Entries tagged with “David Tudor”.
Did you find what you wanted?
Wed 1 Jan 2014
Having let go of my obsessive following of music I still found myself with more than enough great music to listen to this year. Being able to judiciously select what discs (or increasingly preferable, digital files) to buy I found that I liked almost all that I bought. Curiosity and what seems to be a decrease in criticism (R.I.P. Paris Transatlantic, Dusted (though semi-revived) &c) and perhaps the move to more gated preserves from the commentariat did lead to my purchasing a few duds, but I’m sure I missed more good stuff than bought bad. Having lost touch with those dusty corners of the nets where all music finds itself eventually (or even before it hits the virtual shelves) I can only express endless gratitude to Alastair Wilson’s excellent radio programme Admirable Restraint for providing lengthy tastes of music new and old. Alastair has put out a fine collection of new pieces from artists old and new for a good cause for which I can only recommend you dig deep: by gum it’s a compilation. The loss of my record player last year and the refusal to acquire a tape deck (I was buying music during the heyday of cassette and we pretty much despised it then as every playback degraded the tape) has led to a few things missed so let me just add a word of praise for those labels who put their boutique format releases up for digital downloads as well. I think I’ve listened to more solo piano this year than anything everything from Beethoven to Feldman to Jurg Frey to Cage &c &c. I’m happy to report it was a great year for the kind piano musics I like. You’ll see plenty of it represented in the selections below. Finally a hearty thanks to all the musicians, producers, labels, writers and listeners out there (also to all those who compiled their year-end lists early: got a lot of great stuff in just the last few weeks). There is plenty of great vital music being made and if I only listed here what touched me the most deeply out of the small fraction I heard it doesn’t really mean all that much.
David Tudor The Art of David Tudor (New World Records)
When this set was announced there was no doubt in my mind that this would be the release of the year, if not the decade. New World Records epic Music for Merce box set contains excerpts of the bulk of the pieces contained in this set and serves in a way as a sampler and impetus for this set. Throughout my lengthy five part review of Music for Merce I was continuously thrilled to hear these pieces but just as constantly lamented their excerpted nature. More than once I urged New World to release a box set of Tudor’s uncut performances. I doubt that I had any influence on this subsequent release but I can’t say how pleased I am it came about. New World really did yeoman’s work on this set with seven discs spanning the entirety of Tudor’s career from his electro-acoustic interpretation of Cage’s Variations II to Neural Network Plus with it’s complex combination of computer and live electronics.
This set deserves an equally lengthy discussion as Music for Merce but really delving into Tudor’s music demands an amount of research and work that basically hasn’t been undertaken. In my Music for Merce reviews I discuss each of the pieces that were excerpted, all of which are included on this set. Since I don’t do a minute by minute discussion of them they serve quite well regarding these pieces. Of course there are a few things on this set not included there: Tudor’s first major piece Bandonean !, two versions of Rainforest IV, another performance of Variations II that is a welcome edition to the other two available, the epic Cage/Tudor overlaid pieces Mesostics re: Merce Cunningham/Untitled and most notably the Anima Pepsi pieces from the 1970 Osaka World Fair. My preview post of this set upon it’s initial announcement discusses the significance of all of these pieces. Regarding the material shared between the two sets you can find my write up on the these pieces in the following links: Virtual Focus, Neural Network Plus, Phonemes Weatherings, Webwork and Christian Wolff’s For 1, 2 or 3 People.
In trying to analyze Tudor’s live electronic work James Pritchett found himself constructing his own circuits and began to work out how the music works from the ground up (I think this is from this interview: RWM SON[i]A #166). This is the equivalent of doing score analysis for conventionally notated pieces (though a far greater undertaking) and I think a necessary first step in understanding his process and methodology. From there a theory could be worked out (something like my (incomplete) Network Instrument Theory which starts from my electronic music making and builds up). Pritchett eventually gave up on this task which is a shame as it appears no-one else has undertaken it. A book covering the entirety of Tudor’s compositions, similar to Pritchett’s Music of John Cage is I think a needed resource. But for now the music itself will have to serve and this set, while alas still only a portion of Tudor’s work (though the major pieces I think it’s fair to say) does so admirably.
