Hi, I goofed around and didn't buy these CDs, now can't find them. Anybody know a store that has copies left? Maybe it's time for a third job just for a music budget.
Hermann Nitsch "Island Sinfonie" (the four-CD one)
Rev. Dwight Frizzell & Anal Magic - first CD
Red Krayola - Kangaroo? (CD)
Thanks, LT
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Date: Sat, 10 Jun 2000 19:59:02 -0300
From: "J.A.Bueno" <jabu@sminter.com.ar>
Subject: Re: [Avant-Garde] Glenn Horiuchi dead
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Can anybody confirm this bad news
> I just heard that pianist Glenn Horiuchi died a week ago. Cancer.
> Don't know the details or his age; probably mid-40s. Maybe someone on
> the list knows more or read an obit.
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Can anybody confirm this bad news
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<font face="Arial"><font size=-1>I
just heard that pianist Glenn Horiuchi died a week ago. Cancer. Don't know
the details or his age; probably mid-40s. Maybe someone on the list knows
more or read an obit.</font></font></blockquote>
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Date: Sun, 11 Jun 2000 00:17:00 GMT
From: "Bill Ashline" <bashline@hotmail.com>
Subject: Re: gunter muller
Brian Olewnick wrote:
>The "nothing to see" aspect of much electro-improv is a decided turn-off
>to a sizeable portion of concert goers, as was evidenced by the reaction
>of some writers at Victo last year, including towards the performance
>you cite. A desire for what Braxton once termed "the sweat factor" is,
>not surprisingly, still fairly pervasive.
>
>Without wanting to sound too perjorative about it, I can't help but
>think of this attitude as immature.
It sounds like there might even be a shift in paradigms in terms of the
performative, and the audience has yet to catch up. Of course, the
performance takes place in real time and involves improvisation, perhaps, to
a greater or lesser degree, and certain materials used are prepared far in
advance, etc. But the "experience" of the performance could take place with
the performers working in another room and not visible to the audience,
since such visibility adds little perhaps to the experience. Instead of the
live performance as such, we might have the voyeurism of watching people
work in a "studio." And what Jon Abbey describes about MIMEO suggests the
removal of the "stage" aspect as well. Muller concludes his discussion by
saying that "everybody going to a concert has to supply their own answer" to
the question of priority in the performative.
JonAbbey2 wrote:
>Filament 2 is a much superior record. F1 documents Otomo (and Sachiko) when
>he's just beginning to work with sine-wave electronics after having been
>inspired by Ikeda, and quite honestly, he's not very good at them yet. I
>recall the record as sounding very lifeless, like an academic exercise. F2,
>recorded just a few months later, is much more varied and interesting,
>which
>I chalk up partly to Mⁿller's involvement and partly to Otomo and Sachiko's
>becoming increasingly familiar with this style.
This is good to know. My sense about the first filament was that it was
trying question the entire concept of music altogether and taking a line of
flight away from all kinds of musical language. Perhaps this is what I read
in the Extreme blurbs.
>by the way, I believe that the duo CD which I'll be releasing (hopefully in
>August or September) of Mⁿller and LΩ Quan Ninh is Mⁿller's best work yet.
>he
>seizes a much more up-front and prominent role on this record than I've
>ever
>heard him take before. I'm pretty excited about it, needless to say.
I look forward to getting the release. Please keep us posted as to when it
becomes available.
Regards
"Every work of art is an uncommitted crime."
"We can tell whether we are happy by the sound of the wind. It warns the
unhappy man of the fragility of his house, hounding him from shallow sleep
and violent dreams. To the happy man it is the song of his protectedness:
its furious howling concedes that it has power over him no
