY NO. 1 were initially derived from three electronic sources: sinusoidal and square wave generators, and white noise. Conversion of these sounds into compositional materials was achieved by use of filters, reverberation chamber and through different recording processes. Basically, the STUDY is built upon five sound mixtures working as a series which is inverted, transposed and interpolated, and the sound mixtures are changed in density and intensity from the original. The material is developed through four carefully timed sections.

Electronic Study No. 3 in Memoriam Edgar Varese was completed in 1965 at the Electronic Music Center of Princeton and Columbia Universities. Primarily, the piece is constructed on its most basic level, using articulative processes available only in the electronic media. The intense concentration and speed of ocurring events, together with the very sharp articulation characteristics of the piece, give it a very idiosyncratic texture.

Donald Erb, "Prismatic Variations"

Donald Erb, "Music for a Festive Occasion"

Donald Erb, "Honor, Honor"

Donald Erb, "Autumnmusic"

AUTUMNMUSIC
(I) 458
(II) 3: 17
(III) 4:20

Six years after CHRISTMASMUSIC, Erb wrote AUTUMNMUSIC, commissioned by the William lnglis Morse Trust Fund and first played by Frank Brieff and the New Haven Symphony on November 20.1973. AUTUMNMUSIC uses taped electronic sounds along with the orchestra, and calls on the musicians to use their instruments in new ways. The brass players use their keys, the timpanist plays the bowl and the skin, the bass players use pencils on their strings. What is the point? To give the audience a unique musical experience in the sheer joy of sound. The piece is in three movements and Erb is quite serious when he maintains it is "very much in the classical tradition." The work opens with a mysterious, even frightening atmosphere, as dramatic as the very last leaves of summer falling to earth, leaving a barren tree to face the frozen winter. The movement dies, gradually and inevitably. The second and third movements are played without a break. Erb compares the second to a scherzo-trio, and calls the third a finale.

Donald Erb, "Christmasmusic"

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CHRISTMASMUSIC
(I) 3:36
(II) 3:25

CHRISTMASMUSIC was commissioned to celebrate the fiftieth anniversary of the Cleveland Orchestra and is dedicated to conductor Louis Lane. It was completed during the fall of 1967 and first heard on December 21 of that year. The eight-minute piece features a variety of novel musical media as outlined by the composer:

Some composers of my generation believe that traditional musical instruments are "washed up" as a source of new sounds, and have turned completely either to electronics or the stage as a source of new material. To me the appeal of "live" music is still irresistible. Musical instruments and musicians offer constant sources of new sounds. Listed here are some of the sounds you will hear:

Movement I. Timpani with snare drum brushes
Glass wind chimes
Brass players tapping mouthpiece with palm
Flutes clicking keys
Wind players humming and making tonguing sounds
String players rattling fingers against instruments
A bottle half filled with water used as a percussion instrument

Movement 11. Piano played with glass on strings
Trombone played with F slide removed
Harp strings pulled, played like Japanese koto
Piano played with xylophone mallets

But the point of CHRISTMASMUSIC goes much deeper than the creation of original sound effects. Erb has developed a miniature philosophical reflection on the dual nature of this peculiarly American phenomenon. This explains the contrasting character of the work's two movements, the first "quiet and mysterious" in the composer's words, the second "energetic and . . . earthy."

The festival of Christmas has, it seems to me, two quite opposite aspects to it. Christmas is sacred and secular; it encompasses the service and the office party, the church and the department store, prayers and feasting, the creche and crass commercialism . . . (Yet) CHRISTMASMUSIC is not meant to be taken either as a sermon, or as a satire. It simply attempts to deal, in light of today, with a "tradition" which is constantly changing and rarely examined.

When Louis Lane commissioned the work. he suggested the setting of traditional Christmas material, and Erb obliged by adapting the beautiful chorale melody "O Come Emmanuel." Motivic fragments of the melody are used throughout the first movement, toward the end of which the basses quote the entire melody. The second movement makes use of the melody's final phrase. "Toward the end of this movement." notes the composer, "the melody becomes gr.dually more audible until near the close it is quoted in a rather direct and discernible manner."

Donald Erb, "Concerto for Trombone and Orchestra

CONCERTO FOR TROMBONE AND ORCHESTRA
(I) 3:49
(II) 4:50
(III) 3:31
(IV) 2:47

Stuart Dempster, trombone
Louis Lane, conductor

The CONCERTO FOR TROMBONE AND ORCHESTRA, written a little more than eight years after CHRISTMASMUSIC, may be the composer's best-known work. It was commissioned by trombonist Stuart Dempster with assistance from the Martha Baird Rockefeller Fund for Music. Completed January 26, 1976, the Concerto was first performed on March 11, 1976 by Mr. Dempster and the St. Louis Symphony conducted by Leonard Slatkin, another important champion of Erb's music. The TROMBONE CONCERTO was also a featured work at the 1980 American Composers Orchestra concert in Lincoln Center and received highly favorable notices. Musical America's Joan LaBarbara called it "a worthy task, integrating the extended, experimental sounds of the contemporary trombone into a traditional format. He has succeeded in producing a fine piece of music . . . "

Mr. Erb has kindly provided the following comments on his work:

The concerto is in four movements. The first movement is the most traditional and uses primarily the time-honored lyric qualities of the trombone. The linear quality of this movement draws at least in part on the contributions of jazz. Many of the great trombo~istsof the twentieth century have been jazz musicians and their influence on the development of the instrument cannot be discounted. Although lyric, the movement is in a medium fast tempo.

The second movement, the only truly slow movement of the concerto, features several other aspects of the instrument. Brass instruments, particularly the trumpet and trombone, are capable of great timbral variety due to the use of many mutes which produce beautiful sounds. Several of these can be employed in a variety of ways and in the concerto the performer is called upon to make subtle changes in their use while playing.

The movement also makes considerable use of the lip trill which is produced by moving from one overtone of the instrument to another. The soloist is asked to play staccato passages of elegant character.

The third movement of the concerto is very similar in character to the scherzo found in most symphonies. In this movement double stops are produced by playi~g one note and simultaneously singing bother. The extreme upper register of the instrument is featured several times in this movement.

The final movement is in many ways the most unusual. Here I drew upon Mr. Dempster's knowledge of the didjeridu, a wind instrument played by the bushmen of Australia and one of the oldest instruments still in use. There are several unique aspects of playing the didjeridu. One is the ability to play continuously due to a technique known as circular breathing. The Aborigines also interpolate animal sounds such as barking through the instrument while the playing continues. I attempted to give the movement a thrust that would enhance the primitive quality involved. It also, hopefully, makes a fitting finale.

This record was made possible, in part, by a grant from the National Endowment for the Arts, an independent agency of the federal government.

Mr. Dempster's performance was made possible, in part, by a grant from the Bascom Little Fund.

Notes by Marshall A. Portnoy
Cover art by Judith Lerner 1980
THE LOUISVILLE ORCHESTRA
333 West Broadway
Louisville. Kentucky 40202
Jack M. Firestone, General Manager
Andrew Kazdin, Producer
1980 Louisville Orchestra First Edition Records

Donald Erb, "Spatial Fanfare for Brass and Percussion"

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Side 1 (16:44)
Donald Erb

SPATIAL FANFARE FOR BRASS AND PERCUSSION (1:31)

Called by one reviewer "a composer who will be remembered when the twentieth century is history," Donald Erb is an eclectic author of dozens of works expressed in a vast array of musical media. Born in Youngstown, Ohio, on January 17, 1927, he began his musical studies at the age of eight. After serving in the Navy, he pursued his interest in music as a trumpet player and arranger for dance bands at the end of the big band era. He subsequently received degrees' from Kent State University in trumpet, and from the Cleveland Institute of Music and Indiana University in composition. His serious composing began in 1949, reflecting the major influences of that time, and his study with Marcel Dick gave him a strong background in serial techniques. The composer feels that his own distinct musical personality emerged in 1958, with the completion of Dialogue for Violin and Piano. Since then, he has been constantly searching for new sounds and fresh musical ideas. as is evidenced by the challenging material on this recording. Donald Erb has received numerous fellowships and awards, including those from the Ford Foundation, the Rockefeller Foundation, and the National Council on the Arts. A Guggenheim Fellowship helped make possible a year of study in electronic music at the Case Institute, and a second Rockefeller Grant enabled the composer to spend a season as Composer-in-Residence with the Dallas Symphony. He is currently Composer-in-Residence at the Cleveland Institute of Music, and lives in Cleveland with his wife and four children.

Louis Lane was also associated with the composition of another short piece by Donald Erb. Lane was to conduct Erb's well-known orchestral piece The Seventh Trumpet at a Cleveland Orchestra concert, but felt that someother work should open the evening. The musicians did not get their parts to the SPATIAL FANFARE until the morning of the premiere. The work is literally "spatial" in that it calls for the players to be situated throughout the hall, surrounding the audience with sound. Despite the musical and logistical problems, the highly inventive piece for brass and percussion went beautifully.

Lukas Foss, "Paradigm"

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LUKAS FOSS (geb. 1922)
Paradigm (1968) (18'00)
"for my friends"

Session Reading . Recital. Lecture
Jan Williams, (Percussionist-cond.)
Stephen Bell, (Electric Guitar)
Charles Haupt, Violine
Jerry Kirkbride, (Clarinet)
Marijke Verberne, Cello
George Ritscher, (Tape recorder and Electronics)
Lukas Foss, (Musical Supervision)

Lukas Foss: Paradigm ("'for my friends")

Paradigm ("for my friends") employs 5 musicians: a percussionist/conductor, electric guitar, and 3 other instrumentalists. All have notes to play and words to speak, whisper, or shout. Words are handled like notes.

I-Session. Each player has 3 tasks (musical materials) and proceeds from one to the other, sometimes at random, sometimes on cue. The cues are syllables that combine in a sentence: "Someone will be held responsible".

II--Reading. Each player has moments of note choice and moments of word choice. Words and music are like a mosaic, differently put together at every reading. A glance at the composer's choice of words reveals that grammar and meaning are not left to chance; a poem should result from the 8x8 available word juxtapositions.

Ill-Recital. An instrumental interlude. Every sound is cued by the percussionist whose flexaton serves as a baton.

IV-Lecture. Imitation techniques of all kinds. For example: one imitates the inflection or rhythm of a word on one's instrument; the imitation is either preceding, simultaneously duplicating, or succeeding the spoken word. At times a tape is heard imitating the live performance with a tape delay of 2 seconds. The words are taken from a recent
lecture:

"To take refuge in the past is to play safe. Avoidance of truth. To burn the past is to play safe. Avoidance of knowledge. Safeness lurks wherever we turn. Improvisation that works is improvisation made safe: one plays what one can play, that is, what one knows, and one observes rules, insurance against disorder, traffic controles. Chance music is safe music if we accept any result as nature having its way. To control the result is also to play safe: freedom, choice handed to the performer because it doesn't matter what he does: the given entites control the music, neutralizing the performer's personal additions. Electronic music is safe: escape from the most dangerous elements in music: performance. Shock in music is always effective, hence safe: cringe benefits. Program notes in pseudo-scientific jargon are safe: language used to conceal rather than reveal. Silence is safe, even virtuous. Show me dangerous music."

Lukas Foss, born in Berlin, U. S. citizen since his fifteenth year, composer, conductor, pianist, teacher, and proponent for new music, became successor to Arnold Schoenberg at the University of California in 1953 and conductor of the Buffalo Philharmonic in 1962. Foss' early compositions were traditional, neo-classic. In the last 10 years he has emerged as a leading force in the American avant-garde. This transformation was the unexpected result of an improvisation project which he began in 1957 as an experiment with his students at a time when the word "aleatoric" had not yet entered the musical vocabulary. "Time Cycle" was the transition piece. There followed "Echoi", "Elytres", "Fragments", "For 24 Winds", "Cello Concert", Baroque Variations", "Organ Preludes", "Paradigm" and "Geod".

Lukas Foss, "Solo Observed"

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Solo Observed
Lukas Foss, piano
The Chamber Music Society of Lincoln Center: Fred Sherry, cello/Richard Fitz, vibraphone/Charles Wadsworth, electric organ

Commissioned and composed for the New World Festival of the arts in Greater Miami, June 1982.

Summer 1981, Lukas Foss began to compose SOLO, his first piano piece in twenty-eight years, for the pianist Yvar Mikhashoff who premiered it in Paris in March 1982. An initial twelve-tone motive reigns. Yet this is not twelve-toone music. The motive is like a theme which undergoes constant change. Nor is this minimal music; in spite of insistent repetitions, each repetition also contains a change implying development, growth and forward movement. Solo is a long development section, "senza sonata"; lumbering, struggling eighth-notes, circling, spiralling, forging ahead, always on the way, never pausing, never giving up, forever closing in on...

In the Spring of 1982, Lukas Foss and the Lincoln Center Chamber Players premiered a new version of Solo at the New World Festival in Miami, Florida. This version has an extended coda in which three other instruments join the piano, after some ten minutes of silent observing of the solo part. The three instruments are a keyboard instrument, a harp or cello and percussion.

The score has the word "Fine" written a bar before the end. This paradox should be explained: the last bar is like an appendage or error--the piano playing on without its master or the phonograph needle (metaphorically speaking) returning to the opening automatically, as the engine stops.

The Chamber Music Society of Lincoln Center is the resident constituent for chamber music at Lincoln Center's Alice Tully Hall. The Society's artistic accomplishment under the direction of Charles Wadsworth has been one of remarkable growth and continued success. The critics have been as enthusiastic as the public and Harold Schonberg, the distinguished New York Times critic, describes the group as "the musical success story of the generation".

Lukas Foss, "Measure for Measure"

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Measure for Measure
Frank Hoffmeister, tenor
Brooklyn Philharmonic Symphony Orchestra

Shakespeares' plays contain many references to music. In this composition, appropriately entitled "Measure for Measure", Lukas Foss uses excerpts from: The Tempest--What harmony is this?...
Merchant of Venice--The man that has no music in himself...
Twelfth Night--If music be the food of love, play on...
Hamlet--O, the recorders! Let me see one...
Merchant of Venice--I am never merry when I hear sweet music...
Julius Caesar--This is a sleepy tune. O murd'rous slumber!...
A Midsummer Night's Dream--This ditty, after me, sing and dance trippingly...

The tenor solo sings these lines in a meter independent of that of the orchestral accompaniment. The latter is based on Lukas Foss' Salomon Rossi Suite which uses some of Renaissance composer Rossi's delightful, short string pieces. Foss did not orchestrate them in the manner of a symphonic arrangement, rather, he has invented a renaissance orchestral sound.