Dennis Johnson November [R. Andrew Lee, piano] (Irritable Hedgehog)
As a reader of Kyle Gann’s always informative and frequently amusing blog, Post Classic, I have been able to follow along with the rediscovery of Dennis Johnson’s November. Remembering November which Gann posted in later 2007 was the beginning of this odyssey and there are quite a few posts documenting his transcription of the piece from a hissy tape and a few notes, to the locating of Dennis Johnson himself (who had “given up on the 21st century in 2007” and thus disappeared from internet communication), to posting an mp3 of himself and Sarah Cahill performing the piece (currently unavailable AFAIK) to finally the release of R. Andrew Lee’s recording on the increasingly indispensable Irritable Hedgehog label. All this posts and many more can be found by searching for November on Gann’s blog.
I downloaded a lossless version of November from Irritable Hedgehog’s Bandcamp page which allows for one to do seamless playback of the nearly five hour piece. It has been played over and over again since that time. It’s meandering spare piano lines becoming increasingly varied with moments of more density, or intensity or lyricism I find endlessly captivating. I’ve listened to it straight through but also have just put on one of the “discs” as I’ve gone to bed. Some nights I hear less than others but there have been those nights where I heard the whole thing. Beautiful music, but more than that as it weathers any degree of scrutiny.
Eliane Radigue Ψ 847 (Oral)
Along with November this album has probably had the most spins in my abode this year. Admittedly this again due to it being amenable to being put on as I attempt to sleep but as with all albums that meet that criteria that simply means that I’ve listened to it in the dark primarily focused on it as sleep remained at bay. This one has been a long time coming as it was recording in 1973 and it initially planned to be released by Halana Magazine years ago in an edited form which of course never materialized. Various reports of concerts featuring the piece mixed live from the original master tapes certainly wetted the appetites of those of us who love her electronic work. So when this was finally announced in a double CD form with a live and studio mix by Lionel Marchetti it was beyond welcome. The piece is another masterful Arp 2500 introspection utilizing spare tones carefully drifting and a bit of tape echo and some really stunning resonant filter ringing. Both versions are fascinating with the live one somehow even more stripped down than the studio. The applause at the end always comes as a shock. Things like this often don’t (or can’t) hold up to the legend and it is doubly rewarding when they do.
Jakob Ullmann fremde zeit addendum 4 · solo III für Orgel (Edition RZ)
The release from last year was Edition RZ’s three CD Jakob Ullmann box Fremde Zeiot Addendum which oddly enough contained a piece of cardboard inside it to prevent the contents from rattling about. It turned out that 2013 brought us a fourth disc that replaces that piece of cardboard and makes this vital set even more tremendous. A piece for solo organ that is heads and shoulders above any contemporary composition I’ve heard for the instrument since Messian. There have been a number of attempts to do highly minimal music on the church organ that to my ears have really fallen flat. This instrument, which I love so much, has really proven an insurmountable challenge to apply to this domain. Until now that is. Ulmann’s piece and the masterful playing of Hans-Peter Schulz beautifully recorded by Edition RZ finally reveals this unrealized potential of the instrument.
Michael Pisaro Closed Categories in Cartesian Worlds [Greg Stuart, perc] (Gravity Wave)
This one was one of those I got late in the year but I am sure glad I did. As a long time fan of pure tone music from the clinical precision of Alvin Lucier to the all encompassing intensity of Sachiko M, to the piercing interiority of Mitsuhiro Yoshimura (not to mention my own explorations) this has long been a domain I’m fascinated with. Hewing closer to the Lucier mode of operation (and indeed the piece is dedicated to him) with a very precise composition utilizing electronic sine tones of specific duration in concert with the inherent variability of bowed metal. Michael Pisaro put it this way on his blog:
The physics of the crotale are very interesting, since like all metal instruments, its actual motion is relatively chaotic. It is not the absolutely stable and regular sound that it appears to be, but has fluctuating character, perhaps a bit like the reflected glare of any shiny object.
The piece was composed at percussionist, and frequent Pisaro collaborator, Greg Stuart’s request and his performance here is nothing short of inspired. The combination of the bowed crotals and the uncompromising electronic tones is just a shear physicality. Those of us who already appreciate Sachiko or Lucier already know that sine tones of sufficient cycles beat in your ear and undermine your sense of balance as well as subtly varying and shifting as you move around and this album delivers these effects in spades. But it isn’t nearly as clinical as Lucier often comes across as though it is as precisely defined as his pieces. The crotales I think are the special sauce here and Stuarts virtuosity.
