alma marghen

ANIMA-SOUND Musik für Alle (4TES.027)

"Paul and Limpe Fuchs music, better known as Anima, represents the most original and obscure event among German Kraut Rock. Here they play a wonderful and very inspired duet on Paul Fuch's self-built instruments with the pot-production collaboration of Will Neubauer's Echolette Ringmodulater. Privately issued on LP record in 1972 for the artists' own label Altepfarhof, these two 17 minute long improvisations titled 'n da da uum da' and 'traktor go go go' can surely be considered as one of the best psychedelic experiences ever created. Due to the intensity of the recording, Alga Marghen, in agreement with the artists, decided not to add more material to the CD reprint. Presented on digipack CD in a first pressing of 1000 copies. Excerpt from cover notes: 'In the summer of 1971 the authors of this record parked their wooden stage caravan, hauled by a Hanomag tractor, in front of Willy Neubauer's recording studio in Düsseldorf. They had been travelling for 6 months at a speed of 20 km/h through the country, chugging and building up their stage. After touring, they spent three isolated days in the studio and let Willy and his newly discovered electronics add wings to their minds."

ROBERT ASHLEY String Quartet Describing The Motions of Large Real Bodies/How Can I Tell The Difference (10NMN.030)

"'String Quartet Describing The Motions of Large Real Bodies' was composed as the potential orchestra for an opera based on the text of 'In Sara, Mencken, Christ and Beethoven There Were Men And Women'. When the work was composed, in 1972, it was clear that a huge change in electronic instrumentation was just beginning, a change that would involve computers and sound producing devices as yet undreamed of. The piece consists of an electronic orchestra of 42 sound producing modules. The technique of the string quartet is for each player to make a stream of intentional but unpremeditated (that is, random) very short sounds, pulses, somewhat like pitched clicks, but with the formats and overtones of a string instrument (this idea came from the rumor of a performance by Takehisa Kosugi). These sounds go directly to a set of four loudspeakers, but at the same time they are delayed electronically, and those delayed sounds are sent to a series of seven networks of sound producing modules activated by the very brief coincidence of an original sound and a delayed sound. The operation of the networks as a result of the coincidence can, in the theoretical world of electronics, produce almost any sound imaginable. In the performance recorded here few of the technical resources were available. Now, of course, there are computer 'patching' programs that would make the job possible, but complicated. Such are dreams, when technology promises a 'new world'. Sort of like 1492. The hills and mountains separating San Francisco Bay from the Pacific Ocean are filled with a labyrinth of endless concrete tunnels constructed by the military in the 1930s in anticipation of World War II, to defend San Francisco Bay from invasion. At the entrance of every tunnel is a huge steel door. When the door is slammed, the reverberation through the labyrinth seems to last forever. It is one of the wonders of the world. Naturally, Robert Ashley tried to record this phenomenon. On the occasion of the recording, just as the reverberation seemed to die away, a motorcyclist, miles away in the tunnels, started coming closer. The effect, which took minutes, was as if the reverberation had been reversed, as if the tape recording was running backwards. A perfect case of coincidence as illusion. In Version One of 'How Can I Tell The Difference?' the composer tried to create the drama of the recording of the reverberation and the motorcyclist, using the 'String Quartet' as an 'orchestra', in the way it was intended to be used in the opera. In Version Two of 'How Can I Tell The Difference?' a solo string player using the same playing technique as in the 'String Quartet' opens and closes the sound 'gates' to electronic reverberations and prerecorded sounds running continuously with the performance. A digipack CD edition including an 8 page booklet with scores and liner notes written by Robert Ashley."

ROBERT ASHLEY Wolfman (20NMN.048)