This music is a 20th Century composer's loving homage to Rossi, in the way Stravinsky's Monumentum pro Gesualdo is an homage to Gesualdo. Foss chose the notes carefully from a large body of string pieces and then had the respect to leave such notes as he chose intact and build with them a larger structure to be played with modern instruments, without the loss of the old spirit.

The Brooklyn Philharmonic, the only professional symphony orchestra in New York City's most populous borough, was created in 1954 amidst the beginnings of a cultural renaissance that by now has returned Brooklyn to its earlier prominence as a center for the arts.

Under the direction of Sigfried Landaus, a protege of Pierre Monteux, the orchestra quickly became established as a permanent part of Brooklyn's cultural life. With the arrival of Lukas Foss, a stir of excitement was created which extended beyond local boundaries. His introduction of marathon concerts in 1970/71 attracted audiences that had never before come to Brooklyn.

Foss, has deemed it imperative that the music of his colleagues be heard. thus, contemporary music has firmly established itself as a Philharmonic specialty, with the popular Meet the Moderns series. The Brooklyn Philharmonic is now the Premier Symphony Orchestra dedicated to the presentation of new music.

Lukas Foss, "Night Music"

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Lukas Foss--composer, conductor, pianist, teacher--has been a moving force in the world of music for over thirty years. To date there are some 85 compositions in the Foss catalog. He has conducted many major orchestras. He is an indefatigable champion of modern music (Ditson Award 1974) and as a conductor of the Brooklyn Philharmonic he has made Brooklyn a vital part of the New York musical scene. "Foss never had to choose music, music chose him." (Piatigorski) He studied with Hindemith at Yale, Reiner at Curtis, and Koussevitsky at Tanglewood. His earliest published compositions date back to his 15th year. At 19 he composed an oratorio based on Carl Sandburg's "The Prairie" which brought him immediate recognition. "He cannot fail to raise the standard of music of his generation" wrote Virgil Thomson in the Herald Tribune. At 23 he was the youngest composer ever to be awarded a Guggenheim Fellowship. Stylistically Foss' earliest compositions are marked by romantic lyricism, which moved towards a strong neo-classicism. This changed and evolved in turn to the use of aleatoric techniques, described by The Saturday Review as "Foss 'Neo-Classicises' The Avant Garde". His experiments in ensemble improvisation were the first of their kind. "His compositions are among the most original and stimulating composed in America", wrote Aaron Copland. In a recent article in the Village Voice Tom Johnson writes "Little by little he is knitting together a body of work which may actually speak for contemporary culture as a whole more eloquently than any other." As music director for the Buffalo Philharmonic from 1963-1970, he made the city a focus of national attention and a mecca for composers and performers. In 1982 he became music director of the Milwaukee Symphony Orchestra. He was music advisor and conductor of the Jerusalem Symphony in Israel for four years and has guest conducted leading orchestras both here and abroad. Mr. Foss is currently music director of the Brooklyn Philharmonic, a position he has held since 1971.

Night Music for John Lennon (Prelude, Fugue and Chorale) In Memory of December 8, 1980
Wilmer Wise, trumpet/Brooks Tillotson, french horn/Neil Balm, trumpet/Jonathan Taylor, trombone/Andrew Seligson, tuba
Brooklyn Philharmonic Symphony Orchestra

Lukas Foss began to work on this commission by the Northwood Symphonette for brass quintet and chamber orchestra the morning of the day John Lennon was killed. Admittedly, this influenced the composition. There are no quotations, not even stylistic similarities to Beatle music, but the tonal nostalgia of the Prelude, the use of the electric guitar, the particular use of Major chords (though put into serial order) in the Fugue and the homage implied by the final Chorale all point to the tragic event of December 8th.

Lukas Foss does not claim to be an authority on Rock music, but there have been rock elements in previous compositions--in fact, more so than in the work under discussion. What Foss loves about the Beatles is that theirs is a genuinely "young" music. Many composers have a healthy love-envy for folk expression. Says Foss, "Our classical (or modern classical) music is at best ageless: it is never young. Brahms loved and envied Johann Strauss' waltzes their quality of youth. Bartok spent his life trying to fuse the freshness of gypsy folk elements with his highly musical expression, adn in the 1920's every composer had a love or a lover's quarrel with early jazz."

Another important consideration entered into the composition of Night Music. It was written for Canadian Brass, and therefore, had to be a vehicle for the five soloists. Three years earlier, Foss wrote a Quintet for this excellent ensemble. To quote the composer once again, "I like to write for friends."

Lukas Foss, "Curriculum Vitae"

CURRICULUM VITAE
Guy Klucevsek, accordion

CURRICULUM VITAE was commissioned by the American Accordionist Society in 1977. The piece requires a virtuoso accordionist; yet, the accordion contains childhood reminiscences for the composer; hence the title, and hence the sudden intrusions of bits of tunes which have autobiographical connotations for Foss: a Brahms Hungarian dance (a record given to him as a child), the Mozart Marche turque (the first Mozart piece he ever played), the Nazi anthem, etc. Except for those flashbacks, CURRICULUM VITAE is devoid of quotations; even the nostalgic tango is a near invention. The piece is both tragic and comic (the pitchless sigh following a sentimental harmonic progression), tonal and atonal, simple and intricate.

THE COLUMBIA STRING QUARTET, founded in 1976, is the resident ensemble of the Group for Contemporary Music, and spends summers in residence at the Grand Teton Festival in Wyoming and the White Mountains Festival in New Hampshire. By special invitation of scholar and Berg authority George Perle, they gave the world premiere of the recently-discovered version of the Lyric Suite with voice on November 1, 1979. The quartet, which has been awarded grants from the Martha Baird Rockefeller Foundation and the National Endowment for the Arts, has presented lectures at Princeton, SUNY - Buffalo, City College, the Philadelphia Music Academy, and the CUNY Graduate Center, and has toured Puerto Rico and the eastern United States. It plays the music of Peter Tod Lewis on CRI 392. THE UNIVERSITY OF BUFFALO PERCUSSK)N ENSEMBLE was founded by Jan Williams, its present director, and John Bergamo at the State University of New York at Buffalo's Music Department in 1964. New works are solicited on a regular basis and recent programs have included as many as five first performances. The ensemble performs regularly on the Evenings for New Music series of the Center for the Creative and Performing Arts and the Music Department's annual June in Buffalo Festival. GUY KLUCEVSEK has performed with the Buffalo Philharmonic Orchestra, the Center for the Creative and Performing Arts, the Philadelphia Composers' Forum and the Orchestra of Our Time. He was the accordionist for the revival of "The Coach with Six Insides" (music by Teiji Ito) off-Broadway and "Strider" on Broadway. Also a composer, he has performed his own works with the Brooklyn Philharmonia, the New York Composers' Forum, Newband, and Relache. This is his first CRI recording.

This record was made possible with the generous assistance of the J.M. Kaplan Fund, Inc.; the Alice M. Ditson Fund for Contemporary Music of Columbia University; the University of Buffalo; SUNY at Albany with special thanks to Joel Chadabe.

QUARTET NO. 3 - Salabert (BMI): 23 min.
MUSIC FOR SIX- Pembroke Music (Carl Fischer, BMI): 16'10"
CURRICULUM VITAE - Pembroke Music (Carl Fischer, BMI): 7'40"

Recorded by Richard Borgersen in New York City
All recordings re-mixed by Michael Riesman at the Big Apple Studio, New York City.
Produced by Carter Harman
Cover Judith Lerner 1980
LC#: 80-750236
1980 Composers Recordings, Inc.
THIS IS A COMPOSER-SUPERVISED RECORDING
Printed in the U.S.A

Lukas Foss, "String Quartet No. 3"

STRING QUARTET NO. 3
Columbia Quartet (Benjamin Hudson, violin; Carol Zeavin, violin; Janet Lyman Hill, viola; Andre Emelianoff, cello)

LUKAS FOSS (b. 1922) has been prominent in the world of music for over thirty years. His compositions have given voice to the avant garde since 1960 and his pioneering work with experimental performance groups at UCLA (1 957-63) and in Buffalo (1963-70) helped to establish new techniques. To date there are some 85 compositions in the Foss catalogue. At seventeen he was studying with Hindemith at Yale and with Koussevitzky at Tanglewood. At nineteen he composed an oratorio based on Carl Sandburg's "Prairie"; it brought him immediate recognition. In 1960 the New York Philharmonic- premiered his Time Cycle a unique occasion in the history of the Philharmonic in that the orchestra performed it twice that evening. There followed a number of works which fit into none of the prevalent "schools of new music" notably Echoi and Baroque Variations which had a marked influence on the younger generation of composers.

He has conducted many major orchestras. He is an indefatigable champion of modern music (Ditson award 1974) and in 10 years as conductor of the,Brooklyn Philharmonia, he has made Brooklyn a vital part of the New York musical scene. His SONG OF SONGS; PSALMS; BEHOLD, I BUILD AN HOUSE and THIRTEEN WAYS OF LOOKING AT A BLACKBIRD appear on CRI.

Notes by Ann Russell
STRING QUARTET NO. 3 is Foss' most extreme composition; it is themeless, tuneless, and restless. It is probably the first quartet without a single pizzicato since Haydn. The four strings are made to sound like an organ furiously preluding away. The sound vision which gave birth to this quartet may be the most merciless in the quartet literature.

Though some of the pages of the music may look unusual (see above), QUARTET NO. 3 is notated in every detail. There are no performer choices, except for the number of repeats of certain patterns. Repetition? Actually something is always changing, even in the introduction, which contains only two pitches, A and C, combining in various ways - a kind of prison from which the players are liberated by a sudden all-interval flurry. There follows an extended fortissimo section of broken chord-waves with ever-changing rhythmic inflections. This leads into a rigidly structured pianissimo episode of accelerating and retarding twenote cells. The idea of an exhausting fortissimo followed by an equally unalleviated pianissimo is reminiscent of Beethoven's Grosse Fuge, a work for which Foss has a special passion. Foss' pianissimo section is however unmelodic and active. At one point near the end, the musicians are granted the one and only sustained sound; then the frantic waves and counter waves resume, this time in rhythmic unison, each moment of change cued by the first violin. The closing C major chord is neither a peaceful resolution nor a joke, but rather like an object on which the music stumbles, as if by accident, causing a short circuit, which brings the rush of broken chord patterns to a sudden halt.

STRING QUARTET NO. 3 was written for the Concord Quartet who obtained a grant from the New York State Council toward the commission of the piece and premiered it at Alice Tully Hall, New York on March 15, 1976.

Lukas Foss, "Music for Six"

-- Liner Notes --

MUSIC FOR SIX
University of Buffalo Percussion Ensemble
(Jan Williams, vibraphone; Bruce Penner, marimba; Edward Folger, vibraphone; Rick Kazmierczak, marimba; Kathryn Kayne, electric piano; James Calabrese, synthesizer)

MUSIC FOR SIX was composed in 1977. On this record it will sound to the listener like a typical percussion piece. In a sense this is misleading. The main feature of the piece is that any six instruments can play it. The piece is usually performed by a mixture of instruments from the string, wind, keyboard, or percussion groups. If high instruments are used one can transpose it upwards, if low ones, downwards. It is written entirely in treble clef. Each of the six musicians can take on any of the six parts. Foss, whose imagination is usually fired by the specific possibilities of specific instruments, found it difficult "to think in terms of any six instruments." His solution is: simple motives capable of combining in complex ways. The use of a score had to be abandoned in favor of separate parts plus instructions for their vertical combination. The key to the many available combinations is found in the harmony, in a particular chord progression which makes MUSIC FOR SIX "happen." Wrong word: nothing happens in MUSIC FOR SIX, except at the very end when a melody appears for the first time. By rights this should seem out of character with the rest of the piece. Instead it feels as if the melody had been there all along, incognito (it is implied throughout by the chord progression). This melody appears just as the listener becomes reconciled to listening to yet another piece of hypnotic or minimal music, all rhythm and texture. This kind of inconsistency is consistent within Foss' output. When he uses a twelve-tone series, he doesn't really: the series is soon discarded like a scaffold no longer needed. When the music is aleatoric it really isn't because Foss likes to control the result, and when it is minimal-repetitive music as it is here, it suddenly sports a romantic tune.

Elliott Schwartz, "Signals"

ELLIOTT SCHWARTZ
(geb. 1936)
Signals (1968) (9'38)
James Fulkerson, Posaune (Trombone)
Nicholas Molfese, Kontrabass (Dou b l a
bass. Contrebasse)
Elliott Schwartz, Musikalische Leitung
(Musical Supervision . Supervision
musicale)

Elliott Schwartz: Signals
"Signals", composed in 1968, attempts a fusion of musical sounds, percussive use of the instruments. and words spoken by the performers. The piece is focused about two extended passages calling for a high degree of performer choice. in which the players respond to "signals" from each other. Other areas of the work, more tightly controlled, often ask the two players to become "four" (pitches both sung and played), or, conversely, ask the two to become "one" (duets upon a single instrument, first the trombone and finally the double-bass).

Ellioft Schwarfz teaches at Bowdoin College in Maine, and has also held visiting lectureships at Trinity College of Music, London, and the University of California at Santa Barbara.

The Center of the Creative and Performing Arts in the State University of New York at Buffalo, directed by Lukas Foss and Lejaren Hiller, is widely recognized for its skillful performances of contemporary music. Over the past six years, more than 100 composers have received performances on the Center's "Evenings for New Music" presented in Buffalo, New York City and elsewhere in the United States and Canada. The young virtuosi who make up the group have come to Buffalo from all over the Americas as well as from both Western and Eastern Europe and Japan.

Lejaren Hiller, "Algorithms I"

LEJAREN HILLER
(geb. 1924)
Algorithms I, Version 1 (1968) (9'15)
I. The Decay of lnformation
II. Icosahedron
Ill. The Incorporation of Constraints

Seite 2:
Algorithms I, Version IV (1968) (9'15)
I. The Decay of lnformation
II. lcosahedron
Ill. The lncorporation of Constraints

Petr. Kotik, Flote (Flute) . Jerry Kirkbride, Klarinette (Clarinet) . Darlene
Reynard, Fagott . (Bassoon . Basson) Frank Collura, Trompete (Trumpet Trompette) . Mario FalcBo, Harfe
(Harp. Harpe) . Ed Burnham, Schlagzeug (Percussion) . Charles Haupt, Violine . Marijke Verberne, Violoncello.
James Kurzdorfer, Kontrabass (Doublabass Contrebasse) George Ritscher, Tonband (Tape recorder. Bande)
Lejaren Hiller, Dirigent (Conductor Direction)

(Music Publisher: Theodore Presser Company, New York . Universal Edition, Wien)

Lejaren Hiller:
Algorithms I, Versions I & IV Algorithms I is the first of a cycle of three compositions entitled Algorithms I, Algorithms II, and Algorithms Ill that make use of progressively more complex and sophisticated computer programs for their realization. Algorithms I was completed in 1968 and its two sequels are now in progress of composition. In all three works, each movement exists in four "versions", any one of which can be chosen for a given performance. Each "version" reflects small but important changes inserted into the various computer programs used to produce this music. This plan not only demonstrates that such changes can drastically alter the overall effect of a given general musical structure, but also permits the controlled and identified isolation of the specific effect of a particular musical element on the impression of the whole. This is a novel application of a standard type of experimental design.