Antoine Beuger Sixteen Stanzas on Stillness And Music Unheard [Greg Stuart, perc] (l’innomable)
At the same time I received Closed Categories in Cartesian Worlds I also received this disc. Which like the aforementioned Pisaro composition this one also involved Greg Stuart bowing metal, this time the chimes on a vibraphone. The recording is very quiet and slowly increases in volume across it’s duration. Like the crotales of the previous entry the bowed vibraphone has a very pure almost electronic sound but with a bit of warmth of instability. The music here is far less physical – the lack of high register, relentless electronics means there is only the acoustic sounds – but it is achingly beautiful. Less demanding and intense it is an excellent companion piece and probably my favorite composition yet from Antoine Beuger.
Keith Rowe/Graham Lambkin Making A (Erstwhile Records)
2013 has seen the fewest releases from Keith Rowe in years with this collaboration with Graham Lambkin being one of the few. This duo was put together by Jon Abbey of Erstwhile records and interestingly the two musicians independently decided to primarily utilize contact microphones and drawing supplies. Keith has been placing contact mic’s on his table and drawing with charcoal on it for some time now (I think I first witnessed this in 2008 at the Amplify fest in Kid Ailack Hall) and the whispery scratches have become a feature of his sound world. With Lambkin utilizing similar technique as well as the brittle, mid-range nature of contact mics this is truly an album of layers. Another layer is that the second track, the titular Making A, is a Scratch era composition by Cornelius Cardew erstwhile Rowe comrade. I can’t say that much of Lambkin’s work has appealed to me and I was a bit skeptical by this collaboration (though always curious). But once again Abbey’s ear for duo’s has born fruit and this really is a remarkable recording, one that I’ve returned to again and again throughout the year.
John Cage Variations V (Mode Records)
It’s sort of surprising how much Cage is still unavailable especially from his electronic period. Only in the last couple of years was Variations VII made available and it took until this year for Variations V to be available outside of special order from the Merce Cunningham Dance Company. A truly collaborative piece, it involved sound sources monitored by Cage, Tudor and Mumma trigged by the MCDC. The piece is the dance, is the live electronics is the composition. It of course inherently indeterminacy due to the live electronics, thee variability in the spaces performed and in the dancers not to mention the fragility of the electronics. This excellent DVD from Mode presents a German Television shows broadcast of an in studio performance those allow us to experience this truly multimedia piece with the dance and video by Nam June Paik and Stan VanDerBekk as well as (occasionally) see the musicians working their electronics. It also includes an audio only recording from a live performance earlier in the tour which I think helps to understand this continually variable piece. Two interviews with dancers Carolyn Brown and Sandra Neel with Gus Baker provide some context, add details and more than a few amusing anecdotes.
Haco/Toshiya Tsunoda TramVibration (skiti)
I am in agreement with many that Toshiya Tsunoda is one of very (very) few field recordists doing vital work but even he has as many duds as successes. It seems to be his more conceptual pieces that turn out to be more interesting in concept than in execution so I was naturally skeptical about this recording he made along with Haco of a moving tram (I also was confusing Haco with a vocalist and I couldn’t imagine how that would work). However I was willing to watch this video, The Tram Vibration Project, to get a sense of how this turned out. I pretty much immediately ordered this disc after watching it. Of all the releases I heard from 2013 this one seems the most sound focused. It is about finding the sounds of this tram as it moves along. It’s structured by the trams passage and the choices of where to place one’s microphones (and apparently massive editing by Tsunoda). And what a rich world of crackles, hums, shakes, rumblings and other indescribable and downright fascinating sounds are revealed here. Watch the video, it is much better than anything I (or anyone) could write on this one.
John Tilbury/Oren Ambarchi The Just Reproach (Black Truffle)
John Tilbury’s magnificent touch on the piano and his effortless shifting from the abstractions of the body and insides of the piano, to pure romantic lyricism are fully present and are indeed the core of this album. Oren Ambarchi though gives this music it’s spine with a deft touch and breathtaking subtlety. One can’t help but think of Tilbury’s collaborations with Keith Rowe but the only similarity here is perhaps those moments before Keith has really begun to play and the buzzing and hums of his setup provide a tapestry upon which the piano rests. Ambarchi barely adds more than that grounding but mines that background radiation for all that it’s worth. The few times he surfaces are in delicate counterpoint to Tilbury’s playing and it almost comes across as the piano resonating into alien space.
