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ZEITKRATZER - (Old School) James Tenney

Format: CD Label & Cat.Number: Zeitkratzer Records zkr 0010 Release Year: 2010 Note: three TENNEY pieces performed by ZEITKRATZER: "Critical Band" (1988), "Harmonium # 2" (1976), "Koan: Having never written a Note for Percussion" (1971) Price (incl. 19% VAT): €14.00 More Info "“Critical Band” (1988), “Harmonium #2” (1976), “Koan: Having Never Written A Note For Percussion” (1971). Zeitkratzer directed by Reinhold Friedl: Frank Gratkowski (clarinet), Hayden Chisholm (alto saxophone), Matt Davis (trumpet), Hilary Jeffery (trombone), Reinhold Friedl (piano), Maurice de Martin (percussion), Burkhard Schlothauer (violin), Anton Lukoszevieze (cello), Uli Phillipp (doublebass), Ralf Meinz (sound ). Recorded live at Philharmonie Luxembourg, Luxembourg, October 3, 2009. Recorded and mixed by Ralf Meinz and Reinhold Friedl, produced by Burkhard Schlothauer, executive producer: Reinhold Friedl. “The internationally acclaimed “hilarious releases” [vital weekly] of Zeitkratzer records will continue with the new series [old school]. The first two CDs, dedicated to the music of John Cage [zkr0009] and James Tenney [zkr0010] are now released together. The collaboration of Zeitkratzer with William Bennett /Whitehouse [zkr0007], recorded live in 2009 in Marseille/France and Den Haag/Netherlands, will follow this summer. Later in 2010, the [old school] series will continue with two more releases, dedicated to the music of Alvin Lucier [zkr0011] and Morton Feldman [zkr0012] respectively. James Tenney’s music has been part of Zeitkratzer’s repertoire for almost a decade. This CD presents a new recording of Critical Band – Tenney’s late classic – with maximum clarity. Also included is the first recording of Harmonium #2. Both works demonstrate the remarkable power and resplendent sharpness which Tenney achieved by composing with pure tunings. Koan: Having Never Written A Note For Percussion for tam-tam completes this CD with an orgiastic listening experience in the form of a huge crescendo on this wonderfully simple instrument - from whispering to singing, culminating in shrill roaring and blustering – and it’s dark decay. Tenney’s music as a sensual sound adventure !" [label info / credits] www.zeitkratzer.de "...I'm less familiar with the ideas and music of James Tenney, so its a bit hard to say anything about it that is connected to historical knowledge. I learned from the booklet that Tenney created 'swell pieces': music for long sustaining sounds, played on traditional instruments (same list as above), which have an almost electronic feel to it. It works in the region of overtones. Its great music. Sounds swell, rise from below and beyond and make a dome like sound. Think Alvin Lucier or Phill Niblock and you get my drift. But whereas they seem to be operating from a more studio based environment this is all live, which makes it even more remarkable, since it sounds like many voices at once, more than what the list of instruments suggest. In 'Koan: Having Never Written A Note For Percussion' the tam-tam is played, making a low rumble, that swells up like a giant roar. Indeed a swell piece. Whereas the Cage CD is a fine release but perhaps something we already heard before, this Tenney release is mind blowing." [FdW / Vital Weekly] "Das hochkarätig besetze Ensemble zeitkratzer streckt sich je nach Aufgabenstellung zum Himmel, wenn es sein muss. Bekannt geworden ist die Gruppe um Reinhold Friedl durch ihre pop-avantgardistischen Diskurs-Pogos im Grauland zwischen Neuer Musik und Improvisation, zwischen Noise und strenger Reduktion. Nach einem eher durchwachsenen Gastspiel auf der MusikTriennale Köln in diesem Frühjahr kehrt das Ensemble mit seinen beiden old school/Klassiker-Einspielungen zu konzentrierter Strärke zurück. Besonders die CD mit den Tenney Stücken, darunter der Klassiker Critical Band, zeigt, wie reizvoll es doch sein kann, jegliche Tonalität zu zerstören nach einem akkuraten Schlachtplan. In Koan: Never Written A Note For Percussion (1971) kommt dieser Ansatz zu einem grandios blitzflackernden, elektrisierten Finale. Die Cage Aufnahmen, mit den Stücken Four6, Five und Hymnkus weiß auch durch präzise Durchführung zu gefallen, hier sind es die Stücke selbst, die altersmilde aber auch weise anmuten." [Zipo / Auf Abwegen]