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Zorn List Digest      Thursday, February 3 2000      Volume 02 : Number 850



In this issue:
-
       Re: Feldman, Partch, Douglas, etc.
       Re: Feldman, Partch, Douglas, etc.
       Re: Feldman, Partch, Douglas, etc.
       Re: Feldman, Partch, Douglas, etc.
       Harry Miller set on Ogun!
       Re: Spectralists
       Re: Feldman, Partch, Douglas, etc.
       Re: Spectralists
       Guy/Surman NYC gig?
       Feldman, Partch, Douglas, Sharp, Risset, etc
       Re: Feldman, etc.
       Re: Feldman, etc.
       RE: Feldman, etc.
       Re: an ayler question and the threadgill thread
       Seven Ljovian Premieres in one shot!

----------------------------------------------------------------------

Date: Wed, 2 Feb 2000 11:09:14 -0800 (PST)
From: Tom Pratt <[e-mail]>
Subject: Re: Feldman, Partch, Douglas, etc.

- --- Andrew Shay <[e-mail]> wrote:
>
> First, coming right off of Tom Pratt's post: what
> are some recommended Morton Feldman records? I just
> picked up a disc with Feldman's "The Rothko Chapel"
> composition, two Varese pieces and a composition by
> Gerhard Winkler. How does Feldman's other work
> compare/relate to this? Again, which records are
> recommended?

I've never heard that recording of "Rothko Chapel" but
based upon the New Albion recording (with "Why
Patterns?"), it's definitely one of his more lush and
romantic pieces - not the static time-stopper of a
later work. The recordings I *highly* recommend are:

Patterns In A Chromatic Field (hatART)
For Bunita Marcus (hatART)
Piano, Violin, Viola, Cello (hatART)
For Samuel Beckett (hatART)
Piano and String Quartet (Nonesuch)

I could talk about Feldman forever. I think the man is
an absolute genius. There's a delicacy, clarity and
necessity to his music that's just overwhelmingly
beautiful. I can't recommend his music enough.

              -Tom Pratt

listening to: Harry de Wit - Song for the Pigeons (Walpurgis)
__________________________________________________
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- -

------------------------------

Date: Wed, 2 Feb 2000 15:24:22 -0500
From: Joseph Zitt <[e-mail]>
Subject: Re: Feldman, Partch, Douglas, etc.

On Wed, Feb 02, 2000 at 11:09:14AM -0800, Tom Pratt wrote:
> --- Andrew Shay <[e-mail]> wrote:
> >
> > First, coming right off of Tom Pratt's post: what
> > are some recommended Morton Feldman records? I just
> > picked up a disc with Feldman's "The Rothko Chapel"
> > composition, two Varese pieces and a composition by
> > Gerhard Winkler. How does Feldman's other work
> > compare/relate to this? Again, which records are
> > recommended?
>
> I've never heard that recording of "Rothko Chapel" but
> based upon the New Albion recording (with "Why
> Patterns?"), it's definitely one of his more lush and
> romantic pieces - not the static time-stopper of a
> later work. The recordings I *highly* recommend are:

And, IMHO, neither of those hold a candle to the original Columbia
Odyssey recording, which appeared only on vinyl, backed with "For
Frank O'Hara". Someone should release everything from that label on
CD immediately...

- --
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
| [e-mail]           http://www.metatronpress.com/jzitt |
| Latest CD: Shekhinah: The Presence     http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |

- -

------------------------------

Date: Wed, 02 Feb 2000 12:19:30 -0800
From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Feldman, Partch, Douglas, etc.

On Wed, 2 Feb 2000 11:09:14 -0800 (PST)  Tom Pratt wrote:
>
> I could talk about Feldman forever. I think the man is
> an absolute genius. There's a delicacy, clarity and
> necessity to his music that's just overwhelmingly
> beautiful. I can't recommend his music enough.

I totally agree with Tom.