This alas was a vinyl only release but happily the kind folks at Beatport have made it available for lossless download which you can find here: The Just Reproach.
and the rest
Graham Stephenson/Aaron Zarzutzki Touching (Erstwhile Records)
John Cage Solo for Piano [Sabine Liebner, piano] (Wergo)
Eva Maria Houben Piano Music [R. Andrew Lee, piano] (Irritable Hedgehog)
Bryn Harrison Vessels [Philip Thomas., piano] (Another Timbre)
Stephen Cornford & Samuel Rodgers Boring Embroidery (Cathnor Recordings)
John Cage The Ten Thousand Things [I Ching Edition] (Microfest Records)
Toshiya Tsunoda O Kokos Tis Anixis (edition.t)
Meridian Hoquet (Accidie Records)
Eduard Artemiev Solaris Original Soundtrack (Superior Viaduct)
Tue 14 May 2013
The Art of David Tudor is a new 7 CD boxed set released from the ever great New World Records. The most exciting release IMO since their epic Music for Merce. Of course while there was much music of interest to me on Music for Merce it was the David Tudor pieces, especially the unreleased material, that was particularly of interest. In my series of posts covering that box set I time and time again bemoaned that the bulk of the Tudor pieces were only excerpts and more than once mentioned that there should be a boxed set of his pieces. Miraculously New World has provided. This set can now be ordered, though I’m not sure if it’s in anybodies hands yet. It will apparently be available for download on at least iTunes though the link is not currently active. However the liner notes for the set are currently available (major props to New World for putting these online – makes quotes and such from them a lot easier) and I’ve given it a looksee. So before I have this set in hand let us consider what we are going to be getting.
The Art of David Tudor
Variations II (John Cage)
For 1, 2, or 3 People (Christian Wolff)
Bandoneon ! (A Combine) (David Tudor)
Anima Pepsi (David Tudor)
Pepsibird (David Tudor)
Pepscillator (David Tudor)
Mesostics re Merce Cunningham/Untitled (John Cage, David Tudor)
Weatherings (David Tudor)
Phonemes (David Tudor)
Rainforest IV (David Tudor)
Webwork (David Tudor)
Rainforest IV (David Tudor)
Virtual Focus (David Tudor)
Neural Network Plus (David Tudor)
Quite a few of these pieces have been previously released either in whole or in excerpt. But these pieces were performed live and often performed with the Merce Cunnigham Dance Company or in concerts and due to the nature of live electronics can be quite variable. So in the cases where there are new performances or different versions it is certainly a cause for celebration. The full versions of the pieces released only in excerpts are of course especially welcome. Let us now consider each of these pieces in brief.
Variations II can be heard on the David Tudor Edition RZ set plus a different version on vol. 1 of the John Cage Shock set from EM Records, Edition Omega Point. This version is from the ONCE Festival and is I believe a third recording of the piece. I’m all for more versions of this piece as they all vary due to the nature of working with feedback.
For 1, 2, or 3 People is currently available on Edition RZ’s Christian Wolff set as well as an excerpt on the Music for Merce set. These two versions are the same IIRC and this one is listed as also from tour with the Merce Cunningham Dance company. So could be the same one or a different performance.
Bandoneon ! (A Combine) This has been released in excerpt on the DVD documentary series on the E.A.T. 9 Evenings series. This is not listed here as an excerpt but at just over 14 minutes it almost certainly is. In my review of the DVD I note that the length of the performance is not known, but I do go into the available data. This is a longer excerpt than found on the DVD by about 5 minutes which is welcome, but one still awaits the full piece.
Anima Pepsi was released on the album Live Electronic Music (Electronic Music Foundation) and this appears to be the same version (both are 23’37” which is a pretty good clue).
Pepsibird & Pepscillator These two pieces were along with Anima Pepsi were recorded at Recorded in the Pepsi Pavilion at Expo ’70 in Osaka, Japan but only Anima Pepsi has been released. So these are two new tracks that presumably will be in a similar vein of Anima Pepsi.
Mesostics re Merce Cunningham/Untitled Untitled, a definitive Tudor composition, has been released in a couple of forms but was originally performed with John Cage’s vocal performance of Mesostics re Merce Cunningham. As far as I know this version has not been released (a version with Takehisa Kosugi on vocals is on the album Three Works For Live Electronics released by Lovely Music).