"This edition on compact disc introduces us to the most extreme experimental side of the famous American composer. The program starts with 'The Fox' (1957), the first electronic music work by Robert Ashley which already displays the future electronic music theatre style. Dark atmospheres and primitive tape collage techniques recorded at home, mixing the electronic tape and the voice in a single 'live' pass. The title track, 'The Wolfman', was composed in early 1964 and first performed on Charlotte Moorman's festival of the avant-garde in New York in the fall of the same year, gaining considerable reputation as a threat to the listener's health. For the occasion instigated by Feldman, Robert Ashley composed a piece of tape music, 'The Wolfman Tape', to be played along with the vocal performance of 'The Wolfman'. The idea of a tape composition, which is to come out of the same loudspeakers as the voice and the feedback (the main sound source for this composition), is to fill-in the ongoing performance sound and to transform the performance into an elaborate version of the 'drone' under the influence of electronics. The choice of what sounds should be on the tape is determined by the need to have the whole range of frequencies brought into the feedback, but to give those sounds a short duration-in other words, a blizzard of very short sounds across the whole frequency range-so that the illusion of the sounds coming from all parts of the room is preserved. For the performance of 'The Wolfman' recorded here, produced at the University of California at Davis, Robert Ashley used an earlier (1960) tape composition entitled 'The 4th of July'. That composition changes gradually from a parabolic-microphone documentation of a backyard party into a layering of tape loops and tape-head feedback. 'The Wolfman Tape' (1964) is, as described above, a tape composition made for a short performance of 'The Wolfman'. It uses tape-speed manipulation and mixes of many layers of 'found' sounds, both from AM radio and from recordings made using different kinds of microphones. 'The Bottleman' was composed in 1960 as music for an experimental film by George Manupelli. The 40 minutes long version presented here involves contact microphones on a surface that holds a loudspeaker some six feet away. The loudspeaker is broadcasting open-circuit 'hum' (at the American standard of approximately 60 hertz). That pitch is raised slightly through tape manipulation and the result is mixed with vocal sounds and other 'found' sounds played back at various tape speeds. All compositions previously unreleased. The digipak CD comes with a 12 pages booklet including liner notes written by the composer and the complete score of 'The Wolfman', first issued in Source magazine."

DAVID BEHRMAN Wave Train (5NMN.020)

A digipak CD with David Behrman experimental music from 1959 to 1968. "The CD starts with the short piece called 'Canons,' a product of a 3 weeks stage in Darmstadt (summer 1959) featuring David Tudor on piano and Christoph Caskel playing percussions. 'Ricercar' is a prepared piano piece made in 1961 and has the flexible form of the kind favoured by European composers in the early 1960s, but also reflecting the work of Cowell and Cage. 'Wave Train,' (1966) marked the moment when something radical happened, in which established techniques were thrown away. A powerful feedback piece live performed with Gordon Mumma. "Players with Circuits' (1966) is an exploration of raw materials, here a combination of live electronics and amplified acoustic sound. 'Sounds for a Film by Bob Watts,' for outdoor environment recording and homemade synthesizer, was recorded at Stony Point, the artists' cooperative which John Cage, David Tudor, Sari Dienes and other friends had established. The last piece, 'Runthrough,' was made for performance by members of the sonic Arts Union: Alvin Lucier, Gordon Mumma, Robert Ashley and, of course, David Behrman; two of them working the dials and switches of homemade synthesizers, and two others distributing sound in space with homemade photocell mixers; Time Records released a different version of this piece in 1969. All others are previously unreleased. The edition includes a 12 page booklet."


"Released in 1979 in a limited edition on his own d'Avantage label, Catalogue, with its overt theatricality is every bit as wild as the previous Paralleles. Not really jazz, not rock, having nothing to do with contemporary music either, Catalogue is a kind of sonic postcard which features not the group of the same name but instead numerous Berrocal associates including Potage (co-founder of the d'Avantage label in 1976), Parle, Ferlet, Pauvros and recording engineer Daniel Deshays, plus many musicians from the French underground collective scene of the 1970s. Not content with manhandling a toy piano on 'Tango' (which features mind-blowing accordion from Parle), abusing an arsenal of instruments including saw blades, pistols, shower attachment and even gingerbread, Berrocal pushes his own voice way over the edge on 'Incontrolablslaooo' and 'Faits Divers,' moving from a 60-a-day smoker's cough to a terrifying sequence of gargles and vomits. The grungy free rock of 'No More Dirty Bla Blaps,' the Portsmouth Sinfonia-like spoof Dixieland of 'Rideau,' the distressing punk of 'Signe Particulier' and all manner of fields recordings and cut-ups in Berrocal's Artaudian theatre style, combining the excesses of glam and punk cold-wave to post-1968 Situationist perspective. With the same creative attitude documented through the mythic d'Avantage label (1976-1979) Berrocal later accumulated an extensive archive of unreleased recordings, some of which finally surface now on this new edition. Catalogue represents the most experimental and complex of Berrocal's records, as historical as contemporary modern, classic and at the same time as fresh and strange as if it had been recorded last week. During the same year Steven Stapleton frequently travelled to Paris to meet Jaques Berrocal and discuss a possible collaboration. In 1980, Berrocal travelled to London with his pocket trumpet and Tibetan oboe and recorded with Stapleton, Heman Patak and John Fothergill on NWW's second album, but that's another story."