The first movement of Algorithms I is stochastic music in which the melodic lines become progressively more dependent upon previous pitch and rhythm choices. The second movement is a complete serial composition in which all row permutations are used once each; also, rhythmic choices are least organized at its beginning and end. and most organized in its center. In the third movement, controls of vertical sonorities, of melodic motion, of resolutions of dissonant chords, of rhythmic patterns and of cadential structures are progressively introduced.

In this recording, only "Version I" and "Version IV" of Algorithms I are performed. These differ in control of factors such as note density, types of rows used, melodic constraints and types of dissonances resolved. All the music, both instrumental and electronic, was composed on an IBM-7094 computer. In addition, the sounds in the two tape channels were produced by digital-to-analog conversion on the illlac I1 computer. Additional details concerning this composition are published in an article in "Music by Computers", edited by H. von Foerster and J. W. Beauchamp, published by John Wiley and Sons. New York.

Lejaren Hiller, born in New York in 1924, Is currently Slee Professor of Composition at the State University of New York at Buffalo, a position previously held by composers such as Copland. Chavez, Thomson, Kagel and Pousseur. His background includes science as well as music, for he had a successful career as a research chemist before he turned to muslc professionally. From 1958 to 1968, Hiller designed and direded the Experimental Music Studio at the University of Illinois. He was the first composer to employ digital computers for music composition. In addition to computer muslc, he has composed some 70 other scores in all forms, instrumental, electronic and theatrical, including "Three Rituals for Two Percussionists", "HPSCHD" written in collaboratlon with John Cage, "A Triptych for Hieronymus", "Suite for 2 Pianos", and "Machine Music".

Lejaren Hiller, "Sonata No. 3 for Violin and Piano"

-- LINER NOTES --

(b) SONATA NO. 3 FOR VIOLIN AND PIANO (1970)
I. Furioso
II. Largo
III. Prestissimo
Mark Sokol, violin
Roger Shields, piano

Sonata No. 3 for Violin and Piano (1970)
I wrote this three-movement sonata during November and December, 1970 in Buffalo and added some final touches and alterations while vacationing on Lanzarote in the Canary Islands in early January, 1971. I find it rather odd to explain why I suddenly decided to write a piece of "straight" chamber music after not having done so for a considerable number of years. One compelling factor at least was the presence in Buffalo of Mark Sokol and Roger Shields for whom the piece was written. Their virtuosity was perhaps a challenge - so whatever else it is, the sonata is at least crushingly difficult to play.

It is in the three traditional movements: a sonata allegro, a slow movement and a rondo finale. Its mood is harsh and relentless. In thls way, it is quite a contrast to its two predecessors. Sonata No. 1 (1949) is cheerful and cozy and Sonata No. 2 (1955) is rather full-blown and romantic by comparison. There is really little that needs to be said regarding each of the movements save to note that there is a case to be made out for regarding this Sonata No. 3 to be in C. There is repeated emphasis in the first movement on this tone - and on middle C in particular. The middle movement by contrast centers around F sharp and the final movement emphasizes C again. Also, much of the writing for each of the two instruments derives from their inherent possibilities and limitations, for example, the kinds of multiple stoppings assigned to the violin. With regard to the piano, incidentally, only in the middle movement is the pianist asked to produce sounds directly inside the piano; otherwise he is strictly treated as a keyboard performer, although occasionally he is required to do some rather unusual things like play with his chin and his elbows.

Mark Sokol comes from Seattle. After beginning violin studies with his father, Vilem Sokol, he went to the Julliard School of Music where he studied with Dorothy DeLay and Robert Mann. While in the army, prior to coming to Buffalo in 1970-71 he formed the West Point String Quartet which presented over 200 concerts. In the summer of 1971, he organized the Concord String Quartet which has since been engaged in recording contemporary string quartets for Vox Records. Their first record set includes Hiller's Quartet No. 5 that is written in quarter-tones.

Lejaren Hiller, "Machine Music"

-- LINER NOTES --

Machine Music for Piano, Percussion and Tape (1964)

Although compositions involving both performers and tape were hardly a novelty even in 1964, it was not so usual to make the tape part so closely related to the instrumental parts as is done here. The tape recorder part throughout exchanges musical materials with the other two instruments much in the manner of a normal instrumental trio.

Machine Music possesses a symmetrical arch form. Trio I is a compact sonata form movement laid out as follows with the main section set at a furioso tempo (1 = 21 6). (The bar numbers refer to the published score) :

Bars	Number of beats at 8th-note = 216
1-2 Introduction (grave; marcaio)	-
3-16 Exposition (first subject and transition)	60
17-22 Exposition (second subject and close)	30
23-35 Development	60
36-49 Recapitulation (first subject and transition)	60
50-55 Recapitulation (second subject and close)	30
56-57 Coda (grave; mnrcnto)	-

Each Duo and each Solo lasts precisely one minute. The Three Duos are closely related musically, as are Solo I and Solo V I and Solo II and Solo V. Solo III and Solo IV are derived in turn from these. The instrumentation is so arranged that each performer has the opportunity to play a given basic musical structure once and just once. Moreover, the tape recorder enters in every other section throughout the composition, thus permitting its operator each time to cue up and get set for his next entry. Incidentally, the tape part is fully notated in the score, not only for documentation, but also for the benefit of the performers, since they must precisely co-ordinate themselves to it as well as one to one another.

Three three Duos are identical melodically and rhythmically, but differ from one another not only in terms of instrumentation and hence tone color but also "tonally" by successive transpositions by a major third (G#-C-E). The music itself, in 5/4 meter and most simply laid out in Duo II, is built up from four basic "lines." Line 1, consists of four notes, assigned durations of 4, 5, 6, and 7 beats respectively. This guarantees a non-repeating accompaniment for 420 beats, so I set 210 beats as the total length for each Duo, since the next 210 beats would be the same except for the four-beat note. The "tune" of Line 3, played on the piano strings in Duo !I, uses only the other 8 notes of the chromatic scale. Line 3 also contains rhythmic interpolations to fill in beats not supplied elsewhere. Line 2 is a 3-bar ostinato based on three notes repeated 4 times on beats 1, 4, 7 and 10 of each bar. Line 1 consists first of a repeated note on beats 2 and 6 of every bar and second of a note pattern that chromatically expands outwards (in the bells in Duo I I from Ab up to F and down to C).

Solo I is simply a chord played on the piano pp according to the metric plan (1 +2+3+ . . . +lo). Solo V I is the retrograde of this played ff by the percussionist. Solo III is the combination of these on tape played mf. The duration of each sound event in this tape cue is exactly 0.5 second. The contents of these sound events are random cuttings from all the work tapes used to make the other five cues.

Solo II, for the solo piano, consists of four contrasting ideas presented in bars 1 through 4. Each idea is developed independently in successive bars by transposition, inversion, retrogradation, systematic shifting of material within the bar, and so on. The details of ail these changes are easily perceived in the published score. Then, since there are 24 bars in all, each item occurs 6 times and occurs according to the following symmetrical system:

/1234,/4123/3412/2143/3214/4321/

Solo V is essentially the same music, this time, however, reconceived for percussion. I have been told by several percussionists that this is the most difficult piece they know of in the percussion literature. Finally, Solo I V is generally related to these two virtuosic soli in that it is dense and aggressive in texture. The sounds on the tape here are also reminiscent of the two Trios.

Trio II, of course, serves as a traditional finale and climax. Remember that this is a piece meant to go somewhere dramatically and not just be a chunk of soundscape. Trio II not only contains many elements derived from the Trio I in particular but also the bulk of the more theatrical elements in the work - the use of a roller toy, the title of the composition spoken backwards on the tape and the close terminated by an alarm clock.

Lejaren Hiller, "Twelve-Tone Variations"

-- LINER NOTES --

Side 1 - 30:49 Min.
LEJAREN HILLER
TWELVE-TONE VARIATIONS FOR PIANO (1954)
I. Theme
11. Variations upon Individual Tone Rows
111. Variations upon Two Tone Rows Combined
N. Variations upon Three Tone Rows Combined
V. Variations upon Four and Six Tone Rows Combined
Roger Shields, piano

Twelve-Tone Variations for Piano (1954)
Twelve-Tone Variations shares with my String Quartet No. 5 of 1962 the dual characteristics of being composed according to serial techniques and being a full-scale set of variations. These are the only two compositions of mine that bear these two features in common though I have in numerous other works used variation form or have incorporated aspects of serial technique into compositions fundamentally based on other compositional premises. As indicated above, this composition is in five movements. The first movement, the Theme itself is brief. The "theme" as such is a combination of six tone-rows. This, right off, is a somewhat unusual feature of this work, since it is more usual to base a serial composition on one basic row and perhaps subsidiary rows derived from it. Here, however, these six rows bear no particular relationship to one another. Nevertheless, they are combined together to form a melodic phrase several bars long that constitutes the actual "theme," of the whole set of variations. The first movement, then, consists of four presentations of this theme, namely, itself, its retrograde, its retrograde inversion, and finally, its inversion. Note that it is the whole complex, not just the rows, that here undergoes the three classic permutations of serial writing.

The remaining four movements are all variations derived from this basic material. The second movement consists of six variations, all rather short, that are based upon each of the six rows taken in turn. The third movement consists of three more complex and longer variations utilizing combinations of rows 1 and 2, rows 3 and 4, and rows 5 and 6, respectively. The fourth movement, extending this process, consists of only two variation sets based upon rows 1, 2, and 3 and on rows 4, 5, and 6 respectively. By now, however, each of these is a fully developed complex movement in itself. Finally, the last movement consists of four variations, based on rows 1, 2, 3, and 4, on all 6 rows, on rows 3, 4, 5 and 6 and again on all 6 rows, respectively. Actually, the first variation on all six rows is in effect a restatement of the first movement, the Theme; however, it is this Theme played more-or-less upside down and backwards, that is to say, as if the first page of the score had been rotated 180" on the music rack. The final variations that follow this are an extended fugue and coda.

My remark about the restatement of the "Theme" reveals something of the freedom of the techniques applied throughout this composition. Although I have used all such standard techniques as inversion, retrogradation, retrogradation of inversion of both the rows and materials built from them, as well as building chords and other such structures from the rows, I have also not hesitated at all, to repeat notes freely in violation of the "classic rules," of devising novel techniques such as quadrature (90") rotation, i.e., interchanging the pitch and time domains, of lining out the rows down a page of manuscript, across the systems, rather than only linearly, and so on. On the other hand, there is no use here of serialized rhythms, dynamics, and the like since these attributes of total serialism did not occur to me at the time.

I should also point out that these variations are also much freer in form than the bulk of the classic variation literature. In variation structures by Beethoven, for instance, the harmonic plan, the phrase lengths, and really often the basic outline of the melody of the theme is normally rather closely adhered to. This is not at all the case here, not even in the earliest variations.

The Performers:
All the performers in this recording are or have been members of the Center of the Creative and Performing Arts in the State University of New York at Buffalo directed by Lukas Foss and Lejaren Hiller.

Roger Shields grew up in Arcola, Illinois and received the bulk of his musical training at the University of Illinois with Soulima Stravinsky. As the Kinley Fellow in 1955-6, he also studied with Yvonne Loriod in Paris and in 1969 he was a prizewinner at the International Busoni Competition in Italy. In addition to his work for the Center, he has also concertized as a performer of both classical and contemporary music in the United States, Canada, and Europe.

Eric Salzman, "Nude Paper Sermon"

-- LINER NOTES --

ERlC SALZMAN (b. 1933): THE NUDE PAPER SERMON (1968-69)
Tropes for Actor, Renaissance Consort, Chorus, and Electronics
Texts from John Ashbery, Three Madrigals; Steven Wade, The Nude Paper Sermon

SIDE ONE (21:31)
A babble; a mdrigal with electronic graffiti --
ther sermon begins; soprano solos; with chorus
[the "10 qualities": bodily, sexual, ritual, sub-verbal, etc.]
--an instrumental canzona--another madrigal--
solos for wind instruments
[racket; bass & tenor dulcian;
bass, tenor & alto recorder;
gemshorn; soprano, alto & bass krummhorn;
kortholt; shawm; rauschpfeife],
with chorus; climax, coda

Side Two (23:22)
Monologues, fragments, "ruins" -- a choral madrigal--
solos for counter-tenor; duet for soprano and
counter-tenor; with chorus, plus gamba & lute--
lute solos with accompaniments; OM; shout,
babble, bells; survival song; wind, birds, stars

STACY KEACH, actor
THE NONESUCH CONSORT
Diana Tramontini, soprano - William Zukof, counter-tenor
Alan Titus, baritone- Kenneth Wollitz, winds -
Lucy Cross, lute- Richard Taruskin, viola da gamba-with Steven Pepper, portative organ
Members of THE NEW YORK MOTET SINGERS, Joseph Hansen, director
JOSHUA RIFKIN, conductor
Electronic sounds realized at the Columbia-Princeton Electronic Music Center, New York
Special Assistance: Steven Pepper / Produced-and Recorded by Peter K. Siegel
Editing & Mixing: Joshua Rifkin, Eric Salzrnan, Peter K. Siegel A Dolby-system recording
Recorded at Elektra Sound Recorders, New York; A & R Recording, New York
Texts copyright@ 1969 by John Ashbery & Steven Wade


The Nude Paper Sermon is about the end of the Renaissance-the end of an era and the beginning of another.

Therefore it is about old and new means of communication, about verbal and non-verbal sound, about the familiar and the unknown, about human activitv and the new technologies. It is not a "neo-classic" work nor is it a collage; rather it is "post-modern-music, post-modernart, post-style," a multi-layer sound drama that is itself an example of the kinds of experience which it interprets and expresses: the transformation of values and tradition through the impact of the new technologies.