Weatherings This was released in excerpt on the Music for Merce set and assuming this is an entire performance, this would be the first complete recording of this piece.
Phonemes This was released in excerpt on the Music for Merce set and a complete version can be found on Three Works For Live Electronics released by Lovely Music. However this is a full live performance of the piece, whereas the Three Works For Live Electronics version is a layered version of many recordings. So this will be a full, live, single version which is a welcome addition to the recordings of this piece.
Rainforest IV There are two versions of Rainforest IV on this set both credited to Composers Inside Electronics during the period when Tudor was performing with them (they are still a going concern). As Rainforest IV is a sculpture based piece that was constructed anew on numerous occasions and thus was often different this is certainly justified. However the Rainforest pieces are of course Tudor’s most well know and most well documented. Mode has a disc with Rainforest IV (as well as Rainforest I) on it and there was an German instance of the installation in 1980 which has been released on an LP by Edition Block and on CD by Lovely. One of the versions of on this set is this German installation the other from a Stockholm version. While most likely the German versions are all from the same source it could be a different excerpt or even a different recording. The Stockholm one appears to be a new release.
Webwork – This was presented in excerpt form on Music for Merce so a complete performance is of course highly anticipated. This has only otherwise been released as a 7? excerpt on the John Cage tribute CD A Chance Operation.
Virtual Focus This very interesting piece excerpted on Music for Merce so a complete performance is definitely a huge plus here. There has otherwise been unreleased barring a 3? of excerpt on Musicworks 73.
Neural Network Plus Again excerpted on Music for Merce but in this set a whole disc is dedicated to a 55″ version. While Lovely Music has put out a double CD of the related Neural Sythesis pieces and Atonal Records put out a disc split between Neural Synthesis No.2 and a Cage piece this is the only recording of Neural Network Plus which includes Kosugi on violin. Even the extract was intense and wild so really can’t wait for this complete performance
Basically the pieces from Expo ’70 are the most novel of the set but the complete performances of the later live electronics pieces are of course the big draw. There is still quite a bit from David Tudor’s oeuvre that is still unavailable. His first piece, Fluorescent Sound is of course the first one that springs to mind (though perhaps no recording exists) but just scan through his list of compositions on DavidTudor.org and you can see that many are not represented here or anywhere. One hopes that of those that recordings exist that some day these will come out in some form. With all the variation and iteration in his live performances one hopes that in the future these will all be available for download. This is I think the direction that any music that is so varied in performance needs to. It is a shame that these recordings just languish in vaults. Still I can’t wait to get this set and and it is a vital edition to the David Tudor legacy. I commend New World for putting it out and will write more here once I’ve had a chance to absorb it.
Sun 20 Jan 2013
David Tudor performing John Cage's Water Music
Today, January 20th 2013, would have been David Tudors 87th Birthday. This occasion provides sufficient impetus for me to write a bit about the major theme of the Eleven Clouds project. This is the notion of what I’ve often referred to as Post-Tudor Live Electronics. Before delving into that subject let me relate the origin and early history of the Eleven Clouds project. I’ve written many times about the Network Instrument and how I began thinking about the live electronics work I’d been doing in those terms. While I want to explicitly state that I didn’t really independently develop any of this I was quite ignorant of this history when I began my own music making. I was aware of what might be thought of as third or fourth generation live electronics and perhaps that could be thought of as my starting point. In a way I was working backwards but it wouldn’t be for several years until I really realized that. Network Instrument theory on the other hand is my own development in that it is a way of thinking about these existing practices, practices that were often treated as mysterious, purely intuitive and esoteric.
Around the end of 2009 I began working exclusively with various networks in order to further develop my understanding of this theory I was developing. This would generally take the form of setting up a network and working with it, changing it, pushing specific parameters and the like. If I hit a configuration (a cloud in Network Instrument parlance) that was particularly interesting I’d document it in various ways, typically a recording, photographs and any patching data. In late December 2009 this process led to a piece I found so strange and yet compelling that I felt I should do something with it. But I was pretty attuned to the tastes of my fellow travelers at the time and I knew this was a particularly odd piece not particularly attuned to those tastes. But I still felt that the music demanded that I do something with it. So I made a few 3″ CD-Rs of the piece and I gave one to a fellow live electronicist. This gave me the germ of the idea – I would continue my exploration of network instruments, documenting it as I went and releasing a series of recordings of these efforts. I decided right off that if I was going to do this it had to be done right and that this exploration of network instrument theory had to be just the base of the project. That is that it had to have multiple components to it; it had to be an exploration of several ideas both overarching and in each individual release.
