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TENNEY, JAMES — Melody, Ergodicity and Indeterminacy
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Fr Freunde frher elektronischer Musik sind auf dieser CD v.a. die beiden Computermusik-Stcke ERGODOS I & II interessant (1963 + 1964), die mit unglaublichen Sounds gefttert sind und als Vorlufer spterer Minimal & Drone-Musik gelten. Daneben sind hier 4 Solo-Instrumentalstcke fr Flte & Klarinette enthalten (darunter seine frhesten Werke POEM (1955) und MONODY (1959). usserst obskur wird es, wenn moderne Kompositionstechniken Computerklnge & Instrumente verbinden, was auf drei lngeren Stcken von 1964 passiert. Eine schne Zusammenstellung, welche die Vielseitigkeit dieses US-amerikanischen Komponisten demonstriert, inkl. Booklet mit Begleittext auf Englisch, Deutsch, Franzsisch!
"Poem" (1955). Jos Zwaanenburg, flute. "Ergodos I" (1963) computer music. "Monody" (1959). John Anderson, clarinet. "Ergodos II" (1964) computer music. "Seegersong #1" (1999). John Anderson, clarinet. "String Complement (with Ergodos II)" (1964) computer music with violin, viola, cello, bass. "Seegersong #2" (1999). Jos Zwaanenburg, flute. "Instrumental Responses (with Ergodos I)" (1964) computer music with flute, bass clarinet, trombone, bassoon, violin, viola, cello, bass, percussion, baritone. "Ergodos III" (1994). Frank Denyer and Nora Mulder, pianos. "Percussion Response" (with Ergodos I) (1964) computer music with Tobias Liebezeit, percussion.
Barton Workshop. James Fulkerson & Frank Denyer, directors. First Recordings. James Tenney (1934-2006) was probably the first composer to develop an aesthetic for computer music, realizing that electronic music almost forced the composer to accept noise as music and to abandon the idea of absolute control over a composition. He came to accept Cages passion for randomness, but from a different angle: computer music can be unpredictable (rather than random). This CD looks at how Tenney persistently asked two questions: What if? and How does it work? Entitled Melody, Ergodicity and Indeterminacy, it brings an understanding of Tenney's exploration of the act of listening and the factors of composition, of how materials can be assembled, how a composer creates musical continuity. It contains four solos for flute and clarinet which are taken both from some of his earliest works, Poem (1955) and Monody (1959) and from relatively late in his career, Seegersong #1 & 2 (1999). The cd features Tenneys Ergodos compositions (forerunners of minimal music or drones) - instead of a fixed object, the listener hears a process and assembles his own experience from the sounds which have enveloped him. The reel-to-reel source tapes for Ergodos I and II are unique in that they may be played in either direction, beginning and ending at any point and-or with any number of super-impositions of parts (channels). On this cd, both Ergodos tape pieces are presented along with the tape and its String complement, Instrumental responses (10 performers) and also with a percussion soloist (Percussion responses). Like so many of Tenneys pieces, these works walk a line between the composers input and the choices of the performers in order to come to fruition. Tenneys conscious inclusion of the performer's input is a consistent characteristic of his music and remains a factor which distinguishes him from many other composers.
www.moderecords.com
"Poem" (1955). Jos Zwaanenburg, flute. "Ergodos I" (1963) computer music. "Monody" (1959). John Anderson, clarinet. "Ergodos II" (1964) computer music. "Seegersong #1" (1999). John Anderson, clarinet. "String Complement (with Ergodos II)" (1964) computer music with violin, viola, cello, bass. "Seegersong #2" (1999). Jos Zwaanenburg, flute. "Instrumental Responses (with Ergodos I)" (1964) computer music with flute, bass clarinet, trombone, bassoon, violin, viola, cello, bass, percussion, baritone. "Ergodos III" (1994). Frank Denyer and Nora Mulder, pianos. "Percussion Response" (with Ergodos I) (1964) computer music with Tobias Liebezeit, percussion.
Barton Workshop. James Fulkerson & Frank Denyer, directors. First Recordings. James Tenney (1934-2006) was probably the first composer to develop an aesthetic for computer music, realizing that electronic music almost forced the composer to accept noise as music and to abandon the idea of absolute control over a composition. He came to accept Cages passion for randomness, but from a different angle: computer music can be unpredictable (rather than random). This CD looks at how Tenney persistently asked two questions: What if? and How does it work? Entitled Melody, Ergodicity and Indeterminacy, it brings an understanding of Tenney's exploration of the act of listening and the factors of composition, of how materials can be assembled, how a composer creates musical continuity. It contains four solos for flute and clarinet which are taken both from some of his earliest works, Poem (1955) and Monody (1959) and from relatively late in his career, Seegersong #1 & 2 (1999). The cd features Tenneys Ergodos compositions (forerunners of minimal music or drones) - instead of a fixed object, the listener hears a process and assembles his own experience from the sounds which have enveloped him. The reel-to-reel source tapes for Ergodos I and II are unique in that they may be played in either direction, beginning and ending at any point and-or with any number of super-impositions of parts (channels). On this cd, both Ergodos tape pieces are presented along with the tape and its String complement, Instrumental responses (10 performers) and also with a percussion soloist (Percussion responses). Like so many of Tenneys pieces, these works walk a line between the composers input and the choices of the performers in order to come to fruition. Tenneys conscious inclusion of the performer's input is a consistent characteristic of his music and remains a factor which distinguishes him from many other composers.
www.moderecords.com