I personally think that his biggest achievement was to make fresh new music
that was not based on either serialism or chance composition (at a time
when young composers were brainwashed with the alternative: it is Boulez
or Cage). (And yes, I know that Feldman's early compositions were influenced
by Cage).

In fact, his increasing popularity is not so different from the one that
reached minimal composers 20 years ago, composers who also refused the
dictatorship of serialism and chance composition (read Reich or Adams's
comments on that).

    Patrice (not trying to minimize the historical importance of
        serialism and chance composition)

- -

------------------------------

Date: Wed, 02 Feb 2000 12:23:02 -0800
From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Feldman, Partch, Douglas, etc.

On Wed, 2 Feb 2000 15:24:22 -0500  Joseph Zitt wrote:
>
> And, IMHO, neither of those hold a candle to the original Columbia
> Odyssey recording, which appeared only on vinyl, backed with "For
> Frank O'Hara". Someone should release everything from that label on
> CD immediately...

Hum, we have here a John Cage cheerleader, right :-).

    Patrice.

- -

------------------------------

Date: Wed, 02 Feb 2000 13:57:03 -0800
From: "Patrice L. Roussel" <[e-mail]>
Subject: Harry Miller set on Ogun!

    Great news for those who love these South Africans (from Verge's
February catalog):

- ------------------------------------------------------------------------------
Miller, Harry
The Collection 1941-1983
OG-HM1/2/3-3CD Jazz 5020675571327 ($54.00 3CD)
Five classic albums on three CDs plus 28 pages of photos and memoirs
from friends of Harry Miller. Children at Play (OG200) (1974): Harry
Miller, bass, flute, percussion effects. Harry Miller bass on all of
following Family Affair (OG310) (1977): Mark Charig, trumpet; Mike
Osborne, alto sax; Malcolm Griffiths, trombone; Keith Tippett, piano;
Louis Moholo, drums. Bracknell Breakdown (1977), Radu Malfatti,
trombone. In Conference (OG523) (1978): Willem Breuker, soprano & tenor
sax, bass clarinet; Trevor Watts, alto & soprano sax; Julie Tippetts,
voice; Keith Tippett, Louis Moholo. Down South (Vara Jazz 4213) (1983):
Mark Charig, cornet; Wolter Wierbos, trombone; Sean Bergin, soprano,
tenor & alto sax; Han Bennink, drums. Released to mark the 25th
anniversary of Ogun Records.
- ------------------------------------------------------------------------------

    Patrice.

- -

------------------------------

Date: Wed, 02 Feb 2000 18:27:25 -0500
From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: Spectralists

At 11:45 AM 2/2/00 EST, [e-mail] wrote:
>
>is there other Risset available on CD besides his recent Sonoris CD? I liked
>that one a lot, but I didn't realize he'd been around for so long.

There's two listed at anomalous today; his release on INA/GRM has been
around forever.  I haven't heard either one, but can you say more about his
Sonoris CD?

- --
Caleb Deupree
[e-mail]

It is pretty obvious that the debasement of the human mind caused by a
constant flow of fraudulent advertising is no trivial thing.  There is more
than one way to conquer a country.

- -- Raymond Chandler

- -

------------------------------

Date: Wed, 2 Feb 2000 14:37:32 -0800 (PST)
From: Tom Pratt <[e-mail]>
Subject: Re: Feldman, Partch, Douglas, etc.

- --- Joseph Zitt <[e-mail]> wrote:
>
> > I've never heard that recording of "Rothko Chapel"
> > but based upon the New Albion recording (with "Why
> > Patterns?"), it's definitely one of his more lush
> > and romantic pieces - not the static time-stopper
> > of a later work.
>
> And, IMHO, neither of those hold a candle to the
> original Columbia Odyssey recording, which appeared
> only on vinyl, backed with "For Frank O'Hara".

Having only heard the New Albion recording of "Rothko
Chapel"... Did Feldman really want all that vibrato on
the violin part? In a lot of his pieces, he seems to
use vibrato very sparingly if at all. I've never heard
Feldman be as lush as on that recording. Is that how
the piece is written or is it a New Albion thing?...