Winter Clouds Setup - used for I'm not completing any thoughts and Skipping Stones
The overarching themes of the project were three: Post-Tudor Live Electronics, Music as Object and Conceptual Music. Not every release would encompass all three themes though they often did. Music as Object, clearly pointed at by the projects slogan ‘No ideas but in things‘ (William Carlos Williams, A Sort of a Song1), was the fulcrum around which each release was built. Additionally each release was also done in tribute to one or more musician, composer, artist or poet. It is this additional layer that would generally determine how an individual release would engage the overarching themes. Three of the releases were explicitly engaged with ideas of live electronics particularly the notion of a configuration as score. These three releases were dedicated to David Tudor.
In the unpublished companion document to the Eleven Clouds project there is a short section on each of the overarching themes as well as an entry for each individual release. Below I’m including the section on Post-Tudor Live Electronics as well as the entries for the three releases dedicated to David Tudor. The generally short entries for individual releases describe the format, dedications and additional ideas. Also there is some discussion of how it was released and how this was received. This aspect is part of the Music as Object thread of the project which as I noted above is the axis upon which each release revolved. This document was unfinished and there was meant to be additional writing on each release exploring the individual idea(s) that may be explored herein. These entries are primarily included for completeness sake. Additionally the music and photos from each of these releases has been uploaded to their corresponding sub-pages in the Eleven Clouds webpages. Thus for the first time complete versions of these pieces can be heard by anyone. The three releases dedicated to David Tudor in the Eleven Clouds project are:
I’m not completing any thoughts
Skipping Stones, and
A Closed Letter
Network Instrument utilized for A Closed Letter
Post-Tudor Live Electronics
The first overarching idea is purely musical: what should follow on after David Tudor in the area of live electronics. Tudors legacy in live electronics is huge but barring a few people who were working with him at the time as well as some tangential artists it did not seem that many followed in his path during his lifetime. After his death in 1996 there were many tributes and retrospectives and the like there wasn’t much in the way of attempting to follow on with his work. Those who had been engaged in live electronics already did of course continue on, but they were following their own trajectories that could be seen as concurrent to Tudor’s as opposed to starting from it.
Over the next decade though there would be a renaissance in analog synthesis, followed by a DIY resurgence and suddenly more and more people are citing Tudor as an influence, working in the same general areas and, finally, trying to use his techniques to explore the ideas that have captured the current zeitgeist. I think of artists such as Matt Rogalsky and Micheal Johnsen that can be seen as having started where Tudor left off as well as those such as Brian Eubanks and James Fei who started within the current milieu and found their way toward Tudor. However I think that it can be said that even with an increased awareness and interest in his work it is still an open question of how to iterate from where Tudor left off. He was such a virtuoso and so idiosyncratic plus there is a dearth of information on the subject that this is hardly surprising.
The very first release in the Eleven Clouds project, I’m not completing any thoughts2, was part of an initial stab at this notion. The electronics in this piece are, unlike David Tudors custom and modified electronics, commercial products interconnected in such a way asto increase unpredictability. The Network Instrument3 was a theory devised to attempt to create an understanding of the instruments that Tudor created and to attempt to develop a language to facilitate to further developments in this area. I’m not completing any thoughts was an interesting step in this direction but in isolation didn’t seem sufficient. It was at this time that the notion of Clouds (a configuration of a given network instrument) was codified and the notion arose of a series of statements exploring this instrument.
(01) I’m not completing any thoughts.
Released January 2010 on 3” CD-R in an edition of 4.
This release could only be acquired by being given it. Of the three copies that were given away none of the recipients were from the same country. The ideas explored in this piece were Post-Tudor Live Electronics and network instrument theory. It is the network that was developed for this piece utilizing an interconnected Clavia Nord Micromodular and a Chimera BC-16 that would form the basis for many of the following pieces.
The webpage with downloads for this release can be found here: I’m not completing any thoughts
(02) Skipping Stones
Released toward the end of February 2010, offered to anyone who would send a Self Addressed Stamped Envelop to an addressed supplied by an auto-responder.