JACQUES BERROCAL Parallèles (5TES.037)

"Jacques Berrocal has been very active since the beginning of the 1970s. No one in France could mix jazz, improvisation, rock'n'roll, punk, no wave, spoken words and industrial music like him. He also had a central position in the creation of d'Avantage, a collective record label that issued some of the most particular sessions of the mid-late Seventies. At the same time he was working on never ending sessions for records that were never issued. Jac and his band were the Apostles of the non-urgency, enjoying recording in unusual situations, with no rules, improvising on undefined structures or using non-musical material mixed with ethnic instrumental solos. In 1976 d'Avantage issued a wonderful record LP titled Parallèles featuring, among the others, Bernard Vitet, Roger Ferlet, Pierre Bastien, Michel Potage, Daniel Deshays, with the intervention of Vince Taylor, the dark diamond of rock'n'roll who inspired David Bowie's Ziggy Stardust. Just a couple of years later Berrocal collaborated with Steven Stapleton to create the first Nurse with Would record LP. Parallèles features very different styles; acoustic solo and duo for trombone and cornet as well as a large ensemble 25 minutes long piece dedicated to the Futurist Russolo (again, two years later, Mr.Stapleton dedicated his first NWW record to the same Italian artist). Also to mention are 'Post-Card', recorded in a Pigsty in 1976, and the legendary 'Rock'n'roll Station', a mini-concert for voice (Vince Taylor), double bass (Roger Ferlet) and bicycle (Jac Berrocal). The remastered CD also includes five previously unreleased tracks that were actually left out of the original record: 'Villa Povera Naturale' (1972) is a short piece for pocket trumpet and various concrete elements; 'Occupè' by Michel Potage is an excerpt taken from an LP that d'Avantage never issued; 'Shorten' and 'Lisylis Pavillon' are the first experiments using electronics and 'Cryptea IV', taken from the sessions of the early Futura LP. Thirty years later Jacques Berrocal is still there, where nothing is waiting for him, totally outside the rules, out of fashion thus indémodable. A digipack CD edition including a folded insert with very nice original photos and scores."


"Anton Bruhin is an artist and composer from Zurich, Switzerland, who was well-known to a very limited circle of people who had the chance to listen to his four wonderful LP records issued between 1969 and the end of the 1970s. Alga Marghen visited him and selected some previously unpublished material (1976/1981) for this first CD. This new title follows the two CD reprints of Tazartes records; again a music difficult to describe, which escapes categories. What was really impressing to the first listening was the special and particular quality obtained using very poor technical equipment, and how Anton Bruhin's creativity handled these low-technology means to reach a unique sound. In the first track, 'InOut', thousands of very short sound fragments coming from the most different sources are added like a patchwork, an acoustic quilt with geometric irregularities and varied patterns. 'Musik Vielleicht fur Sie', is based on the recordings of a self-made instrument, various sound sources and effects on a reel tape recorder equipped with an endless loop tape which skips the tape head; the result resembles a natural multiple echo with a long delay. The spatial illusion does not result from the stereo panorama, but from the spiral or screw shaped layerings into the depth of space. 'Wochenwende' deals again with creative recording technique; two tape recorders with loudspeakers for a ping-pong recording to let the listener perceive sounds as a spot moving fore and back from his ears. A digipak CD with an eight page insert. A big surprise for those who think low-fi music was created between the US and New Zealand not so much time ago. Still now-a-days one of the best examples of low-technology creativity, the music of this compact disc was recorded in the heart of the European mountains more than 20 years ago." "Massively entertaining "outsider art" styled pieces from 1976-1981. The title track alone is worth admission; 23 minutes of microscopically granulated sound-clips, the results of pause-button abuse (the click of which alone is made an instrument) during a continuous music-room-test. Tuning whistle, toy and party gag instruments, electric razor, model ship engine with propeller, CH-Phon, feedback speaker-microphone, double shawm, falling down spoon, tearing scotch tape from spool, hair dryer, etc... all whizzing past your block at exponentially fast increments of space-time. A fascinating listen and a once-not-every-so-often-available peek into the cogs of a true, deranged, mission-from-god level convention-saboteur." — Hrvatski

ANTON BRUHIN Rotomotor (6TES.041)