              -Tom Pratt
__________________________________________________
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Talk to your friends online with Yahoo! Messenger.
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- -

------------------------------

Date: Wed, 2 Feb 2000 18:46:01 EST
From: [e-mail]
Subject: Re: Spectralists

In a message dated 2/2/00 6:24:48 PM, [e-mail] writes:

<< There's two listed at anomalous today; his release on INA/GRM has been
around forever.  I haven't heard either one, but can you say more about his
Sonoris CD? >>

whoops, looks like I was confused. the Sonoris CD is INA-GRM style musique
concrete, but it's by Jean-Michel Rivet, not Risset. my bad.

Jon
www.erstwhilerecords.com

- -

------------------------------

Date: Wed, 2 Feb 2000 21:23:19 EST
From: [e-mail]
Subject: Guy/Surman NYC gig?

anyone know what this is exactly or where it's going to take place?

from the Euro Free Improv site:

February 12th Dowland Project in New York- John Potter - tenor, John Surman -
clarin./sax, Barry Guy - bass, Stephen Stubbs -lute, Maya Homburger - violin

thanks,
Jon
www.erstwhilerecords.com

- -

------------------------------

Date: Wed, 2 Feb 2000 23:28:03 -0600
From: Herb Levy <[e-mail]>
Subject: Feldman, Partch, Douglas, Sharp, Risset, etc

I'd reinforce the recommendation of most any of the long late works
by Feldman (ca. 1974-1984). The CDs on the various Hat labels are
consistently very good. But it's hard to imagine that Hat can improve
on the Piano & String Quartet disc on Nonesuch with Kronos & Aki
Takahashi. Aki Takahashi's disc of Feldman solo piano pieces on Mode
is very good (as are any other recordings with her, though the others
are pricey imports). The Fafchamp discs on Sub Rosa are also quite
good.  A good, though quirky, introductory single disc though is on
Editions RZ, which has a lot of performances from various European
radio broadcasts including several by David Tudor and one or two with
Feldman playing piano; the disc has a lot of early & middle pieces
and one short (20 minutes or so) piece from the late period.

The disc of Partch's Li Po poems on Tzadik is decidedly NOT standard
issue Partch. This disc was not recorded under Partch's supervision
(he'd been dead for about 20 years when it was recorded). This is not
uncommon for most classical music, but in the case of Partch where
the performance practice and Partch's own inimitable voice are so
strongly intertwined, there can be problems & in this case, long-time
Partchians have a lot of trouble with the more traditional classical
approach the vocalist takes.  I'd recommend the second volume of the
CRI Music of Harry Partch series, which includes the previously
mentioned long instrumental work & on the 7th day Petals fell in
Petaluma as well as The Wayward, a set of hobo narrative pieces.
After that, CRI has 3 other discs of good stuff & Innova has a
remarkable series of CDs, video tapes & a book that includes a lot of
documentary material that's great, but may not be the best
introduction to Partch's work. Innova  DOES have a  recording of
Partch performing the Li Po songs and some of them are barely
recognizable as the same compositions when compared to the Tzadik
disc.

I like the music on Charms of the Night Sky a lot, but really hate
the deep reverb used. I'm looking forward to the new disc with (I
hope) the piece composed for choreographer Tricia Brown; the
performance of this at the Vancouver Jazz fest last year got me
interested in Douglas' work again after a period when I thought I'd
had enough.

Last time I heard Elliott Sharp he was using LiSa ( a real-time
sampling program from STEIM) quite a bit & I'd guess the touch pad
was to control this software on his PowerBook. He also uses MAX, a
modular composition program, though.

I think there are two CDs in print by Risset right now, one from GRM
that has Inharmoniques, Sud & Mutations (all previous available on a
couple of deleted Wergo recordings) & a disc I've only seen listed
intermittently called Invisible - is this the Sonoris disc?

I gotta get back to work now.