Technology is no longer merely a set of techniques for imposing a certain order on the external world but itself a vehicle for remarkable changes-changes that affect individual experience as well as the nature of the culture. Recorded music is at the center of musical life and communication today; recordings have opened up the musical past, created multiple presents and, one hopes, a future. Recording technology makes all possible musical and sonic experiences of the external world raw material and even, increasingly, part of a common culture. Multi-track, multi-layer experience becomes the norm: Ravi Shankar, John Cage, the Beatles, Gregorian chant, electronic music, Renaissance madrigals and motets, Bob Dylan, German Lieder, soul, J. S. Bach, jazz, Ives, Balinese gamelan, Boulez, African drumming, Mahler, gagaku, Frank Zappa, Tchaikovsky, Varese . . .all become part of the common shared experience.

Recording technology also transforms that which it communicates: it makes all music part of the present and in so doing changes it. There is nothing inherently good or bad about this; technology can liberate and it can oppress. But there is no running away any more; we must master what can oppress us, learn how to use it to create and liberate.

The Nude Paper Sermon is the first "total" work to be shaped oh, by, and through the medium of modern recording; the record is not a reproduction of anything at all but is the work itself. Like a print or film, it has been created to be duplicated in multiple copies. Commissioned by Nonesuch Records for the Nonesuch Consort, The Nude Paper Sermon was composed in "tracks" and was recorded and mixed as such through a unique collaboration among composer, conductor, and producer/engineer. (A related but different live/theater version also exists and was first performed in New York on March 20, 1969.) The elements have all been recorded or synthesized on separate tracks, individually edited; combined with "live" overlays, these are montaged to create an 8-track master; finally, all of these elements-live/recorded and electronic, all iuxtaposed, intertwined, and transformed-have been mixed down to a final 2-track master. The recording acoustics themselves are not "reproductive" but are actual parameters of the work. (Incidentally, all of the unusual sounds and complex passages produced by the vocalists and instiurnentalists are actually performed and not the result of eiectronic manipulation.)

The words are taken from Three Madrigals by John Ashbery (texts for soloists and chorus) and The Nude Paper Sermon by Steven Wade (texts for actor). The latter, produced especially for this work, is 'written to suggest the contemporary verbal barrage, that endless language stream of all those who use words to manipulate others: preacher, politician, TV personality, professor, news-caster, even poet. The actor's part is a kind of scoring imposed by composer and performer on fragments of text that are used emotively and as a kind of, symbology. At times words dominate, at times they are submerged, at times a precarious balance, interaction, or inteweaving is maintained.

By and large, printed texts would be beside the point; spoken language - heard and.overheard, comprehensible and incomprehensible, clear, elusive, simple, complex, logical, mystifying - is the subject matter here. Perhaps one printed text is in order, however: that part of one of Ashbery1s madrigals which has a traditional structure but is made out of a series of word images and verbal snapshots. It occurs near the very beginning of the work and is set as a kind of Renaissance ruin-real fake Renaissance music ("why don't composers write like that any more?") overlaid with electronic graffiti:

Not even time shall efface
The bent disk
And the wicked shores snore
Far from the divining knell!
On his livid perch
Let not the master be cast
Back on the petitioner
To wise limits of the secret
That hurt the whole city.
The ever prospering shepherds
Are that, who have tasted lament
The shell splashed bitter darkness on the shore
Near the intruder's arch.
The last party to be seized
At twilight and time was cold
To the lovers. And seized their praise
Wild that to the room
With brother and sister came.
That passions are a fence
Draw the vines out of the earth
And listen to new
Memory falls on your olive hands,
The undying luck
Of the dying million ageless
Pushed to hands for approval.
Along the level bay
A dim blaze of diamond
Walking to you: what you had

Not even time shall efface
The bent disk
And the wicked shores snore
Far from the divining knell!
On his livid perch
Let not the master be cast
Back on the petitioner
To wise limits of the secret
That hurt the whole city.
The ever prospering shepherds
Are that, who have tasted lament
The shell splashed bitter darkness on the shore
Near the intruder's arch.
The last party to be seized
At twilight and time was cold
To the lovers. And seized their praise
Wild that to the room
With brother and sister came.
That passions are a fence
Draw the vines out of the earth
And listen to new
Memory falls on your olive hands,
The undying luck
Of the dying million ageless
Pushed to hands for approval.
Along the level bay
A dim blaze of diamond
Walking to you: what you had
ERIC SALZMAN

Eric Salzman's works include Verses and Cantos, The Peloponnesian War (dance/theater collage with Daniel Nagrin), Feedback (with visuals'by Stan Vanderbeek), Foxes and Hedgehogs, and In Praise of the Owl and the Cuckoo; he has also composed the score for Can Man Survive?, a mixed-media environmental exhibit at the American Museum of Natural History in New York. In the summer of 1969, he toured South America, giving performances, seminars, and lectures. Educated at Princeton and Columbia and in Europe, he has been a critic with the New York Times and Herald Tribune, and is currently a critic for Stereo Review and music director of WBAI-FM in New York. He is the author of a book on 20th-century music and numerous articles that have appeared in this country and abroad.

Stacy Keach played the title role in MacBird!, Falstaff and Peer Gynt with the New York Shakespeare Festival, Coriolanus with the Yale Repertory Theater, Edmund in King Lear at the Lincoln Center Repertory Theater, and the drifter in the film The Heart is a Lonely Hunter. He has studied at the University of California at Berkeley and the London Academy of Music and Dramatic Art; he has also been assistant professor of acting at the Yale Repertory Theater. In the 1969- 70 season, he stars !n the film End of The Road and, on Broadway, in Arthur Kopit's Indians.

Joshua Rifkin studied at the Juilliard School of Music, New York and Princeton Universities, and in Germany. His music has been performed in America and Europe; he has also written arrangements for singers Judy Collins and Tom Paxton. As musical supervisor of Nonesuch' Records, he founded, the Nonesuch Consort in 1968; although the major activity of the group is the exploration of early music, contemporary works also play a significant role in their repertoire.

Ben Johnston, "String Quartet No. 2"

SIDE TWO (14:57)
BEN JOHNSTON
(b. 1926)
STRING QUARTET NO. 2 (1964)
1. Light and quick: with grace and humor (2:44) 2. Intimate, spacious (5:21) 3. Extremely minute and intense; not
fast-Quick, mercurial-Very fast, with suppressed excitement-Quick-Extremely minute (6:40)
THE COMPOSERS QUARTET
Matthew Raimondi, violin; Anahid Ajemian, violin; Bernard Zaslov, viola; Seymour Barab, cello
Engineering: MARC J. AUBORT

The melodic scales of Johnston's Quartet are unequal interval systems in just intonation: directly related in some degree to the overtone series and therefore proportionately the more sonorous. The musicians perform these unusual pitch and interval systems with extreme accuracy. If the tones sound "wrong" by our habituated hearing, we must accept the fact that they are "right." Cage and Hiller made their esthetic decisions by means of computer. Ben Johnston's decisions follow a contrary esthetic philosophy, explained in his paper Three Attacks on a Problem: "What can be grasped with equal alacrity by ear, by mathematics, and by intuitive feeling is the best material for art. And this intelligibility is not a mere matter of conditioning: some relations are naturally more easily understood than others.

"In tacitly accepting as an arbitrary 'given' the 12-tone equal-tempered scale, Schoenberg committed music to the task of exhausting the remaining possibilities in a closed pitch system. Many composers, tired of tonal cliches, have either abandoned pitch or, more accurately, have organized it as if it were noise. [Noise can be defined as the totally random mingling of sounds.]

"The use of harmonic intervals tuned 'just' (by eliminating the roughness of beats) provides a better point of departure than any tempered equivalents. To make a just intonation pitch system, you select a small number of generative intervals which you can tune precisely, by ear. The unison, the octave, the perfect fifth and perfect major third will suffice.

"I wanted to write a piece in which the players would need to take much greater care than usual in locating the pitches. Each would be dependent upon making precisely the right interval with some other player's note. There are three distinct kinds of interval texture in this quartet.

"The texture of the opening movement results from emphasizing dissonant intervals produced with the aid of simple consonances but predominating over them. The effect is chromatic, the intervals generally augmented or diminished. The movement consists entirely of permutations of a single three-note motif, using a great variety of 'just' tunings, always combined into one of three strict permutations of a 12-note set. The rhythmic and durational relations have a proportional system analogous to the just intonation system of the pitch relations. The starting tone of each successive set form rises one pitch in a complete 53-tone octave.

"For the second movement I used mostly consonant intervals and 'diatonic' dissonance, a harmonic idiom of rapid chromatic changes and microtonal cross relations, far closer in sound to Gesualdo than to Bach. These pitch relations describe a strict spiral pattern, ascending one octave of a 53-tone just intonation scale.

"The pitch texture of the final movement is created by melodic and harmonic use of microtonal intervals and microtonal alterations of larger intervals, resulting from combining simple consonances and occurring mostly with these. In some places the players are told to find these microtonal scales by melodic size. the middle section treats serially a 31-note scale, serializes duration, and is a microtonally exact retrograde inversion of itself.

"Listening to the quartet you will become aware of microtonally altered intervals and of actual microtones. These occur in the widely leaping melodic lines of the first movement, never in the harmony. The second movement has them in the harmony, sharply contrasting with the uncomplicated melodic lines and the harmonious consonances of the just intonation. In the last movement these altered intervals are set off by the clear consonances they surround. In the middle section they eclipse all other types of intervals, in a frenzy of contrapuntal activity." -- Peter Yates

John Cage & Lejaren Hiller, "HPSCHD"

-- LINER NOTES --

SIDE ONE (21:00)
JOHN CAGE & LEJAREN HILLER
HPSCHD (1967-1969)
for harpsichords & computer-generated sound tapes
(publ. Henrnar Press Inc.)

ANTOINETTE VISCHER
Neupert Bach-model
harpsichord
(Solo 11)

NEELY BRUCE
Hubbard double harpsichord
with 17% Eltro time compression
(Solo VI)

DAVID TUDOR
Baldwin solid-body
electronic harpsichord
(Solo I)

Messrs. Cage and Hiller gratefully acknowledge the special assistance of Laetitia Snow, who wtote some of the
original computer programming for HPSCHD; James Cuomo, who helped prepare the original sound tapes with
ILLIAC II; Jaap Spek, who supervised the technical processing of the tape collage; and George Ritscher, who
engineered the final recording.

This recording of HPSCHD was made possible through use of facilities of the Experimental Music Studio and the
Department of Coniputer Science of the University of Illinois, Urbana.

The computer-output sheet included in this album is one of 10,000 different numbered solutions of the program
KNOBS. It enables the listener who follows its instructions to become a performer of this recording of HPSCHD.
Preparation of this material was made possible through the Computing Center of the State University of New York
at Buffalo.
--------------
The esthetic is what we think in the presence of the object. The artist's means are not esthetic but his thinking on them is; his esthetic thought prevails over the means to make a work of art. The rules of fugue or sonata form prophesy no esthetic consequence, except by the thought and doing of the artist. The sound object HPSCHD-"harpsichord" reduced to the computer's 6-letter-word limit becomes HPSCHD-may be the most elaborately defined sound composite so far achieved by deliberate formal composition. All "chance" factors occur within limits closely or widely permitted by the makers. Each part includes ideas from both composers; together they shaped it. Their thought, the object, and our thinking responses, in whatever relationship we hear it, decide our reaction to this work as a work of art.

HPSCHD consists of 51 electronic' sound tapes and 7 solo compositions for harpsichord. Writing in the avantgarde music magazine Source, Cage explains that the piece can exist as "a performance of one of seven live harpsichords and one to fifty-one tapes." The present record is a composition including 3 "live" solos across a composite of the 51 tapes. The source work, Introduction to the Composition of Waltzes by Means of Dice, is attributed to Mozart (K. Anh. C 30.01). For each measure of a 32-measure "empty" form (four 8-measure sections) the composer provides 11 alternative "composed" measures, the choice made by throw of dice. Measure 8 is always the same. With each section repeated the final form is 64 measures (AABBAABB), lasting one minute. This Dice Game repeated 20 times is Solo 11. Using now a computer-derived numerical system borrowed from the digital principle of I-ching (an ancient Chinese oracular or wisdom book), assemble another 64 measures of the same pattern, until another 20 successive assemblages fill 20 minutes. Solos Ill-VI each start with one realization of the Dice Game, progressively replacing the original choice of measures by: Solo 111, passages from Mozart piano sonatas, treble and bass together as written; Solo IV, the same, trebre and bass dissociated; Solos V & VI, associated and dissociated bass and treble measures from keyboard works by Beethoven, Chopin, Schumann, Gottschalk, Busoni, Schoenberg, Cage, and Hiller. Solo I is computer-written in 12-tone equal temperament on the same formulae which are used for the 51 sound tapes. Solo VII is anything of Mozart's chosen by the soloist, played as he wishes.

The 51 sound tapes contain music in equal-tempered scales of, successively, 5 to 56 tones in the octave, each tone deviating over a field of 129 (the half-interval up or down divided by 64 or the equal-tempered tone). Each tape is composed according to a series of programs: e.g., from simple repetitive tones and silences across a field to non-repetitive tones and complexly varied spaces. The patterns are overlaid and continually change, the more redundant being more clearly differentiated, the effect rather like individual trees merging into a forest. Other computer-formalized programs, for note sequence, time (in units), successive events, melodic "goals" (without cadence) and types (diatonic, chromatic, chordal arpeggiation), volume, and dynamics, are similarly intermixed. For the listener to this record a third program, KNOBS, enables him to alter the composite by increasing, decreasing, or eliminating some parts of the whole. On the record, Solo I1 (Dice Game) is in the left channel only, Solo VI in the right channel only, Solo 1 in both channels. "It's the first instance that I know of," Hiller comments, "where the home listener's hi-fi set is integral to the composition."

Each solo and each tape lasts slightly over 20 minutes, the length of this recorded performance. In "live" performance any part can commence at any time, and the length is determined by previous agreement. HPSCHD and the Second Quartet of Ben Johnston embody two extremes of esthetic experience. The multiple routines and subroutines of HPSCHD, although resulting from personal choices by the two collaborators, are In effect as impersonal as statistics or the Golden Section. The decisions concerning the intonational and melodic relationships of the Quartet are as personal as a fine handwriting-in many cultures as highly esteemed as any work of art. Neither work is "classic" or "romantic." Each is as free of the conventional indices for analysis as of the customary signals for emotion-the esthetic equivalent of an experiment in pure research.