This was perhaps too great of a jump for the initial release – actually asking someone to go to the post office is perhaps too much. It also is of course difficult for those outside of the US though it was stated from the beginning that there would be allowances for that. Ultimately eleven (11) copies of this piece were sent out, though only a few of these to people who jumped through the hoops.
Musically this piece expressed the most successful attempt at a Post-Tudor live electronics. The network was iterated from the I’m not completing any thoughts and I think displayed a way to work out complex sounds from minimum structure. Ideas of the last decade of improvisation mixed with Live Electronics in a way that was different and engaging.
The webpage with downloads for this release can be found here: Skipping Stones
(07) A Closed Letter
Released in July 2010 on a single 3” CD-R.
This piece used an expanded network to create a denser more spiky piece than previously generated. As part of the promotion of this piece a short excerpt was put up onto Sound Cloud to allow people to check it out. According to Sound Cloud statistics it was played around 40 times. The method of acquisition was not stated; only a question mark. Again this garnered no posts in response, no inquires publically or privately. Interest does not seem to have bee acquired.
The webpage with downloads for this release can be found here: A Closed Letter
In retrospect I am of the opinion that I’m not completing any thoughts and A Closed Letter are closer to examples of historical live electronics. It is only with Skipping Stones that I think that the ideas of live electronic are iterated upon with respect to the work that occurred since Tudors time. Which isn’t to say that there isn’t aspects or portions of those two pieces which I do think work in that way and it is the case that I was coming from that mindset. That I think is a critical aspect to these abstract notions of instrumentality. A live electronics configuration truly is the score – that is it directs and limits what you are going to do. But it is the performers mindset that influences how that score is performed and what it becomes. In this way it is like a graphic score – a noise musician playing Christian Wolff’s Edges is going to end up with a different soundworld then a classically trained cellist. But unlike a graphic score the sound world is set and it has definite boundaries with a live electronics configuration. So it is the networks of those pieces and not just the mindset of the performer (myself in these cases) that keep these at least one foot in the past. It is interesting to note that Skipping Stones – the most successful I think of all of the Eleven Clouds pieces is an iterated version of the I’m not completing any thoughts network4. While A Closed Letter is as well I added many more components to the network and is best thought of as more evolved (punctuated equilibrium even) than iterated upon. What all of this goes to show is that the network, in effect one’s score, has to be as reflective of your mindset as anything else.
1) William Carlos Williams, A Sort of a Song
Let the snake wait under
and the writing
be of words, slow and quick, sharp
to strike, quiet to wait,
— through metaphor to reconcile
the people and the stones.
Compose. (No ideas
but in things) Invent!
Saxifrage is my flower that splits
2) Robert j Kirkpatrick, Eleven Clouds Hollow Earth Recordings 011: http://spiralcage.com/hollowearthrecordings/discography/ElevenClouds.html
(01) I’m not completing any thoughts. (January 2010, 3″ cd-r. Edition of 4)
(02) Skipping Stones (February 2010, 5″ cd-r. Available throughout February)
(03) Vertical Landscapes 1-5/aeolian electrics (March 2010, 5 Paintings w. 2×80′ cd-rs.)
(04) Mid-Spring (rock, breath, 12kHz) (April 2010, 3″ cd-r.)
(05) An delay (May 2010, 2×3″ cd-r. Edition of 16)
(06) 100 Black Kites (June 2010, box of assorted items. Edition of 1)
(07) A Closed Letter (July 2010, 3″ cd-r.)
(08) 47° 32′ 25.80″ N / 121° 54′ 32.0″ W (August 2010, micro-c60. Edition of 1)
(09) Fugue State (September 2010, 5″cd-r. Edition of 12)
(10) Sometimes the rain is hard to see (9 haiku) (October 2010, mini-cd-r edition of 9)
(11) …and yet (November 2010, Edition of 11)
(12) Aleph (December 2010) [never released]
3) Robert j Kirkpatrick, The Network Instrument (a work in progress), A Spiral Cage, March 2010, and The Network Instrument (WIP): Subnetworks, A Spiral Cage, April 2011
4) It is worth noting that the majority of the other pieces in the Eleven Clouds project also worked with the Network Instrument and are examples of Post-Tudor Live Electronics with varying degrees of success. They aren’t considered in this post due to not being specifically dedicated to David Tudor.