"Rotomotor covers two different areas of the artist's research. The first one is represented by a group of works including the short and mysterious environmental recording 'ORAX' as well as 'Lange Tone', 'VERSUCHPILZ 6' and 'Paul is 35', three excerpts from the epic 'MC-10 zyklus' created between 1976 and 1977 recording various layers of sound sources on two cassette recorders with loudspeakers. The complete zyklus consists of 12 different episodes (each one ten minutes long) which investigate the multi-layer ping-pong recording technique; the spatial illusion of the monoaural replay which moves away from the listener's ears into the depth of space. Far away sounds coming from a cosmic dimension or from an abyssal space, moving fore and back. The loss of sound quality considered as stoned space improvement. 'r o t o m o t o r: ein motorische Idiotikon', the title track, is a 28 minutes long reading, one of Bruhin's major works. Rotomotor is a poetic Idiotikon of the swiss-german dialect where, instead of the straight alphabetical order, the words are organised according to the similarities of their letters (each word differ from the previous one by just one letter). For this reading a delay equipment which repeated the signal after 0.6 seconds was used and each word is superimposed to the echo of the preceding one. On one hand this echo generates the rhythm of the performance, on the other it supports the acoustic metamorphosis of the words. Again, a very simple concept perfectly accomplished. What results from the whole program is maybe difficult to describe, maybe more easily perceivable in a state of alternate consciousness. But surely a quite unique sense of acoustics approach; so no surprise to see him mentioned in the mythical Nurse With Wound reference list. Chance meeting in an Alpine chalet of a roto-Bruhin and an AKRE."

HENRI CHOPIN Revue OU (15VocSon.045) 4CD/BOOK

"Alga Marghen proudly presents a new edition of the already historical Chopin's Revue OU. All the original contents (4CDs + book + complete inserts) have also been included here, but presented now in a more modern and flexible way. The first press heavy boxset had been substituted with a lighter and colour slipcase while many important details and info about the contents of this anthology (missing in the original layout) are presented on a new colour obi." Incredible that this has been reissued again, at a slightly cheaper cost even! Miraculously over-the-top presentation of Henri Chopin's famous sound-poetry "magazine", issued on 4CDs (or 6 LPs -- a few copies of the original LP reissue box still available). "Since the end of the fifties, Henri Chopin, an explorer in the new recorded sound poetry field, has never ceased, through hid own work as well as through his publishing activities (Revue OU, a magazine with record from 1963 to 1974) to defend the electronic exploration of the voice and the body. If Henri Chopin's Revue OU is such a remarkable publication, then this is surely because it is one of the truly -- and most authentically -- 'contemporary' publications of its time. Yet at first sight, the word 'contemporary' seems to offer a rather simplistic description of such a visionary publication as Chopin's OU. When we consider in the general cultural context of the sixties, for example, aren't all mid-century art publications generally 'contemporary' in one way or another? And when considered in terms of most other poetry publications of the sixties, doesn't Chopin's OU clearly stand out as one of the most significant 'experimental' or 'avant-garde' publications of the mid-century? As Chopin observes, he considered the sound poetry published on the records in OU to be a distinctively 'new form of art'. On one hand sound poetry constitutes an almost archetypal practice, but on the other hand sound poetry also emerges from the very sources of recording technology by means of its use of electro-magnetics. As this collection of CDs (remastered under the supervision of Henri Chopin) reissuing the complete Revue OU records indicates, Chopin's most striking achievement was to consistently identify and publish the first major works of many of the most visionary transatlantic artists exploring the new recording technologies of the fifties, sixties and seventies. Far from attempting to establish any monodimensional 'movement', Chopin characteristically championed a wide veriety of those poets, writers and composers whom he perceived to be 'in movement', and whom he subsequently applauds as 'Fabulous Independents'. Following an editorial logic of selectively eclectic inclusion, Chopin's OU records published an astonishing diversity of inter-generational and international experiments. These include intense electronic readings by William Burroughs and Brion Gysin; pioneering optophonetic works by the Dadaist Raoul Hausmann; 'crirythmes' and vocalic improvisations by François Dufrene and Gil J Wolman; fragmentary poemes-partitions by Bernard Heidsieck; high-tech text-sound works by composers such as Ake Hodell and Sten Hanson; electronic abstractions by Bengt Emil Johnson; phonetic poems by Mimmo Rotella; 'handy tech' performances on self-built electronic instruments by Hugh Davies; haunting tape-manipulations by Ladislav Novak; playful improvisations by Bob Cobbing with Anna Lockwood; dramatic monologues by Paul de Vree; electronic concrete music by Jacques Bekaert and -- of course -- Chopin's dynamic orchestrations of the body's 'factory' of corporeal sounds. Chopin's writings equally consistently championed the 'electronic language revolution' facilitated by what he describes as 'technological means which extend the human body', thereby inaugurating an enormous expansion of human expression. Many manifestos and theoretical texts, as well as original photos, have been published in a 76 page book. Also included are 30 fold-out black and white OU inserts reproducing the original scores of the audio works featured on the 4 CDs (by Chopin, Heidsieck, de Vree, Davies, Cobbing, Bekaert) as well as graphic works by John Cage, Tom Phillips, Arrigo Lora-Totino, Michel Seuphor, Ben Vautier, Stefan Themerson, Richard Orton, Pierre Albert-Birot."