Except the harpsichord solos, the sound medium of each work is composed in an intonation (system or scale of pitches) differing from the 12-note equal temperament of the piano. The macrotonal scales (5 to 11 pitches in the octave) and the microtonal scales (13 to 56 pitches in the octave) of HPSCHD are microtonally varied systems of equal division of the octave, without close relationship to the tones and intervals of the overtone series. They are disparate points of sound lacking acoustical coordination and rich overtone sonority. -- Peter Yates

Iancu Dumitrescu, "Cogito"

COGITO
TROMPE-L'OEIL
FUR
ZWEI KONTRABASSE
PRAPARIERTES KLAVIER
JAVANISCHEN GONG
KRISTALLE
METALLOBJEKTE

KONTRABASS I
FERNANDO GRILLO
KONTRABASS II
ION GHITA
PRAPARIERTES KLAVIER
IANCU DUMITRESCU
JAVANISCHER GONG
COSTIN PETRESCU
KRISTALLE CRISTIAN VALEANU
METALLOBJEKTE
HORIA SURIANU
KLANGREGIE
IANCU DUMITRESCU

The music of Iancu Dumitrescu
explores the ultimate sense of
sound, gviding the listener
through new spheres of sonic
adventure, a kind of cryptical
music. Based on the idea of
"acousrnatique" , a socratic
term meaning the intimate
exploration of sonic phenomenon,
his music takes its formal
models from the very structure
of sound with a perfect
relationship between microand
macro-structure, this
phenomenological approach to
the act of composing implies
at the same time a very good
confidence in the intuitive
dimension of discovery.

The young generation of
Romanian composers headed
by Iancu Dumitrescu have a
unique position through their
development of the "spectral
sound" music, using almost
only acoustical instruments.
Dumitrescu and his colleague
Horatio Radulescu have
awakend new attention to
this until now almost unknown
Romanian music.

Iancu Dumitrescu, "Medium II"

MEDIUM II
FUR
KONTRABASS SOLO
FERNANDO GRILLO
KLANGREGIE
IANCU DUMITRESCU

Claude Ballif, "Les Airs Comprimes"

-- Liner Notes Continued --

Side A | Side B

Les Airs comprimes Op. 5: completed in 1953, belong to the works for solo piano, extremely imortant by their number and significance. In any case, it required a deep feeling of synthesis, much humour and conciseness to write such contrasting contributions of a Satie and of a Webern in these seven brief pieces. The title, a pun, could indeed had one to think of a spiritual heritage descending from Maitre d'Arcueil. In reality, it underlines, with a smile, a discipline of language, the composer being forced to avoid any repetition of thematic cells, timbres, sonorities or effects. Here he is inspired by a line from Valery's "introduction a la methode de Leonard de Vinci"

Claude Ballif, "Imaginaire IV"

-- Liner Notes Continued --

Imaginaire IV belongs to a series of compositions Opus 41, all conceived for groups of seven instruments. Each one of these "imaginaires" is based on an interval: a tritone, a fifth and a fourth, a major third and in the present case a minor third. The fifth and sixth, still to be written, will be devoted to major and minor seconds.

This fourth number was requested by the international services of the O.R.T.F. in 1968. Here the use of seven instruments allows the composer both an arrangement and an opposition of colours. Three brass instruments with a clear sonority, three others with a soft sonority, and linked to each other by the organ, another wind instrument, give the work a breathless power, scattered in shimmering fragments like a fantastic stained glass window.

Claude Ballif, "Phrases sure le souffle"

-- Liner Notes --

Amelia Salvetti (mezzo)
Louis Robillard (organiste)
Jean Martin (pianiste)

Ensemble Polyphonique
et
Ensemble Instrumental de l'O.R.T.F.
direction: Charles Ravier

In every age, the various forms of art, and music in particular, have known their schools, their cliques and their coteries...This is equally true of the 20th century. However Claude Ballif was never known to and never could take an active part within these closed musical "milieux". And there lies his force and his individual drama.

Such independance is often close to loneliness. Whether Claude Ballif wanted it or had it wished onhim is not important. What is important is that it placed this artist, born in 1924, in the wake of great innovators such as Mozart, Beethoven, Schubert etc...who were also either misunderstood or disliked by their contempories. - A large number of his scores for solists or small ensembles were created with the enthusiastic encouragement of Severino Gazzeloni, the Drolc Quartet, the Kontarsky brothers, the Berlin and Paris Octets, Jean Martin and Charles Ravier...all bringing elements for a better understanding of the range of their instruments or of their group to the composer, who himself then undertook to push these limits even further.

A number of conductors like Charles Bruck, Hermann Scherchen, Maurice Leroux and Marius Constant have also had the courage to play several of his scores for full orchestra: "Fantasio", "A cor et a cri", "Ceci et cela", and "Les imaginaires", works that others have hastily judged unplayable or uninteresting.

"Phrases sur le souffle" Op. 25 for voice and piano which was composed in 1958 at the request of Clara Henius, who was also the first to sing the work. The score was reconstructed in 1968 under the influence of Charles Ravier for its performance at the Festival of Avignon. Here we encounter a complete transformation of this strange works, which is both experimental and mystical, and not a orchestration. The human voice, a "fragile, triumphant sound in which the force and intelligence of humanity are concentrated", as Joseph Conrad has written, is presented as a field of investigations, each vowel being successively the object and the point of departure for studies in vocalies. This breath, carried by a simple yet carefully prepared voice, is as if caught at the birth of its human character, in order to be extended and multiplied in shattering reliefs and tones by the instrumental ensemble. This voice is finally magnified in the finale thanks to the choral support and by the superimposition of 5 vowels turning in a labyrinth of rhythms and timbres. -- Bernard Bonaldi

Claude Ballif, "Un Coup de Des"

-- Liner Notes --

UN COUP DE DES (1981)
Side A | Side B
Choeurs et Ensemble Instrumental de Radio France
Direction Jacques Jouineau
Editions Musicales Transatlantiques
Le poeme de Mallarme est edite dans la collection "Poesie" chez Gallimard.

Claude BALLIF was born in Paris in 1924.
He received a traditional musical education at the Conservatoires of Bordeaux, Paris and Berlin.
He has held the posts of lecturer in the French Institutes in Berlin and Hamburg, assistant in the "Groupe de Recherches Musicales" of the French Radio and Television with Pierre Schaeffer, and professor at the Conservatoire of Reims.
Since 1971 he has been Professor of musical analysis at the Paris Conservatoire, and Associate Professor of composition since October 1982.
Claude Ballif's compositions are published by Editions Choudens, Transatlantique and Durand in Paris, and by Bote and Bock in Berlin.
He has written a work on Berlioz for the "Collection Solfege" (Seuil, Paris), and a book of reflections on music in "Voyage de mon oreille".
Documentation on him in "Revue Musicale" No. 263, 370, 371 (Ed. Richard-Masse).

WITH UN COUP DE DES JAMAIS N'ABOLIRA LE hasard Mallarme' had already opened the way for music. Using different typographical characters for each "deal" or "throw" - one cannot speak of verses or sentences, and hardly even of clauses -, the poet had acknowledged his intention of "orchestrating" the blank page. And even in availing himself of double pages as distinct units, from the point of view of both the sense and the figure designed on each page (and thus of the visual, pictorial doubling, analogous to the meaning in the writing or the topography of the poem), Mallarme's concept of his work was that of an album of abstract imagery in which various tempi succeeded one another and linked together like in a musical score, It is not surprising that the composer, Claude Ballif, should have declared himself "fascinated" by this "Mallarmeenne" music that "uses our techniques: recurrence, backtracking, augmentation, syllables carried over to the next line, parentheses, appositions, anticipations, etc.". Resolved on setting the poem to music, he quite naturally sub-titled his composition a "musical countersubject". This does not refer to the "countersubject" of a fugue (which is of necessity linear since it is the answer to a melodic subject), but designates, in relation to the whole poem considered as a given musical subject, "another facet of the same idea, which, guided by the ear, traces a complementary idea which was born in me like a necessity out of Mallarme's Subject with its dynamics, its entries, its reliefs". A "countersubject", therefore, but amplified, allargando, in relation to its "subject", Ballif's score repeats in spirit, not only to the letter, Mallarme's precept of chance that never abolishes chance.

Reading the text in the large format edition of 1974, Ballif decided to assign a particular "sound property" to each of the eleven double pages, according to the singularity of each of the graphic configurations imagined by Mallarme. And the duration of this reading of each double page must be "exactly four minutes, in which the words are precipitated, or more calmly rendered or deposited", depending on how densely the page is filled. The voices will be arranged "not in bass-treble corresponding to the top and the bottom of the page, but in relief of shade and light, matness and resonance". Between the "low voice, without larynx, for matness" and the "singing voice for resonance", there is provision for intermediary degrees. Finally there are five different choirs corresponding to the typefaces used by Mallarme: a "rhetorical choir" ("small Roman type"), of low, whispering voices; a "poetic choir" ("very large Romar type"), singing, still in the bass, the neumes drawn in "English" script. of the letters of the poetic text; a "tragic choir" for the italics; an "ode choir" humming almost without breath for the small Roman type; finally a "symphonic choir", pianissimo, mouths closed singing simultaneously in two different harmonic "colours" (chords resulting from a three part and a fourpart division of the octave) and adding the "rustling, soughing sound necessary to every symphony", the murmuring of a psalmody with half-open mouths without any exact reference to the pitch of the sounds (only the registers count). Ballif rejects the notion of a cappella singing and demands two double basses, two percussionists and two kettledrum players to punctuate the change from one page to another. A "ribbon of sound" elaborated in the studio for electronic music at McGill University in Montreal where Ballif taught for a year in 1978-79, (clinks groups of pages, or creates an "echo", widening the atmosphere of this state of a half-open spaces.

Essentially grave, still music - helped by the contemplation of the calm vastness of the St. Lawrence Estuary - Un coup de des, looked at, freely broken up phoneme by phoneme, read, heard, savoured - in brief, lived by Ballif, presents us with a secret Mallarme, in love with swirling tenuities, like at the double page 6 where the static whirling, as in the eye of the storm, allows the song to emerge gradually, without, however, letting it become really detached from the whispers and incantations at the bottom of the abyss, In a slow ascending movement the music causes the glossographic sifting of complex euphonic timbres to sound more and more clearly. In this respect it is remarkable that Ballif should have preferred a womb-like quietness to brightness and fanfares. Rather than "Mallarme-izing", like the Moderns, by a refinement of preciosity in the treble, Ballif elaborates, in the bass and pianissimo, the intermissions of the singing by means of a seemingly unchanging drone which indefatigably ties up with its own difference and majestically, like a river, unfolds ...

Meditative music that defies all teleology, all the better to soar: it plunges, and plunges us, at the very instant of its "stellar and celestial emergence" into the mystery of the there is.

Othmar Schoeck's Hesse Settings

Lieder nach Gedichten von Hesse
Ravenna - Fur Ninon - Keine Rast

Othmar Schoeck's Eichendorff Settings

Lieder nach Gedichten von Eichendorff

Waldeinsamkeit - Nachklang - Auf dern Rhein -
Auf meines Kindes Tod - Abendlandschaft - Im Wandern

Arthur Loosli, Bass
Karl Grenacher, . Klavier

Othmar Schoeck's Vocal Music II

Ein Voglein singt im Walde (Ritter)
Es ist bestimmt in Gottes Rat (Feuchtersleben)
Agnes (Morike)

Wettinger Karnmerchor
Leitung: Karl Grenacher

Im Kreuzgang von St. Stefano (Hesse)
Sapphische Strophe (aus "Der Saenger") (Leuthold)
Waldvogelein (aus "Der Saenger") (Leuthold)
Septembermorgen (Morike)
Nur zu (aus ggHoldes Bescheidenn) (Morike)

Ernst Haefliger, Tenor - Karl Grenacher, Klavier

's Seeli (Lienert)
Zimmerspruch (Uhland)

Serninarchor Wettingen
Leitung: Karl Grenacher

Othmar Schoeck's Vocal Music

Disco 504
Side 1

Der Postillon (Lenau), op. 18 fur kleinen Chor von Maennerstimrnen, Tenorsolo und Orchester

Ernst Haefliger, Tenor - Seminarchor Wettingen- Wettinger Kammerorchester - Blaser des Tonhalleorchesters Zurich - Leitung: Karl Grenacher

Mit einem gemalten Band (Goethe)
Marienlied (Novalis)
Peregrina ll. (Morike)
An einem heitern Morgen (Uhland)

Ernst Haefliger, Tenor - Karl Grenacher, Klavier

Sehnsucht (Eichendorff)

Seminarchor Wettingen
Leitung: Karl Grenacher

Othmar Schoeck, "Streichquartett D-dur op. 23"

Streichquartett D-dur op. 23 (27'48)
fur 2 Violinen, Viola und Violoncello

1. Allegro (8'46)
2. Intermezzo (6'24)
3. Allegro risoluto (12'26)

Othmar Schoeck, "Streichquartett C-dur op. 37"

Streichquartett C-dur op. 37 (29'00)
fur 2 Violinen, Viola und Violoncello

1. Grave non troppo lento. Allegro grazioso (9'41)
2. Allegretto tranquillo (4'45)
3. Scherzo: Allegro (6'14)
4. Lento (4'24)
5. Presto (3'35)

Neues Zuercher Quartett
Nicolas Chumachenco, 1. Violine
Urs Walker, 2. Violine
Christoph Schiller, Viola
Alexander Stein, Violoncello

Othmar Schoeck, "Post-Scriptum"

POST-SCRIPTUM: 3 fruehe Lieder
(La voix lumineuse)

Erwin TUELLER, tenor
Othmar SCHOECK, piano

Othmar Schoeck, "Das Stille Leuchten"

Othmar SCHOECK
(1886-1957)

Niklaus TUELLER, baryton
Mario VENZAGO, piano

Face A DAS STILLE LEUCHTEN 1. Reisephantasie 2. Alle 3. Liederseelen 4. Am Himmelstor 5. In einer Sturmnacht 6. Das heilige Feuer 7. Der Reisebecher 8. Der roemische Brunnen 9. Das Ende des Festes 10. Neujahrsglocken

-

Face B DAS STILLE LEUCHTEN (suite) 11. Goettermahl 12. Ich wuerd es hoeren 13. Schwarzschattende Kastanie 14. Requiem 15. Nachtgeraeusche 16. Firnelicht

With the exception of Arthur Honegger, Othmar Schoeck (1886-1957) is certainly the most independent Swiss composer of the first half of this century. Honegger achieved his ends more easily, not only because he was able to live and work' in Paris, but also because of his thorough knowledge of every type of music - the theatre, oratorio, symphonic and chamber music, and music for films. Schoeck's importance, however, is based almost exclusively on vocal music, and is therefore more closely linked with the German language and the regions where it is spoken. In addition, the librettos of most of his operas are imperfect. Furthermore, understanding of Schoeck in Switzerland was unfortunately characterised for a long time by a typically provincial narrow-mindedness. Many of his friends took it upon themselves - in all good faith - to protect him against a so-called "Dadaist front against lyricism". They also tried to isolate him from the most important cultural currents of the twentieth century, though now, a few decades later, it is easy to see that he belonged to them significantly.