Bests,

Herb
- --
Herb Levy
NEW MAILING ADDRESS:  P O Box 9369  Forth Wort, TX  76147
NEW PHONE: [phone]
same old e-mail: [e-mail]

- -

------------------------------

Date: Thu, 3 Feb 2000 00:45:25 -0500
From: "Ljova" <[e-mail]>
Subject: Re: Feldman, etc.

Just wanted to let you know that the S.E.M. Ensemble (cond. Peter Kotik)
recorded Feldman's "For Samuel Beckett" this past january.  I'm not sure if
this was for archival or commercial purposes, but, I will post to this space
shall I find out of any release dates.

"For Samuel Beckett" was Feldman's last [chamber] orchestra work. It's
really beautiful, though somewhat tiring to perform.
(I suppose I didn't make this clear -- I performed it in concert, and
participated in the recording.)


- -Ljova




- --------
Lev "Ljova" Zhurbin
[e-mail]
http://www.Ljova.com/

"There is no spoon."
        -("The Matrix")

- -----Original Message-----
From: [e-mail]
[mailto:[e-mail]]On Behalf Of Herb Levy
Sent: Thursday, February 03, 2000 12:28 AM
To: [e-mail]
Subject: Feldman, Partch, Douglas, Sharp, Risset, etc


I'd reinforce the recommendation of most any of the long late works
by Feldman (ca. 1974-1984). The CDs on the various Hat labels are
consistently very good. But it's hard to imagine that Hat can improve
on the Piano & String Quartet disc on Nonesuch with Kronos & Aki
Takahashi. Aki Takahashi's disc of Feldman solo piano pieces on Mode
is very good (as are any other recordings with her, though the others
are pricey imports). The Fafchamp discs on Sub Rosa are also quite
good.  A good, though quirky, introductory single disc though is on
Editions RZ, which has a lot of performances from various European
radio broadcasts including several by David Tudor and one or two with
Feldman playing piano; the disc has a lot of early & middle pieces
and one short (20 minutes or so) piece from the late period.


- -

------------------------------

Date: Wed, 2 Feb 2000 22:07:08 -0800 (PST)
From: Tom Pratt <[e-mail]>
Subject: Re: Feldman, etc.

- --- Ljova <[e-mail]> wrote:
>
> Just wanted to let you know that the S.E.M. Ensemble
> (cond. Peter Kotik) recorded Feldman's "For Samuel
> Beckett" this past january. I'm not sure if this was
> for archival or commercial purposes, but, I will
> post to this space shall I find out of any release
> dates.

I saw the S.E.M. perform this in December, and I was a
little annoyed that, instead of a real piano, Joseph
Kubera was playing some sort of electric keyboard on
"piano" mode or something. I don't understand that at
all. Feldman's writing for piano is as much about the
quality of sound (attack, decay, etc) as it is about
the actual notes.

Was a real piano used for the recording?

                -Tom Pratt

listening to: Pentax - Das Album (Profan)
__________________________________________________
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Talk to your friends online with Yahoo! Messenger.
http://im.yahoo.com

- -

------------------------------

Date: Thu, 3 Feb 2000 01:40:03 -0500
From: "Ljova" <[e-mail]>
Subject: RE: Feldman, etc.

You'll be happy to know that a "REAL" Steinway grand piano was used in the
recording.

As far as the concerts, I assume the keyboard was used because there is no
piano at the Paula Cooper Gallery (or the rehearsal space, for that
matter -- Willow Place Auditorium in Brooklyn Heights), and it would've been
too expensive to get one. I doubt it was done this way on purpose.

Hope you enjoyed our concert! (Next one is in May @Tully .. music of Earle
Brown)

- -Ljova

NP: Grapelli/Reinhardt Quintet.. "Swing from Paris" (mono)

- --------
Lev "Ljova" Zhurbin
[e-mail]
http://www.Ljova.com/

"There is no spoon."
        -("The Matrix")

- -----Original Message-----
From: [e-mail]
[mailto:[e-mail]]On Behalf Of Tom Pratt
Sent: Thursday, February 03, 2000 1:07 AM
To: [e-mail]
Subject: Re: Feldman, etc.