PHILIP CORNER Gong + (17NMN.042)

"Gong + presents three previously unpublished compositions by Philip Corner recorded in New York City, 1974. 'Metal Meditations with Listening Center', a 29 minutes long piece, is a collaboration between Philip Corner and Bill Fontana. At that time Bill Fontana was very interested in the resonance properties of every object, putting his ear to everything, and sometime recording what he called 'Listening Centers' (soon to be issued by alga marghen). A microphone placed in a resonating space (for example a jar, or a pipe) recording the environment with no intervention from the artist. This time the 'Listening Center' was integrated as an active element on two pages from 'Metal Meditations' ('one stroke: vigorous: one resonance' and 'these are twirlings, sworlings') performed at the Intermedia Foundation. The continuous resonance of metal objects mixed with the chaotic sounds of New York City distorted through the 'Listening Center'. 'Gong!' is a series of works and can be considered forms of kinds of 'Metal Meditations'. They are more-elaborated performing plans for/on this 'prototype of all rich resonances', so, are musics assuming long-resounding & more-than-single-pitched large-surfaced (likely) lower-tone-favoring metals. Some substitutions are possible: piano? low clusters and selected sonorities. Colors controlled from pedal. Struck by soft stick(s)--- or from keyboard. This specific version, titled '2 as entrance ? passageway (resounding regularly)', was recorded on May 22nd, 1974 at The Kitchen and performed by Philip Corner, Brian Dallow, Daniel Goode and Carole Weber. The piece starts with deep resonances of the gong played by two performers and very slowly fades into the pulsation of the low-key strings of the piano. The last composition on this compact disc, taken from a different series of works titled 'Pulse Polyphony', was also recorded at The Kitchen during the same festival. 'Pulse Polyphony' compositions may use very different materials; one of them (the central part of 'Oracle', an electronic music piece) was included in On tape from the Judson years, a previous compact disc issued by alga marghen. The version presented here is the passage from string piano to bell-tree."

PHILIP CORNER More from the Judson years, early 60s - Volume One (.055)

"Yet not to forget that extraordinary place where so much of the new and exciting performances at that most interesting time in New York, took place. There was a Theater there; and a place for the first Happenings. An Art Gallery... and later the famous Judson Dance Theater. There was Philip Corner first performance. The concert was in early 1962, January 2nd, to be exact. Handwritten change on typescript: Yoko Ono's studio, changed at the last moment to Judson Church. A lot of players; and a lot of pieces. Some of my old friends, like Toshi Ichiyanagi or Richard Maxfield. And a lot of new names from California, Dick Higgins and Alison Knowles, the connection between the old New York and this new scene. The creation of the Dance Theater: Philip Corner involvement with it from the beginning. Excerpts from the liner notes of Volume One, written by Philip Corner: 'Passionate Expanse of the Law' (1959), extract from the first NY performance, featuring Charlotte Moorman, Philip Corner, Malcolm Goldstein. 'I wrote this on an Army cot in Texas, in the Fall of 1959; a continuation of and a major development my exploration of maximum disjunction.' 'Air Effect' (1961), first performance, featuring Philip Corner, Alison Knowles, Malcolm Goldstein. 'From 1961 already my music became characterized more and more by attention to the continuous quality of sound. A chamber ensemble, dedicated to directness of breathing.' 'OM emerging' (1971). 'As pure to begin' (1963), Philip Corner, piano with preparations, objects and amplification. 'The purity of keyboard sounds turn progressively noisy, effected by the strings themselves being touched, and touched by objects which are then laid on them and magnified by microphones'. 'Music, reserved until now' (1963), recorded at Judson, 1965 and featuring A-yo, David Behrman, Philip Corner, Malcolm Goldstein, Dick Higgins, Joe Jones, Alison Knowles, Jackson Mac Low, Charlotte Moorman, Nam June Paik, Chieko Shiomi. 'A score for non-traditional sound sources.' 'Composition with or without Beverly' (1962), recorded at ONCE Festival in 1963; Philip Corner, piano with prepared tape sounds. Digipack first press of 1000 copies, including a 12 pages booklet with liner notes, scores and original documentation."