It is true that Schoeck started in a typically romantic tradition, composing more than a hundred lieder in his early years. Three of them can be heard in the "Postscript" to this album; in a historic recording with the composer at the piano. But during the first world war, when Zurich had briefly become a great cultural capital, an essential development came about in his musical language through new meetings, in particular with Ferruccio Busoni. During the twenties, when so many artists were experimenting, absolutely new fields of expression were revealed to Schoeck. Between the "ElegyJJ (1923) and the "Notturno" (1933) (Accord record No 140021 with Niklaus Tuller and the Berne quartet) he composed his most daring works. Most important were the opera '.'Penthesilea", based on Kleist's expressionist play, the cycle "Lebendig begraben" (Buried alive) and, towards the end of this' period, when Hindemith had returned to severe forms, the dramatic cantata "The fisherman and his wife", designed as a set of variations.

His subsequent development is difficult to understand because of the political situation in Switzerland in general and Schoeck's situation in particular. Nazism had struck a severe blow at German culture, and independent Swiss art has practically never existed, at least in the field of music. Restriction to a single region resulted in a narrowing of the horizon. In connection with the poet Albin Zollinger, Max Frisch spoke of .the inevitable need "to see the Bachtel as a Vesuvius, in order to escape into a vision". For many artists, the only solution was inner withdrawal, combined with a need for certainty which led them more than ever to use the well-tried creative techniques of the past.

Between 1941 and I946 all that Schoeck composed was settings of poems by three nineteenth-century Swiss writers - Gottfried Keiler, Heinrich Leuthold and Conrad Ferdinand Meyer. "Das stille Leuchten" (The silent light) dates from 1946. The complete cycle contains 28 poems. This recording contains a selection of 16 songs, in a free order. Meyer's strongly symbolic lyricism has been magnified by Schoeck,' in the great tradition of the German Lied. It ranges from simple resonance ("Liederseelen") to quotation ("Der Reisebecher", "Requiem"). A few passages also undeniably show a concern for objectivity in musical interpretation. .At the same time there is nearly always in his music an intimity which touches us directly. Schoeck achieves effects of great intensity, and succeeds in finding the magic force of exorcizing formulas through the strict use of old methods of composition such as the sequence, imitation and rhythmic ostinato ("Ende des Festes", "Schwarzschattende Kastanie", "Requiem").

The problems of Schoeck's late works can only be mentioned briefly here. It is neither an isolated world nor a last flower of romanticism, but in its great moments a reminder of the past which it is difficult to imagine more intense or purer. -- Roland MOSER .

Othmar Schoeck, "Nachhall"

Nachhall op. 70
Liederfolge fur rnittlere Singstirnrne und Orchester
nach Gedichten von Lenau und Claudius

Seite 1 Nachhall (Lenau) Einsamkeit I, II (Lenau) Mein Herz (Lenau) Veranderte Welt (Lenau) Abendheimkehr (Lenau) Auf eine hollandische Landschaft (Lenau) Stimme des Windes (Lenau)

-

Seite 2 Der falsche Freund (Lenau) Niagara (Lenau) Heimatklang (Lenau) Der Kranich (Lenau) O du Land (Claudius)

Arthur Loosli, Bass-Bariton
Kammerensemble von Radio Bern
Leitung : Theo Loosli

	-
Theo Loosli	-	Arthur Loosli

Horaţiu Rădulescu, "Astray"

22'47
ASTRAY
FUR
6 SAXOPHONE
(SOPRANINO
SOPRAN
ALTO
TENOR
BARITON
BASS)
DANIEL KIENTZY
UND
SOUND ICON
HORATIU RADULESCU

ASTRAY op. 50 (1983) for Double Duo was composed for the Roma Villa Medici Musica Festival where it premiered in 1984. The score consists of 81 paintings using symbols from ancient languages. These 81 micro-music entities were photographed and projected as slides during the performance. In addition to its ancient alphabet symbol, each image contains precise indications for the two players: the saxophone player performs on six saxophones (bass, barytone, tenor, alto, soprano, sopranino) which hang from a frame, the other player performs on a Sound Icon.

This duo plays simultaneously with another identical duo. Both duos perform the same score, but at different speeds. The first duo performs the score twice: slowly at first, faster the succeeding time the second duo performs the score once during the same time span very slowly.

It should be noted that each (4 of the 81 micro-music entities (the chain of those three aspects of the same score: (A', A", A"') appears at three different moments of the macro-music and develops its own "inner life" within three different times. The "golden number" (0.618034 /1.00) - sectio aurea - determines all of these time proportions.

This macro-formal process affects our subconscious, often creating a sensation of remembrance or premonition merging into a magic trance. The ancient symbols are mnemotechnical indications for the specific performance technique required for each micro-music. Their colors indicate the six registers (from low to high: red, orange, yellow, green, blue, violet). These special techniques of sound production reinforce the spectral energy (variable distribution) of each event or chain of events (spectral pulse). Four simultaneous levels of perceptual speed occur; MMT - macro-macro time of the 22'45"macro-form tension; mMT - micromacro time as pulse of the 3 x 81 micromusic entities, each of which lasting between 5" and 34"; MmT - macro-micro time of the rhythm produced by the actual onsets, and mmT - micro-micro time, intrinsic rhythm of the sound material up to 333 timbral transformations per second. contributing to the spectral enhancement of each event. All sounds notated in the score are performed live and are not electronically modulated. The cause (sound source) and the effect (sound parameters) are rendered unrecognizable by the special techniques of sound production.

In this particular studio recording, the two duos were recorded in playback with Daniel Kientzy and the composer. For a concert performance, 4 to 7 players are required (The Sound lcons (3 & 2) require 5 players); the two duos are disposed around the audience. The score, projected from slides, contributes to the visual "environrnent". Horatiu Radulescu

THE SOUND ICON: a grand piano laying vertically on its side, with the strings played by bowing. The instrument is presented in a new light; it now resembles a religious object-Byzantine icon. At a time, when religion was only possible in Romania through music, I called this instrument "Sound Icon". Because I played violin myself, I was obsessed with the idea of reversing the proportion of the roles between bows and strings. The problem was solved by reducing the bow to a single hair - in most instances, a very fine thread (diameter 1/10 mm). By describing a sVe around the piano string, this rosined thread brings the string into vibration and causes all other open strings of the piano to resonate in sympathetic vibration resulting in a fabulous resonance; rhythm is transformed into timbre, etc..

The first public performance with Sound lcons took place in 1974 at the Festival de Provence in France, where 17 players premiered A DOINI op. 24. In A DOINI, CLEPSYDRA and ASTRAY as well as in other works, the bowing technique used on the Sound lcons takes many variable parameters into account: speed, angle, diameter, pressure point along the string (a minimum of six: sul ponte, verso il ponte, normal, un poco sul tasto, molto sul tasto, moltissimo sul tasto), double and triple ponticello, multiphonics on a single string, etc.. The tuning of the strings (scordatura) of the Sound Icon is specific to each score and strictly corresponds to the intervals determined by the spectral components (i.e. harmonic scales of logarithmic and thus unequal intervals). -- Horatiu Radulescu

DANIEL KIENTZY was born on June 13, 1951 in Pbrigueux. France. From 1966-72, he played in various jazz and rock groups. He studied double bass at the Versailles Conservatory and played in the orchestra of the Grand The8tre, Limoges, from 1972-74. Kientzy went on to study saxophone at the Conservatoire National, Limoges and at the Conservatoire National Superieur, Paris, where he was awarded first prizes for saxophone and chamber music. Interested in early music, he founded the Musica Ficta group, in which he played viola da gamba, recorders, crum horn and bagpipe from 1974-78. Since the late 1970's. Kientzy has devoted himself entirely to the saxophone. Not content with stereotyped playing techniques, he undertook a comprehensive research program, first in a private studio and then at IRCAM, and has succeeded in making the saxophone a major solo instrument for contemporary music. He has become internationally well known through his inventions and extensions of new playing techniques of the saxophone, including the introduction of electronics into the instrument's range. His treatise Les Sons Multiples aux Saxophoneswas published with Editions Salabert, Paris in 1982.

Horaţiu Rădulescu, "Clepsydra"

-- Liner Notes --

24'22
CLEPSYDRA
FUR
16 SOUND ICONS
EUROPEAN
LUCERO ENSEMBLE
LEITUNG
HORATIU RADULESCU

CLEPSYDRA op. 47 (1982) for 16 Sound Icons. (clepsydra: intermittent fountain or ebbing wells; a contrivance used in ancient times for measuring time by the flow of water; a water-clock - in contrast to clepsammia, whereby time is measured by the flow of sand in a glass).

This composition describes the macroshape of a horizontal clepsydra which gradually filters a single pitch from a rich sound spectrum. The music then "passes through" this pitch to develop into a new spectrum, becoming richer and more expansive.

In the 16-part score, the spectral components are activated as fundamentals with their own enhanced "spectral life" by different bowing techniques on the Sound Icons. These processes of dynamicltimbra1 evolution oscillate between heterogeneous and homogenous techniques of sound production - a kind of "spectral heterophony" of sound sources.

The dynamics of the 16 parts are differentiated, with a deep or faraway "ppp" occuring more or less simultaneously with a very near "fff". Since it is difficult to distinguish between the many layers of sound in a stereo recording, one should listen at a higher volume and concentrate on imagining the circle of 16 Sound lcons around oneself. The four historical musical paradigms. monody, polyphony, homophony, and heterophony, are actually quite impossible to distinguish from one another within this "sound plasma" - living sound that can only be comprehended from a global perspective, resembling the blue image of earth as viewed from outer space. -- Horatiu Radulescu

HORATIU RADULESCU was born on January 7, 1942 in Bucharest, Romania. He studied violin privately under Nina Alexandrescu, herself a disciple of George Enescu and Jacques Thibaud. In 1969 he was awarded the Master of Arts in Composition from the Bucharest Academy of Music, where he studied composition, orchestration, analysis, and formalized music under Tiberiu Olah, Stefan Niculescu and Aurel Strob. He has been living in Paris since 1969. From 1970-72 he attended courses for new music given by Mauricio Kagel and Luc Ferrari in Cologne, and John Cage, lannis Xenakis and Karlheinz Stockhausen in Darmstadt. He later worked with computer assisted composition and psycho-acoustics in Paris at IRCAM from 1979-81. In 1988 he was guest of the Artists-in-Berlin Programme of the German Academic Exchange Service (DAAD) in Berlin. In 1989 and 1990 he was awarded the French Villa Medicis hors les Mursgrant for the USA and Italy. In 1969 he began to develop the spectral technique of composition: variable distribution of spectral energy "spectrum pulse", synthesis of global sound sources, processual micro-and macro-form, four simultaneous layers of perceptual speed, spectral scordatura (scales of unequal intervals corresponding to harmonic scales).

Publications describing his compositional theory include: Sound Plasma - Music of the Future Sign, Edition Modern, Munich 1973 and Musique des mes Univers, Revue Silences NQ 1, Editions de la Difference, Paris 1985.

His ceuvre includes over 70 pieces for solo instruments, voice, chamber ensemble, orchestra and tape which have been performed in Europe, North and South America. Israel, Japan and Australia.

This recording was made possible by the Artists-in-Berlin Programme of the German Academic Exchange Service (DAAD) and Noch Musik

Horaţiu Rădulescu, "Iubiri"

-- Liner Notes --

PYTHAGORAS' DREAMINGS

Horatiu Radulescu, an unusual personage of today's music, resembles the leading figure Edgar Varese because of his sound innovations. Starting at the end of the 1960's with his composition Credo for nine cellos (1969), Radulescu developed an original sound world from his fundamental research concerning the sound spectrum. The work that followed, Flood for the Eternal's Origins for four soloists, groups or ensembles (Darmstadt, 1972) is the direct application of this experimentation and of his necessity "to enter" into the sound to rediscover the ocean of vibrations that Pythagoras scrutinized two thousand years ago, to "turn the beautiful and heavy page of history, learning about discrusive logic, imitating immediate reality by an exacerbated pantomime of sounds, towards the world of sound-phenomena which create themselves MUSIC, a world which became then imminent."

Born on 7 January 1942 in Bucharest, Radulescu studied the violin with Nina Alexandrescu, a disciple of Georges Enesco and Jacques Thibaud. At the National Conservatory of Bucharest, he obtained the master diploma in composition under Professors Tiberiu Olah (composition), Stefan Niculescu (analysis) and Aurel Stroe (orchestration and formalized music). Between 1970 and 1972, he participated in the "Courses for new music" at Cologne (with Mauricio Kagel and Luc Ferrari) and in the "Summer Courses" at Darmstadt" (with John Cage, Iannis Xenakis, Karlheinz Stockhausen and Gyorgy Ligeti). From 1979 to 1981, he participated in a course in Paris at the IRCAM (computer-assisted composition and psycho-acoustics). He moved to Versailles in 1969 and becae a French citizen in 1974. As a consecration of his intense artistic activity, he became a 'resident' at the DAAD in Berlin (1988-89). Then he won the prize 'Villa medicis hors les murs' in 1990/91 and a sabbatical year under a scholarship from the French government in 1992.

Fighting against what he calls a 'discontinuous and manufactured music' and the 'acrobatics of the postwar period and its post-serial waste products', the composer is 'partisan', on the contrary, to music based on 'energy operating within a sound that is as continuous as possible' - in the lineage of Giacinto Scelsi and Gyorgy Ligeti. Radulescu thus explains his own theory in a book entitled Sound plasma - music of the future sign. Exploring the infinite universe of the harmonic spectrum, the composer analyses all the parameters of sound - duration, ptich, timber and pulse. He speaks of the 'realization by synthesis of the global sources of sound, living sound plasmas wherein all the micro-parameters possess an infinite number of micro-rhythms'. If the duration of a work is hardly important for Horatiu Radulescu, the attention of the listener must be concentrated upon these sound micro-phenomena - in that philosophy, he is united with the Rumanian School and his teachers from Bucharest. Melodies, like rhythms, seem to dissolve into a state of being. Far from neglecting the contribution of the four great historical types of composition - monody, polyphony, homophony and heterophony-, the musician, while trying to realize a synthesis of these ideas, imagines a 'phenomenological language of sound plasma' that is not 'more reducible than any of these compositions, but remains as their consequence'.

