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CORNER, PHILIP - Rocks can fall at any Time

Format: LP
Label & Cat.Number: More Mars Team mm010
Release Year: 2013
Note: four previously unreleased pieces, made in Bali (1989) using Balinese cymbals, 'metal meditations' rec. in Bangkok & New York 1996-1997, hypnotic sound/breath-textures (New York 1972), and found-sound harmonium mantra pieces from 1999... lim. 350 copies incl. 16 page booklet
Price (incl. 19% VAT): €21.50


More Info

"BIO: Philip Corner (born in 1933) studied composition at Columbia University with Henry Cowell and Otto Luening, attended Olivier Messiaen's 'Philosophie Musicale' class in Paris (1955-7) and deepened his research on the piano with Dorothy Taubman (60s). During his military service in Korea, he loved the korean traditional music and studied calligraphy with Ki-Sung Kim. His longstanding parallel interests and activities include poetry, text-sound compositions, visual arts, dance, performance art and eastern cultures and religions (especially Zen Buddhism). He was an original founding member of the Fluxus movement, resident composer and musician with the Judson Dance Theatre and the Experimental Intermedia Foundation, co-founder of the Tone Roads Chamber Ensemble and Gamelan Son of Lion. His teaching career (1967-1992) expanded in various important Art Schools and Universities. In the early nineties, he moved to Italy, joined by his future wife and performance partner Phoebe Neville (dancer and choreographer). Philip Corner is one of the greatest American avant garde composers, an American outsider, a unique philosopher redefining what we call music and art, bringing together different cultures in a new kind of harmony, inviting all of us to experience music as a whole and be a crucial part of it.

MoreMars Team can proudly announce the release of this amazing LP with 4 unpublished works spanning 30 years of pure creation. The beauty of these recordings lies on their lo-fi, hissy, raw quality. 'Gong (ceng-ceng)/Ear' was recoded in Bali (1989) using very resonant handheld balinese cymbals. Totally improvised music, shaman vibrations through the body, dedicated to dancers. ('the dancer may be me...or you, listener!' Philip Corner). 'Two in Thailand' (created in Bankok, 1996-performance recording in New York, 1997) with Phoebe Neville. This is a very formal Metal Meditation with very small finger cymbals and a heavy gong in slow punctuations. A wonderful graphically and verbally notated score for open improvisation. These two A' Side pieces distill many years of experience and experiment with the properties of resonant metal objects, whether intended for music or not. Metallic magic, deep resonating tones, delicate ringing cymbals, vibrating sonorities leading to a ritual, transcendent experience. 'OM.Duet:Jug and Bottle' with James Fulkerson (private performance, New York 1972) is a 'zen-like' sustained tone with microtonal breath fluctuations, using the simplest possible resonators. Based on verbal instructions, slight mysterious gestural sounds brought up to ear close audibility, and eerie low frequencies create a spectrum of sound-texture varieties with a mesmerising, hypnotic effect. 'Satie's 2 Chords Of The Rose+Croix As a Revelation' (Hartford Village, Vermont 1999). Music based on a chosen section of a loved classic, with a little 'beat up' harmonium producing mystic organ sounds. Long sustained tones floating in the air, variety of pitches, rhythmic irregularities and weird time specifics resulting in a reverential, ecstatic composition, profoundly affecting. ' Hum the Ultimate Mantra-this should turn you on-' Philip Corner. This is a limited edition LP of 350 copies, inclouding a 16 pages inner book full of info, photos scores + texts by Philip Corner. Master made by Yiannis Tsirik." [label info]

www.moremars.org



"This year Philip Corner will turn 80, yet he's still around to produce music. He studied with Henry Cowell, Otto Luening and Olivier Mesiaen in the fifties, but interests in Zen Buddhism turned him towards Fluxus, of which he is regarded a founding member. His musical pieces defy compositional logic, but are also not entirely rooted in the world of improvisation. Here, on this new LP release, we find four historical pieces, from 1982, 1989, 1997 and 1999. On the A-side these are percussion pieces, one recorded in Bali and one in New York, while on the b-side there is a piece for two trombones and a harmonium piece. The way Corner 'scores' his pieces (booklet enclosed) is very open, giving some guidelines, free to the player for his own interpretation. All four pieces have a fine zen like character. Music that starts, stops and not particular leads you anywhere. There is a bit of sound; especially on the b-side its all quite sparse. In the 'Om. Duet: Jug And Bottle' piece, with James
Fulkerson on trombone, the recording is very low, but all the hiss adds a fine 'other' texture to the music. In the harmonium piece there is a mild form of distortion, which might be intentional or the pressing, but it sounds fine. A irregular pattern of clusters here. The more percussive pieces on the first side are somewhat louder of course, but have a similar fine relaxing quality, like wind chimes on a spring morning in a desolated industrial area (in 'Gong (Ceng-Ceng)'). Very free music from a radical background, to some perhaps more art than music, but even without the Fluxus context, I think this works quite well as music." [FdW/Vital Weekly]