PHILIP CORNER More from the Judson Years, early 60s - Volume Two (.056)

Excerpts from the liner notes of Volume Two, written by Philip Corner: 'Everything Max Has' (1964), Max Neuhaus solo, recorded at the ONCE Festival, 1965. 'A performance of Max's taking down all of his stuff; tons of equipment filling entire stages'. 'Big Trombone' (1963), Jim Fulkerson improvisation over tape collage. 'Homage to Revere' (1962) for ensemble of copper-bottom kitchen utensils. 'Punkt' (1961) for ensemble of staccato sounds. 'Since the critics were calling us the plink plunk school, I contributed a composition favoring only those punkts for centuries having defined and inhibited Western music'. 'Passionate Expanse of the Law' (1959) for ensemble, recorded at the Composers' Forum, NY, 1972. 'Expressions in Parallel' (1958) for ensemble. 'From my earliest compositions I have been more enticed by an opening out towards greater possibilities, than in cheap and arbitrary limits of stylistic unity.' Digipack first press of 1000 copies, including a 12 pages booklet with liner notes, scores and original documentation.

PHILIP CORNER On Tape From the Judson Days (4NMN.019)

"On tape from the Judson days. Remember? When you made these things at home, on the best equipment you or your other poor friends could find? Electronic music from the 1960s. And you had that Japanese tape recorder with built-in mike; indeed that was the only piece of furniture on your tatami floor on the Lower East Side that summer of 1961.' This compact disc presents tape music recorded between 1962 and 1963 for the friends meeting once a week in a loft in NYC. The first track, 'Lucinda Pastime,' was the soundtrack for a dance piece by Lucinda Childs: 'the tape was made in the kitchen sink, with primitive equipment and all the different kinds of plates and bowls in the house. The enjoyment of listening to this musique liquide at night, in bed, and always finding it too short.' 'Memories: Performances': 'Ah yes...yes! The principle of this tape is the recombining of recorded performances from the past, my past, this time. Because the idea, and practice, of collage was really around in that time.' 'From Thais,' was made on request of Yvorine Rainer, 'collaging mostly extracts from Massenet opera, mix after mix to get thrown around fragments of the opening until the thin, otherworldly quality of the ending.' 'Oracle, a Canata on Images of War,' was commissioned by the Living Theatre: 'All sounds in violent counterpoint, made by me at home...playing with real noises, with a deliberately pulverized reality made of over-recorded close-miked crashes which even blew the machine's circuitry. Mixed into the Darkest White Noise ever made.' 'Flares' used dancers and musicians and slides and lights in a total-space multimedia'; this is the only piece on this compact disc which uses purely generated tape sounds. 'Circus Tape' was for 'a whole evening of inspired crazy-fun, from burlesque to creaking doors.' All previously unreleased works presented in a digipack CD with 16-page booklet.

PHILIP CORNER 3 Pieces For Gamelan Ensemble (12NMN.034)

"'Gamelan' means for Phillip Corner more than the name for Indonesian orchestras. The composer uses the word the way, apart from Europe, someone might say 'symphony'. A basis of making music, adding a few wonderful ideas from the Orient: a precise relation between the scale of time and that of musical space; a simple formal concept, expressed directly through sensual attractiveness; some freedom, or mystery, added to the precision. 'Gamelan' is the name of the first piece. In 1975 at Livingston College where Barbara Banary, who had just constructed the earliest instruments for Son Of Lion, invited Phillip Corner to compose a piece. Its opening gong stroke and long resonance has gone through several revivals over the years since, and has come to seem like a 'classic'. This piece is the link to the composer's earlier works, particularly those of struck resonant instruments, like Metal Meditations, which are intensely focused on the immediate presence of the sounds. What is added here is counting, although counting so long a length dissolves again into the intuitive. The second track on this CD is titled 'The Barcelona Cathedral'. The composer Tom Johnson wrote about it in 1978: 'A few weeks ago I attended a rehearsal of New York's own gamelan ensemble, Son Of Lion. One of the works I heard that evening was a new composition by Phillip Corner. Corner was conducting in big slow beats that fell heavily once every few seconds. With each beat about ten mallets fell onto the metallic percussion instruments with a tremendous clang. A variety of pitches resulted, and the general effect was much like a big church bell. The piece went on for nearly half an hour, always with that same relentless beat, but with slightly different effects.' These first two compositions, first issued on LP for Lotta Poetica, have been remastered for this CD edition that also features a previously unpublished major work entitled 'Belum'. The author wrote about it: 'There is improvisation within a structure that only reveals itself over many repetitions. The melody is quite difficult, with many syncopations and rhythmic irregularities. We have learned it well, but since no one knows exactly how each will play, there is individual freedom and group chance results. Bringing together different cultures in a new kind of harmony. ...It [the music culture of Indonesia] has added to my previous development sense of music as wonderful-sound, the sense of music as wonderful-measure. Thanks to this, I now love numbers and with no diminishing of the senses...'. 16-page booklet, color photos, graphic notations and scores are included with liner notes written by Phillip Corner."