In the graphic style of Earle Brown's or Christian Wolff's scores, Radulescu's - extremely beautiful - abandon the traditional lined paper and are presented as diagrams. The music is visualized using illuminated designs accompanied by short explanatory texts. Following the example of the musician Giacinto Scelsi - considered as "the direct father of abstractions' whos music he discovered in 1972 -, Radulescu uses the 'scordatura spectrale' notably in Thirteen dreams ago for 11 strings (1978). This is a technique allowing the modification of the habitual tuning of one or several strings of an instrument. One may thus enlarge the instrument's tessitura and vary its color. It is a procedure that appears for the first time in occidental string music in the sixteenth century, then again with Bach - in the Fifth Suite for solo cello- and closer to our time in the compositions of Scelsi-Quartets -, Gerard Grisey - Periodes - or with Richard Hoffmann, Salvatore Sciarrino and James Tenney.

Already considred to be an innovator, Radulescu is even more so because of an 'instrument' that he conceived in 196 and that he has since developed: the 'sound icon'. It is a piano positioned vertically like a harp - 'thus resembling a religious object, a Byzantine icon' - whose cover has been taken off to give access to the strings. By passing one or several nylon cords treated with rosin - like that used on a bow - behind teh piano strings, one obtains sounds of an infinite resonance that have no equivalent among other instruments.

Masked behind sometimes rowdy declarations and almost creating a new language by placing in the same melting pot English, German, Latin, Italian, French and Rumanian for the titles of his pieces, Radulescu converses in Time with Pythagoras - Pythagoras' dreamings (1972) - , Mircea Eliade - Taaroa (1968/69) - , Shakespeare - the quartet Infinite to Be Cannot Be Infinite/Infinite Anit-Be Could Be Infinite (1976/87) - and Lao Tzeu - the piano Sonatas No. 2 "Being and non-being create each other" (1990/91) and No. 4 "Like a well...Older than God (1993). A mystic? Radulescu is certainly, but it is a mysticism without concessions, molded from utopia and turned towards a poetic art that is expressed through an excess found in certain compositions. However one must not forget that his music is marked by a 'languishin' nostalgia, as defined by the text of his piece Doruind (for forty-eight voices, 1976) whose title is derived from Rumanian and means both 'desire' and 'nostalgia': the 'desire' is contained in 'pain'.

His recent compositions - since the 1980's - show an extreme refinement: he attempts less to provoke a sound continuity, than to assemble crystalline micro-melodies using multiple rhythms. In this new stage where the melodic aspect is more easily detected, the composer enrolls in a Neo-Byzantine liturgical tradition extending from 7th century Roman chant to certain scores of Szymanowski, Bartok, Enesco and Stravinsky. Thus the embryos of hymns - tropes, kondaks and canons - are found in the Byzantine Prayer for forty flutes (1987), in the vocal lines of Vetrata for twenty four vocalists and three sound icons (1991/92), in the viola duet Agnus Dei (1992), in "Cloches byzantines" (Byzantine Clocks) of the Sonate no. 2 for piano (1990/91), or still yet in the second movement 'le son scre' (the sacred sound) and third movement 'musique plus agee que la musique' (music older than music) -based on two Transylvanian Christmas carols - of the Sonata no. 4 for piano (1992/93).

Following Horatiu Radulescu's residence at Villeneuve d'Ascq (in the North Pas de Calais region of France) in march and April 1994 and at a festival - Polychromy 94 'Au-dela des limites...Espaces infinis' (Beyond the limits - Limitless Space) from April 11 to 15, where several major works of Radulescu were played -, this recording (the first!) of the Ensemble Polychromie directed by Nvart Andreassian leaves a concrete prolongation of the fruitful meeting of a composer with his interpreters.

Iubiri

for 16 instrumentalists (2 flutes, 2 clarinets, 2 bassoons, horn, trumpet, trombone, percussion and string quintet) and sound icon (1980-1981)
A commission of the French Ministry of Culture (1981)

Premiere: Paris, Centre Georges Pompidou (1981), Ensemble Itineraire conducted by Yves Prin. Other performances: the Rencontres Internationales of Darmstadt in 1984; Ars Musica, Brussels, 1993 and Lucero Festival, Paris 1993.

Dedication: "To my mother"

Iubiri is the Rumanian plural of "iubire" (love). The word "iubire" is a Latinization of the Russian word "lioubovi", just as the words "Liebe" or "love" are derived from Sanskrit. The work consists of 343 unique "iubiri" (loves), 343 unique "micro-music/orchestrations" that during forty-seven minutes integrate seven acoustical spectrums in the style of seven large historical tonal regions. "The fundamentals of these seven acoustical 'solar' systems, are themselves the seven first new harmonics of the initial C: C, G, E, B flat, D, F monesis, G triesis. This progressive macro-formal modulation gives a sentiment of continual ascension even if the global evolution of the registers is written in "sleeping hourglass" of seven octaves -, focal unison with "halo" -, and progressively reopens to seven octaves.

The 343 unique "micro-musics" (loves) arrive like explosions/implosions, "illuminations" issuing from a musical sphere", a sphere with equidistant meridians by which these 343 "musics" pulse with a "divinely diabolical" periodicity. The seven macro-speeds of this periodicity themselves describe an irregular curve: 6-5-4-2-7-1-3.

The pitches used by the musicians are spectral components with an intense "life-timber", spectrality of spectrum, "emanation of the emanation". The formants/chords (zero degree of this music) describe zones: explicit compact spectrums; inverted spectral regions - secondary functions, tertiary in low pitches, primary functions, auto-generating spectrums, p.E. "ring functions".

By very complex and often complimentary dynamic profiles, these spectral functions - "frequency plateaus" with intense life (timber, dynamics, micro-rhythms, etc.) - acquire the perceptive qualities of monody, polyphony or homophony that change at high speed." From this extremely detailed writing, a sonorous plasma arises, rich with various kinds of information. The listener can perceive melodies that are not played directly by the interpreters, but whose origin is found in the harmonics. -- Franck Mallet, July 1994, Translated by Mary Dibbern

Horaţiu Rădulescu, "Sensual Sky"

Sensual Sky op. 62 (1985)
Ensemble Polychromie
Nvart Andreassian, conductor
Pierre-Yves Artaud, octobass flutes

-- Liner Notes --

Sensual Sky
version for 9 instrumentalists (alto flute, clarinet, alto saxophone, trombone, violin, viola, cello, string bass), sound icon and two octobass flutes pre-recorded by Pierre-Yves Artaud (1985)
Premiers: several versions (with different orchestrations): Turino, Festival Antidogma 1985 by the Ensemble Lucero under the direction of H.R.; Paris, Centre Georges Pompidou (1988) by the Ensemble 2E2M under the direction of H.R.

Dedication: To Petra and Laura

The two flutes on pre-recorded tape sustain the instruments on the stage like a monochromatic landscape, while equally having the goal of "provoking turbulence in the readability of the score". The varied colors of Sensual Sky are obtained due to clusters of notes of each instrument "hung" on an undulating axis. It is a "virtual spectral scordatura"; that is, a micro-tonal change of the tuning of one (or several strings) of an instrument. Following the example of the musician Christian Wolff, the composer draws a parallel between the guiding idea of his piece and Calder's mobiles.

Horaţiu Rădulescu, "Inner Time II"

-- Liner Notes --

Horatiu Radulescu
inner time II, op. 42
Homage to Calder
for 7 B Flat clarinets [1993]

armand angster clarinet systems
armand angster, jean-pierre peuvion, vincent jacquemin, laurent berthomier, jean-marc foltz, jean-louis bergerard, denis tempo

the inner life of sounds
by Richard Toop

Once described by Messiaen as "one of the most original young composers of our time", Horatiu Radulescu (b. 1942) remains one of the most distinctive and idiosyncratic voices in new music. Born in Bucharest, he moved to Paris in 1969 and, partly inspired by Stockhausen's composition Stimmung, "concluded that it was necessary to 'enter into' the sound, to rediscover the ocean of vibrations that Pythagoras has scrutinised two thousand years ago". The result was the evolution of a technique of 'spectral composition', based on the idea of audibly projecting the activity and energy of the various partials (overtones) innate in a single instrumental pitch - an approach which became almost de rigueur for non-serialist Parisian composers in the seventies and eighties.

A sort of baroque extravagance presides over many aspects of Radulescu's music: it seems entirely appropriate that he has an address in Versailles. Titles both whimsical and apocalyptic - Flood for the Eternal's Origins, Incandescent Serene, A Cryptic Crystal Cuddles the Somnambulant Day - are matched by exotic instruments such as gold and silver cymbals, bowed monochords and sound icons, and lavish resources (e.g. Wild Incantesimo, with its nine orchestras, and a score consisting of 4400 slides projected on nineteen screens).

There are sound reasons for these large forces. The idea of spectral composition logically calls for large numbers of identical instruments or ensembles, like the thirty-four monochords in Do Emerge Ultimate Silence or the Byzantine Prayer, with its fourty flautists and seventy-two flutes. And as the latter title indicates, there is alos a pronounced religious, ritual dimension to Radulescu's music - "the music we are composing is, above all, the music of a special state of the soul, and not the music of action" - and much of the spectacle has its roots in an evocation of ancient Byzantine rites. Indeed, the sound icon - a grand piano laid on its side, the strings being bowed - intentionally presents the instrument "in a new light; it now resembles a religious object - a Byzantine icon. At a time when religion was only possible in Romania through music, I called this instrument a sound icon."

Outer Time and Inner Time, the two pieces which jointly comprise Radulescu's Op. 42, date back to the early eighties. The two works are inversely related: the composer refers to Outer time as a "mountain" (a huge registral sweep going from high to low), and Inner Time as a "valley" (high to low to hifh). For the composer, "the whole valley-like trajectory [built] according to Golden Section (sectio aurea) proportions, operates on our subconsciousness in the sense of a pure introspection of our selves' inner time, a kind of inner sight, of vécu intérieur (inner life)." Both pieces have undergone many transformations over the years. outer Time has appeared in versions for twenty-three flutes, for fourty-two Thai (or Java-nese) gongs, for two grand pianos (spectrally returned!), for trio (viola, cello, bass) and for brass ensemble. Inner Time first emerged in 1983 as a piece for solo clarinet, written for Roger Heaton, with an alternative version for seven wind trios (each comprising flute, oboe and clarinet). The next year it reappeared in Darmstadt as a piece for solo clarinet with four accompanying clarinets echoing orbits.

Inner Time II, Op. 42
Homage to Calder
for seven B flat clarinets [1993]

Inner Time II, the work heard on this recording, is a newly composed piece based on the same spectral scale material. It is for seven B flat clarinets, who in a live performance are placed in a large circle around the audience, and coordinated by a Light Quartz Timer (a kind of ultrastable, multicoloured visual click-track, invented by Radulescu some twenty years ago).

The pitch structure is based on a scale of 42 pitches (spectral scordatura) which are the partials 6, 7, 8, 9, 10, 11 and then every odd-numbered partial up to the 83rd of a low A; the emphasis on odd-number partials neatly matches the natural timbre of the clarinet, reinforcing as the composer puts it, "the sober and poetic unity of the score". The 6th partial is the bottom E on the clarinet; the 83rd lies just below the high D which marks the top of the conventional E flat clarinet range (though here, astonishingly, all the high partials are achieved on the normal B flat instrument!). Each clarinettist has a repertoire of just six steps of the scale (six frequency orbits), spread throughout the total range. However, since an enormous degree of accuracy of intonation is called for, especially in the highest register, where distinctions are notated to the nearest 64th of a tone, and then further inflected in cents (highly accurate tuning devices are used to find a basic fingering given for each note, and used again in rehearsal for verification), even the production of these six notes is a Herculean labour.

In both inner and outer forms, Radulescu's Op. 42 is a "Homage to [Alexander] Calder". The basic material is a single registral filter, a basic shape (mobile of distinctly Calder-like appearance laid over the spectral scordatura, which in its macro form provides the overall descent-ascent, and on a smaller scale furnishes 137 mobiles - derived from the basic one by the quasi-serial processes of inversion, retrograde and retrograde inversion, as well as contraction and expansion in space (pitch) and time.

As indicated already, the principal formal tool at many levels is the Golden Section (sectio aurea - 1:0.618), and its rationalisation in the so-called Fibonacci Series (1 2 3 4 8 13 21 34 55 89 etc...). The basic filter is iteslf the product of four intersecting layers of Golden Section proportions. These proportions also determine the work's time structure at the upper two of the four distinct levels - "four layers of psych-acoustical Wahrnehmung [perception]" -, which the composer defines as Macro-Macro Time (MMT), micro-Macro Time (mMT), Macro-micro Time (MmT), and micro-micro Time (mmT). In the first instance (MMT), the Golden Section determines the relative lengths of the downstream (long) and the upstream (short); the turning point is a massively protracted (89 seconds) version of the basic shape which begins during the 34th minute, rising from the lowest spectral orbit. At the next level (mMT), the Fibonacci series (in effect, a 'pragmatic' expansion of Golden Section ratios) is used to regulate the lengths - in seconds - of each of the 137 mobiles (5 seconds, 8 seconds, 13 seconds, 21 seconds etc...). Within each mobile, the exact rhythm (MmT) is determined by 81 rhythmic models which regulate whether an instrument enters on, just before or just after the quaver pulse (an approach which Radulescu likens to the notes inegales of baroque performance practice). The final level (mmT) is that of the sound's inner life: "the fastest aural information - up to +/- 333 informations/changes per second in spectrum/timbre."

accroche note

is an ensemble of soloists which was formed in 1981 around Francoise Kubler and Armand Angster. The character of each programme determines the choice of musicians, according to their musical personality. In number, the group can vary from soloist through to chamber ensemble, and they take advantage of this flexibility to tackle a spectrum of repertoires ranging from vocal and instrumental music of yesterday and today [passing from the Vienna School to Kagel, by Stravinsky, Dallapicoola, Boulez and Berio] to jazz, improvised music and music-theatre. More and more, Accroche Note is attracting composers by the originality of its sound range. it has been actively engaged for several years in the commissioning of works, encouraging the creation of new scores, a new repertoire, always working closely with the composers. Among recent first performances figure notably music by Georges Aperghis, James Dillon, Pascal Dusapin, Franco Donatoni, Brian Ferneyhough, Philippe Manoury and Marc Monnet.

further reading...