Sun 23 Oct 2011
Posted by hatta under Dance
The Merce Cunningham Dance Company (MCDC) is coming to Seattle for two dates as part of the Legacy Tour later this week (Oct. 27th and 29th) and several local institutions have programmed some corresponding events, beginning with a lecture today at the Henry Art Gallery. This lecture, Shared Sensibilities: Cunningham, Rauschenberg, and Johns, by Roger Copeland (Professor of Theater and Dance at Oberlin College) examines the relationship between Merce Cunningham and the artists that he worked with in his dance company. The thrust of the lecture seams to be an examination of how Cunningham, Rauschenberg and Johns all broke away from the dominate forces on their respective fields and that this rejection of the current paradigm is their “shared sensibility”:
Between 1953 and 1980, the visual artists Robert Rauschenberg and Jasper Johns frequently designed décor, costumes, and even lighting for the Merce Cunningham Dance Company. This lecture will examine the sensibility shared by all three artists. Merce Cunningham began his professional career in dance as a member of Martha Graham’s legendary company. But by l953, when he first formed his own company, Cunningham had eliminated virtually every vestige of Graham’s influence from his own dancing and choreography. Significantly, 1953 was also the year in which Robert Rauschenberg created his Erased DeKooning Drawing, a work which -both literally and figuratively – declared his independence from the ethos of abstract expressionism. This lecture will argue that Cunningham’s repudiation of Martha Graham’s approach to choreography is paralleled in precise ways by Johns’ and Rauschenberg’s repudiation of painters like DeKooning, Pollock and the other great abstract expressionists. Collectively, Cunningham, Rauschenberg and Johns (along with John Cage), spearheaded one of the great paradigm shifts in 20th century art: a transition away from the “hot,” anguished, personal energies of abstract expressionism toward the cooler, brainer, more impersonal aesthetic that would eventually manifest itself in minimalism and conceptualism.
2005 dress rehearsal for Ocean, in New York's Rose Theater
On Wednesday the Northwest Film Forum will present the Seattle premier of the Charles Atlas film of the most epic performance of Ocean.
In September 2008 Merce Cunningham staged Ocean, one of the most ambitious works of his legendary 60-year career, within a massive Minnesota granite quarry. Renowned filmmaker and longtime Cunningham collaborator Charles Atlas was there, using five cameras to document this uniquely epic production.
The film was completed last year and has only been shown by dance companies, festivals and in special screenings like this one. While the performance in the Minnesota quarry was seen to be somewhat of a failure by the critics in attendance it was notable (at least to readers of this blog) for several reasons. The first being that it contains the last piece composed by David Tudor (Soundings: Ocean Diary) and John Cage (Ocean 1-96 completed by Andrew Culver). In 1994 it would have still be performed by David Tudor and presumably for the 2008 performance it used recordings or Kosugi’s realization of the piece. Furthermore it is possible that the issues the critics had with an outdoor staging of a piece in the round may not be an issue with a filmed version. The five cameras would allow 360 degree coverage and editing and such could make for a more coherent piece than one could experience live. Atlas was a long time Cunningham collaborator and would I think create a film that Cunningham would approve of.
Daniel Squire in RainForest (1968) from the Legacy Tour
The week concludes with the two performances of from the Merce Cunningham Dance Company Legacy Tour (which almost didn’t make it to Seattle; see this Seattle Times article) , which I wrote up extensively in this blog post: Legacy Tour comes to Seattle. Lots to see and hear for those interested in Merce Cunningham, his dance company and the composers and artists he worked with. I’m off to the lecture at the Henry and of course have tickets to both the MCDC performances. I hope to make the Ocean screening as well, any chance to hear some unheard Tudor is not to be missed and of course more Merce is welcome. Look for a post on all of these activities after Merce Week concludes.
Merce Week in Seattle Lineup
Sunday, October 23rd, 2011, 2:00 – 3:00 pm
Shared Sensibilities: Cunningham, Rauschenberg, and Johns
Henry Auditorium, Henry Art Gallery, University of Washington
Wednesday, Octerober 26th, 2011, 8:00 pm
Ocean a documentary by Charles Atlas
Northwest Film Forum, Seattle WA
Thursday, October 27th 2011, 7:30 pm
Merce Cunningham Dance Company Legacy Tour
The Paramount Theatre, Seattle WA
Sunday, October 29th 2011, 8:00 pm
Merce Cunningham Dance Company Legacy Tour
The Paramount Theatre, Seattle WA