"Here is is, finally! After the sold-out LP edition, Alga Marghen now presents the long time awaited book documenting the renown work by Bernard Heidsieck titled 'Vaduz'. A hardbound book, 40 pages, including two essays, the complete score, 'Vaduz' discography, bibliography, list of performances and a short Bernard Heidsieck biography. Also including a 12 minute compact disc. This sound-poem was commissioned by Roberto Altman in 1974 for an exhibition in Vaduz, the capital city of Liechtenstein, and has since then been performed all over the world. Conceived as a canon, the multiple structure of superimpositions is powered using electronic effects and manipulations."

WALTER MARCHETTI Antibarbarus (3NMN.016)

Beautifully presented minimal sound works by this Italian composer, who has recorded for Cramps, etc. Digipak CD with fold-out poster of concrete poetry. This CD features studio recordings from 1998. concrete tone-waver and mystery of the highest order. "The Antibarbarus cycle of five pieces makes use of original tapes coming from the same recording sessions that originated some of Marchetti's major musical works realized in the 80s. The concept of this series of works respond to the common feature of presenting some homogeneous and untouched sound sources in the 'concrete' status of their inner—and necessary chaotic—level of entropy. The almost narrative thread of the Antibarbarus set of pieces doesn't intend to suggest, in a strict sense, a simply allegorical metaphor; not 'representation' but a diagnosis of a fatal paralysis, where the musical consciousness vainly struggles. This appears not without supposing an inversion of its dialectical sign, in order to oppose the antithesis of a radical humanism to the barbarity of utilitarian and instrumental reason.

WALTER MARCHETTI De Musicorum Infelicitate (16NMN.039)

"As Walter Marchetti told to the producers of De Musicorum infelicitate, i.e., The Unhappiness of Music, this will probably be his last music work, but this is not the only point making this edition a very special one. Coming after two CDs previously issued for Alga Marghen (Antibarbarus in 1998 and Nei Mari del Sud in 1999) these 'Ten Pieces in the Form of Painful Variations' dispose in their unceasing and implacable sequence the landing at an anaphorical finis terrae, the extreme and impassable threshold, beyond which music can but sink in the abyss of its own loss of consciousness, in front of the horizon of the definitive loss of its exhausted tradition. 'De musicorum infelicitate', anamnesis of the condition of music, a barren aesthetic code ineluctably suspended between self-mystification and expression of the inauthentic, having reached the limit of its own fertility and every faculty of the imagination. 'De musicorum infelicitate', longing for a magniloquent destructio musicae, the destruction of an administrated practice, of a tautological exercise devoid of inner necessity. As Gabriele Bonomo, the project coordinator of the complete Walter Machetti editions for Alga Marghen, remarks in the liner notes, music has been reduced to leading a ghostly existence, haunting the cemetery of history and frustrated by the impossibility to adhere to itself; if only music were able to recognize its own superfluity it could fulfill its destiny. While listening to these 'Ten Pieces in the Form of Painful Variations', each one with the precise duration of six minutes, you will realize that music, this extremely dense sonority close to the pulverisation limit, is talking about itself."

WALTER MARCHETTI Nei Mari Del Sud (9NMN.029)

