Search Results for:

SUB ROSA

Dedalus Ensemble Performing Philip Glass

Music With Changing Parts

    Founding work of minimalism, Music with Changing Parts is a piece with free instrumentation.The musicians choose which part to play among the 8 staves of the score. At each indicated cue, the musicians can change part, which produces an abrupt change of instrumentation. While the music is based on a melodic material limited to a few notes that are repeated in patterns that expand or contract, the changes in orchestration refresh the listening experience by producing sonic contrasts.

    These techniques at work in Music with Changing Parts, written in 1970, will lead Philip Glass to renew his language and move from the monochromatic works that precede it to more dramatic works such as music in 12 parts and especially the opera Einstein on the Beach. When Philip Glass began rehearsing the piece, he was surprised to hear long notes when everything was written in eighth notes. After making sure that none of the musicians were playing held notes, he realized that the fact that the same notes were played by all the instruments in the ensemble produced, through a psycho-acoustic effect, a harmonic substrate of resonant frequencies. He then decided to add to the score the possibility of playing long notes to reinforce this effect.

    TRACK LISTING

    Side 1
    1. Music With Changing Parts (1) 13'17
    Side 2
    2. Music With Changing Parts (2) 13'56
    Side 3
    3. Music With Changing Parts (3) 13'56
    Side 4
    4. Music With Changing Parts (4) 13'45

    Mark Springer, Neil Tennant & Sacconi String Quartet

    Sleep Of Reason

      "I fell into a deep sleep of reason Everything broken and hence when I woke up from that deep sleep of reason it all made sense”

      A Unique Artistic Partnership. This project represents a distinct and carefully considered artistic endeavor. Developed by Mark Springer (Rip, Rig and Panic) and Neil Tennant (The Pet Shop Boys), it combines a suite for piano, quartet, and quintet with vocals, accompanied by lyrics offering thoughtful introspection. The collaboration explores the intersection of divergent creative approaches-one characterized by radical expression, the other by meticulous craftsmanship. The result is a work that invites reflection and demonstrates the potential of disciplined artistic dialogue

      TRACK LISTING

      1. Phantoms And Monsters
      2. A Witch And A Devil
      3. Truth Is For Losers
      4. Schmutzig
      5. My Friend The Monster
      6. The Madness Of The Summer
      7. Morn
      8. Noon
      9. Night
      10. Flight
      11. Break
      12. Moon

      'I believe the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard.' - John Cage 1937. Although John Cage occasionally worked in large, sophisticated studios - for example, when he composed Fontana Mix in 1958 - his approach to electronic and tape music was often uncomplicated, makeshift, and pragmatic, employing simple tabletop devices: tape machines, phonograph cartridges, contact microphones, record players, portable radios, etc. He developed a soundworld that was utterly new, radical and demanding. It heralded the age of the loudspeaker, mass communication and Marshall McLuhan's 'global village.' The hiss, crackle and hum of electronic circuits, and the disembodied sounds, snatched by radio from the ether, spoke of the 20th century.

      Langham Research Centre works within the tradition firmly established by Cage, using resources that would have been available to him. For the realisation of Cartridge Music, moving iron phonograph pickups were sourced and restored. These have a knurled screw designed to hold a steel phonograph needle and, in the piece, other objects are inserted and amplified: pieces of wire, toothpicks, paperclips, etc. The realisation of Fontana Mix includes the individual mono tracks from Cage's original tapes created in 1958. These are played using open-reel tape machines. These practices ensure we work within the limitations that Cage experienced and enable us to get close to the soundworld he inhabited. (Robert Worby, LRC).

      TRACK LISTING

      CD:
      01 Fontana Mix With Aria 1958 / 13'36
      02 Imaginary Landscape N°.5 1952 / 3'00
      03 WBAI 1960 / 7'00
      04 Cartridge Music 1960 / 10'00
      05 0'00'' 1962 / 2'36
      06 Variations I 1960 / 10'00 Tracklisting LP

      VINYL:
      SIDE A
      01 Fontana Mix With Aria 1958 / 13'36
      02 Imaginary Landscape N°.5 1952 / 3'00
      03 WBAI 1960 / 7'00

      SIDE B
      01 Cartridge Music 1960 / 10'00
      02 0'00'' 1962 / 2'36
      03 Variations I 1960 / 10'00


      Latest Pre-Sales

      228 NEW ITEMS

      E-newsletter —
      Sign up
      Back to top