Haratiu Radulescu: Sound plasma - music of the future sign
Modern Verlag, Munich, 1973

Horatiu Radulescu: Musiques de mes univers
Silences no. 1 - Editions de la Difference, Paris, 1985

Barton McLean, "Spirals"

-- Liner Notes --

BARTON McLEAN
Spirals (1973)

Phrase-wisps melting into pedals
and drones...
jazzy licks spiralling upward and beyond

Composers, particularly in the electronic medium, must not only create their realization, but must also fashion, for each new work, an all-inclusive and self-contained universe of sound which draws all components into its orbit, compelling them to obey its unique laws.

melodies which appear as smoke wisps
turning, in, on, and around
harmonies responding, unpolluted by
equal temperament

Labelling a work "electronic" should not automatically relegate it to the stereotype of the machine esthetic. To the contrary, it must be possible and desirable to counterbalance this tendency with a concept which accentuates all of the human qualities associated with music and life.

myriad shapes floating toward a liquid horizon
in a sea with islands of sudden focus. . .
unbalancing. . .
conservatory-bred senses of time!

What is the shaping of a new sound-universe if it is not principally the restructuring of time relationships, and the reorientation of the sonic material around this new time orbit?

quiet, reflective soundpools . . .
white hot thermomusical explosions
igniting the ear

Can they all be contained in one universe?

-B.M.

Barton McLean adds: "My wife-and I have found the experience of actively composing in the same household interesting and exciting. To the extent that any two composers can get along together, we do, despite the obvious differences in our compositional styles. One can imagine the problems - two composers and one electronic studio, or one piano, or one needing quiet while the other needs to make noise, not to mention the problem of all composers and their egos. We have managed to solve the first set of problems by teaching on alternate days and by capitalizing on our work habits, I being a day and she a night person. The second, potentially more serious problem just does not exist for some reason. We do not compete with one another, but instead encourage each other's success."

BARTON McLEAN (b. 1938) graduated from SUNY at Potsdam, received his M. A. from Eastman, and his Mus. D. in composition from lndiana University. His principal teachers were Henry Cowell, Thomas Beversdorf, and Bernhard Heiden, and, in electronic studio technique, Michael Babcock and Bruce Hemingway. He is now director of composition, electronic music, and theory at the South Bend campus. He is also active in broadcasting and is on the Executive Committee of The American Society of University Composers. Recent activities include the premiere of Dimensions II for piano and tape over the BBC, and a coast to coast broadcast of Metamorphosis for
Orchestra

Neil Rolnick, "A La Mode"

-- Liner Notes --

A La Mode (1984)
Neil B. Rolnick, synthesizers
Marshall Taylor, conductor
Reliche-The Ensemble for Contemporary Music

Nell B. Rolnlck composes music for electronic instruments and for conventional instrumental and vocal ensembles. He performs on a portable computer music system and concertizes regularly. He has appeared as featured soloist with ensembles such as Relache, Gerard Schwarz's Music Today Ensemble, Musical Elements and the Albany Symphony Orchestra. He collaborated with filmmaker Sandy Moore in a film/performance installation at the Whitney Museum in New York City. He performs regularly as a soloist, in a duet format with soprano Barbara Noska, and in collaboration with other composer/performers. Neil B. Rolnickwas born in 1947 in Dallas, Texas. He studied composition with Darius Milhaud at the Aspen Music School, with John Adams and Andrew lmbrie at the San Francisco Conservatory and with Richard Felciano and Olly Wilson at the University of California, Berkeley. He studied computer music at Stanford University with John Chowning and James A. Moorer, and worked as a researcher at IRCAM in Paris from 1977 to 1979. He currently teaches and directs the iEAR Studios at Rensselaer Polytechnic Institute.

Rolnick's work has been recognized by fellowships and grants from the National Endowment for the Arts, the New York State Council on the Arts, New York State CAPS, the MacDowell Colony, Yaddo, the University of California, Rensselaer Polytechnic Institute and the Alice M. Ditson Fund of Columbia University. His work may be heard on the 1750 Arch label; this is his debut on CRI.

Notes on the Music
A La Mode was written in 1984, and is scored for eight instruments and synthesizer. The title is indicative of the variety of meanings of the word 'mode' which are relevant to the music. Perhaps most obviously, the harmonic language of the piece is modal. The piece also calls upon players to perform from a variety of 'modes' or styles of notation. These modes range from strictly notated segments, to repetitions of such segments which are begun and ended by the conductor, to descriptions of musical gestures to be realized by the performers.

'A la mode' means 'in the style,' and this music is drawn f!om an awareness of many different musical styles. A la Mode begins and ends in clear reference to the repetitive and motoric style which has crept into the mainstream of new music over the last decade. However, there are a number of other styles which are employed as well. The use of various harmonic and melodic modes, the use of different modes of notation and performance, and the use of a variety of styles as sources for my musical materials and processes, have all been tendencies which have grown in my music over a number of years. They reflect my belief that today's culture is perhaps most unique for the inescapable fact that we are all exposed to such a wide variety of styles and influences from around the world and from throughout history. This fact makes our time of high technology and instantaneous world-wide communication heterogeneous in the extreme: we are all immersed in an indecipherable Babel of styles in all aspects of our lives. And in our music as in our lives, we make our identities by sifting through the styles and modes which we inherit, to select those modes which best suit us.

Finally, out of the multitude of meanings of the title, there remains the uniquely American gastronomical meaning: I do hope that A la Mode is as enjoyable and rich as a hot slice of apple pie with ice cream.


Relache, The Ensemble for Contemporary Muslc, was founded in 1977 in Philadelphia. It is an independent professional performing ensemble and producing organization devoted exclusively to the development and performance of contemporary music.

Since its founding, Relache has actively investigated and performed music that reflects the variegated history of the 20th century, from fully notated and precisely scored compositions to works that require creative, performer realizations to electronic and intermedia pieces. Relache maintains an active schedule throughout the Philadelphia metropolitan area with residencies at Drexel University and the Yellow Springs Institute for Contemporary Studies and the Arts, among others. The ensemble also gives presentations in high schools, tours throughout the Mid-Atlantic region and has been featured on a number of programs broadcast nationally over public radio stations. In October 1987, Relache, in conjunction with the City of Philadelphia and participating cultural institutions, will produce the 1987 New Music America Festival.

Relache:
Joseph Franklin, Director
Tina Davidson, Associate Director
Laurel Wycoff, flutes
Wesley Hall, clarinets
Stephen Marcucci, saxophones
John Dulik, piano
Guy Klucevsek, accordion
Charles Holdeman, bassoon
Robert Zollman, percussion
Flossie lerardi, percussion

A La Mode (19'30")
Produced by Neil B. Rolnick
Recorded and edited by Werner Strobe1
Recorded at the Mandell Theater of Drexel
University, Philadelphia, PA on January 26, 1986,
using the following synthesizer equipment:
Macintosh Computer, Yamaha DX7 and TX7
synthesizers, Casio CZlOl synthesizer, OpCode
MIDIMAC software.

Tod Machover, "Soft Morning, City!"

-- Liner Notes (Continued) --

Soft Morning, City! (1980)
Text from finnegans Wake
Jane Manning, soprano; Barry Guy, Double Bass
Computer parts realized at IRCAM, Paris

If Light is a formal and spiritual labyrinth that requires several listenings, Soft Morning, City! (which was commiosioned by the Calouste Gulbenkian Foundation for Jane Manning and Barry Guy) presents its qualities more immediately and directly. This is due mostly to the presence of James Joyce's text, the final monologue from Finnegans Wake. The particular passage that I have chosen here has interested me for many years. Coming at the end of this monumental epic, it is a melancholy and moving swansong of the book's main female character, Anna Livia Plurabelle. Now appearing as a washerwoman, she recalls her life as she walks along Dublin's River Liffey at daybreak. Many different planes of narrative are interlaced, the mundane with the spiritual, the sexual with the aesthetic, the personal with the universal. Joyce achieves the closest thing to the temporal parallelism of music by snipping each layer of narrative into short, constantly varying and overlapping phrases. The great beauty is that Joyce creates not the eclectic choppiness that such a procedure might suggest, but a majestic form of tremendous power and sweep. It seems to me that Joyce achieves this through an organization of the over-all sound of the passage in an unprecedented way. Listening to a reading-aloud of the text, one is carried by its cadences, tidal flows, crescendos and dying-aways, even while being sometimes only half-sure of the meaning of certain words. it is the rare combination of polyphonic verbal richness with inherent sonic structure that makes it ideal for a musical setting.

My setting takes the form of an aria, though a rather extended and elaborate one. Attention is always focused on the soprano, who alternates between long melodic lines and short interjections that change character quickly. The double bass lends support to the soprano, provides harmonic definition and melodic counterpoint, and often adds musical commentary.

The computer tape helps to amplify, mirror and extend the myriad reflections of Anna Livia, but at the same time acts as a unifying force. To emphasize closeness to the live performers, a new process is added whereby soprano and double bass music is directly transformed by the computer, producing at times sounds that seem to fuse the two into one musical image. Besides the above mentioned 4A and 4C machines, a large PDP-10 computer was also used, mostly to transform live sounds.

The work begins in stillness, with the soprano evoking the atmosphere of morning, surrounded by an ethereal transformation of her own breath. With the entrance of the double bass, various dierent strands of the textual polyphony are introduced one after the other, each with characteristic music. As the sonority of the tape gets closer to that of the live instruments, the musical layers begin to overlap with greater rapidity. In the lengthy middle section, many different layers are superimposed so that at the moment of greatest intensity and complexity a new unity is formed. From this plateau, the rest of the work is built. Quiet communion is achieved between soprano and bass. This leads directly to a long melodic section, with soprano accompanied by a continuous harmonic progression in bass and tape.

After a final moment of bitter reflection ("O bitter ending!..."), an enormous wave washes over Anna Livia and carries her away. A quiet coda uses delicate, distant images to recall the stillness of the worKs opening. A chapter is closed, a deep breath taken, and we prepare, led by Joyce's Liffey ("Riverunn ..."), to begin again.

I wish to thank IRCAM for providing the technology, environment and support that led to these pieces, and Giuseppe di Giugno and Jean Kott specifically, without whose visionary guidance neither piece would have been possible.

*Jane Manning has been hailed as one of the most outstanding singers in the field of contemporary music. She has toured extensively throughout Europe, North America, Australia, and the Far East, appearing with a large number of major orchestras and ensembles. In 1973 Miss Manning received a special award from the Composers' Guild of Great Britain for services to British music.

*Barry Guy is known both as a double bass player and as a composer. His repertoire covers music of all periods, and he has been equally acclaimed for his exemplary performances of baroque, jazz, and avant-garde music.

*The lnstitut de Recherche et Coordination Acoustique/Musique was founded in 1974 by Pierre Boulez Part of the Centre Georges Pompidou, it is devoted to contemporary music in its most varied forms: musical acoustics, in strumental research, construction of specialized sound technology (i.e. digital synthesizers), computerized sound analysis and synthesis, computer programs as composing aids, theoretical and analytical studies, teaching activities, and finally the production and presentation of new musical works.

*The Ensemble InterContemporain is a Paris-based chamber orchestra, founded in 1976 with French government support, devoted to the performance of 20th century music. Pierre Boulez is President, and Peter E'dtvtis Musical Director of the Ensemble, which has toured extensively in Europe and recorded for ERATO. DGG and CBS. Members of the Ensemble Intercontemporain and their instruments for Light are:

Alain Marion, flute, piccolo
Gerard Perreau, oboe
John Wetherill, bassoon
Jens MacManama, french horn
Jean-Jacques Gaudon, trumpet
Jrtime Naulais, trombone
Michel Cerutti, percussion
Philippe Mach, percussion
Alain Neveux, piano
MarieClaire Jamet, harp
Sylvie Gareau, violin
Maryvonne Le Dizes-Richard, violin
Simone Muller, viola
Pierre Strauch, violoncallo

Tod Machover, "Light"

-- Liner Notes --

Light (1979)
Members of the Ensemble InterContemporain with two
computer-generated tapes
Conducted by Peter Eötvös
Computer parts realized at IRCAM, Paris

Tod Machover, (b. 1953, New York), received his B.M. and M.M. degrees from the Juilliard School, where he was an honorary scholarship student. He also studied at the University of California at Santa Cruz, Columbia University, the Massachusetts lnstitute of Technology and Stanford University, the latter two to work in computer music. His teachers have included Elliott Carter, Roger Sessions and Luigi Dallapiccola.

Machover is also a performer. In 1975-76 he was principal cellist of the National Opera of Canada, and he has conducted internationally. He is a MacDowell Colony Fellow and has received many grants and prizes including the George Gershwin Prize, the Marion Freschl Prize, three National Endowment for the Arts grants, and others from the Martha Baird Rockefeller Fund for Music, Inc, the New York State Council on the Arts, the Koussevitzky Foundation as well as the Charles lves Fellowship from the National lnstitute of Arts and Letters.

Machover's works have been performed by leading groups across the U.S.A. and Europe, and at diverse festivals, including Metz La Rochelle, Lille, Warsaw Autumn, and the Venice Biennale.

He has been commissioned by the French Ministry of Culture, the National Endowment for the Arts, the New Music Consort of New York, cellist Joel Krosnick, the Venice Biennale, pianist Alan Feinberg, the Tokyo String Quartet, the Calouste Gulbenkian Foundation (Soft Morning, City!- 1980), and IRCAM (Light - 1979).

Machover is Director of Musical Research at the Parisian lnstitut de Recherche et Coordination AcoustiquelMusique (IRCAM), headed by Rene Boulez

Notes by Tod Machover
Light and Soft Moming, form a natural pair among my compositions. Both were completed within the space of one year, deal with similar compositional pre-occupations, and employ related uses of technology in music; together they are the culminating points of my work to that date. Among the similarities between them, the presence of computer-generated sound is perhaps the most obvious. My real introduction to computer music (other than some preparatory studies at Juilliard, MIT, and Stanford University) came when I arrived at IRCAM, Paris, in the Fall of 1978. lt was an exciting time there; a new technology, that of realtime digital synthesis, was just being perfected, thanks to Giuseppe di Giugno, an Italian physicist who had been invited to the institute by Luciano Berio. His machines, at that time the 4A and 4C (now superseded by the 4X!), for the first time gave composers the possibility of hearing their music immediately and of including gestural control and performance nuance. By a series of lucky accidents I became intimately involved with these machines at an early stage and was able to appreciate the beauty and power that they represented. When IRCAM commissioned me to write a piece for the Ensemble InterContemporain later that year, I decided to employ both the 4A and 4C machines in combination with a large instrumental ensemble.

The piece that resulted was Light which was premiered at the Metz Festival in November 1979, and given its Paris premiere later that month in IRCAM's Espace de Projection. The performers were those who appear on this recording.

The piece takes its tide from a quote by Rider Haggard, the English fantasy author: "Occasionally one sees the Light, one touches the pierced feet, one thinks th