- --- Ljova <[e-mail]> wrote:
>
> Just wanted to let you know that the S.E.M. Ensemble
> (cond. Peter Kotik) recorded Feldman's "For Samuel
> Beckett" this past january. I'm not sure if this was
> for archival or commercial purposes, but, I will
> post to this space shall I find out of any release
> dates.

I saw the S.E.M. perform this in December, and I was a
little annoyed that, instead of a real piano, Joseph
Kubera was playing some sort of electric keyboard on
"piano" mode or something. I don't understand that at
all. Feldman's writing for piano is as much about the
quality of sound (attack, decay, etc) as it is about
the actual notes.

Was a real piano used for the recording?

                -Tom Pratt

listening to: Pentax - Das Album (Profan)
__________________________________________________
Do You Yahoo!?
Talk to your friends online with Yahoo! Messenger.
http://im.yahoo.com

- -


- -

------------------------------

Date: Thu, 3 Feb 2000 11:40:12 +0100 (MET)
From: Steve Berman <[e-mail]>
Subject: Re: an ayler question and the threadgill thread

>>>>> "kurt" == kurt gottschalk <[e-mail]> writes:

    kurt> a simplified cv of thread, in somewhat chronological order,
    kurt> goes air, new air, sextett, very very circus, make a move.
    kurt> new air hasn't earned mention in the discussion yet.
    kurt> interesting, but understandable, not the strongest stuff.

    kurt> air lore, air time and air mail are the faves for the
    kurt> original thread/steve mccall/fred hopkins trio (of which
    kurt> only henry remains with us). i believe the "new" was added
    kurt> after steve mccall died. there were two recordings that i
    kurt> know of: air show no. 1 and live at montreaux.

You mean _Live At Montreal International Jazz Festival_, right?
According to allmusic.com, the "last" original Air record (last except
for three later ones also listed by allmusic.com) was _Live at
Montreux 1978_. (Oddly enough, allmusic.com also lists the New Air
record as _Live at the Montreux Int'l Jazz Festival_, though the album
cover is reproduced, with "Montreal" clearly legible!)

- --Steve Berman

- -

------------------------------

Date: Thu, 3 Feb 2000 05:08:59 -0500
From: "Ljova" <[e-mail]>
Subject: Seven Ljovian Premieres in one shot!

As some may know, one can have TWO recitals during their senior year
@Juilliard. So, in addition to my viola recital (late April), I am most
happy to invite you to:

MY COMPOSITION RECITAL
==> Thursday, February 17th, at 4pm (in two weeks!)
Paul Hall, The Juilliard School, New York City

"All Ljova, all the time."

There will be six or seven premieres,
including a short piece I have just finished.
"Old favorites" will round out the program.

Performers: Yi-Heng Yang, Ariel DeWolf,
Elizabeth Morgan, Jeremie Michael, William Johnson,
Nicola Eimer, Jesse Mills, Soyeon Lee
Members of the Zephyros Quintet (Nadine Hur,
James Roe, Michael Bepko, Doug Quint), Sarah Darling,
and perhaps a few others.

Hope to see you there!

Thanks!,

- -Ljova


Juilliard is located on 65th and Broadway.

Directions: Get to New York, hop on the 1/9 Subway line to 66th Street.
Look for a place called "Burke & Burke". Instead of going in,
look across the street. That's Juilliard - where you want to go today.
When you enter the lobby, walk straight to the back, and that'll be
Paul Hall. If you're lost, take out your cellphone and call
[phone], and push "0" for an operator.

Who is Ljova? Why is he emailing me? Why should I care?  These are
good questions, and I can probably answer. Just reply to this message.
You can also do that if you want me to remove you from my mailing list.
Thank you for your time.

- --------
Lev "Ljova" Zhurbin
[e-mail]
http://www.Ljova.com/
Improvs at http://ljova.iuma.com

"There is no spoon."
        -("The Matrix")


- -

------------------------------

End of Zorn List Digest V2 #850
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