"Walter Marchetti's Nei mari del Sud may be regarded as the 'epitome' work of all his recent musical output. Firstly for it represents the original re-elaboration of a former work achieved in 1982; secondly, the manipulation techniques here applied rise in the same principles formerly developed for recording the Antibarbarus set of pieces, a cycle to which the new work therefore refers in terms of an ideal continuity, though it preserves some peculiar characters strictly connected with the source of its basic music material. The former version of 'Nei mari del Sud' was originally conceived as an environmental music or, more properly, as a piece of 'acoustic theatre'; to accompany an installation staged on June 9, 1982, during the international contemporary music festival Musicalia at Teatro Carcano, Milan. In this stage installation, Marchetti expanded for the first time on a larger scale the same figurative scheme that usually marks his major work in progress: a series of installations invariably entitled 'Musiche da camera,' where the 'icon' of a piano defines its role in a seemingly paradoxical context. In the scenery of 'Nei mari del Sud,' as shown in the photographic sequence reproduced on the CD fold-out, the black carcass of a grand piano appeared on the surface of a large expanse of sea, artificially re-created with a shapeless heap of bluish tissue-paper. In the background, the slow, progressive unsticking of the blue paper-curtain, accidentally caused by the floodlight's heat, configured the impeding threat of a gigantic wave on the point of completely submerging the scene. The acoustic décor projected for this installation invaded the whole stalls through twelve loudspeakers set in a semicircle in the rear of the audience. This equipment simultaneously played the tracks of six magnetic tapes, whose signals were displaced out-of-phase by inverting the two poles of each loudspeaker and by means of the reciprocal crossover of each mixed channel. Perhaps, an even more calligraphic adherence to the same 'subject' inspired the version of 'Nei mari del Sud' now subtitled 'Musica in secca'. Not being possible to reproduce with absolute fidelity, in a studio recording, the acoustic design originally conceived for spreading the six sound sources in a theatre space, Marchetti chose to create, using the same material, a new work that could express the relationship with its archetype transposing the same 'icon'; on a more pregnant metaphorical axis. Answering to an always implicit exigency in Walter Marchetti' oeuvre and coherently investigated by the composer with more and more penetrating awareness -- the same processing techniques efficaciously employed in 'Antibarbarus' revealed themselves extremely suitable for raising to the highest degree the critical and metalinguistic reflection stated by this metaphorical axis. A piano englouti in the abysses of that process of reification in which the heritage of musical thinking is irrevocably sunk. Finally, Walter Marchetti has touched the bottom of music. Presented on digipack compact disc, in a first pressing of 1000 copies, including a foldout with photo documentation, an essay by Gabriele Bonomo, a testimony by Robert Ashley and a poster."

MILK FROM CHELTENHAM Triptych of Poisoners (.057)

"Milk fron Cheltenham is the first in a series of Alga Marghen editions documenting the activities of the It's War Boys underground label, founded by Amos (of The Homosexuals fame) in the late 1970s. The original LP was issued in an edition limited to 300 copies. The material was recorded from 1979 to 1981 but wasn't released until 1983 due to problems with the silkscreened sleeve. The band only put out this record, a real hidden gem. Lepke said that he wanted it to sound like a Beach Boys LP by using lots of different studios but it was mostly done on a cassette machine with a primitive 'surround' function. Lepke is the man who does the impossible every time he picks up a tin, carton, bottle or instrument. The first person with enough originality to adopt 'anything' to his own idiosyncratic style. Retired to an obscure basement, still without peers in the world. Lounge makes rhythms that by this time need no words of praise with a wallop, that when left, makes the usual praise words disintegrate. A mix of inestimable ability with feelings as wild as it is rare. 'Salamander' has that certain something that most people can never have even if they practice for an eternity. Most important in his influence, most endearing in his emotional impact and most convincing in his new-found authority. If The Homosexuals were a strange prospect, and their music should fit into a similar spot as that of angry young men like Wire and Magazine who carried their penchants for art-school angst in the midst of proto-thug posturing, Milk from Cheltenham were an even more extreme band. Not only progressive with a certain artistic notion (a reference could be found in This Heat, Family Fodder and Chris Cutler's bands Henry Cow and the Art Bears) but also closer to more primitive sound experimentations of a cryptic and sinister Residential perspective. This release finally documents one of the most important projects developed in the scene explored by The Homosexuals. Amos&Sara, Sara Goes Pop, Nancy Sesay & The Melodaires and more hidden mysterious activities will soon be available through Alga Marghen."

MAX NEUHAUS Fontana Mix-Feed (18NMN.044)

"This compact disc includes the complete documentation of Max Neuhaus' Fontana Mix-Feed performed in venues in the US and Europe between 1965 and 1966. With these performances Neuhaus introduced the idea that acoustic feedback, previously always abhorred, could be a useful technique for generating sound. 'Feed' is the title of the score Max Neuhaus made with the chance operations specified in John Cage's 'Fontana Mix'. In 1963, while exploring ways of changing the timbre of percussion instruments through amplification, Neuhaus discovered a means of generating sound: the creation of an acoustic feedback loop with a percussion instrument inserted inside it. Beginning with pickup of room sound with a contact microphone which is touching a percussion instrument, a loop is quickly created when the speaker projects the amplified result back on the percussion instrument again. Neuhaus decided to create a realization with the mixture and interaction of four channels of these loops. The factors here are so complex that even if the piece were to be performed twice in the same room with the same audience, the same instruments, and the same loudspeakers, it would have completely different sound and structure each time. It is a beast, alive!" First compact disc edition with the integral documentation. 20 pages booklet including photo of the performances, scores as well as composer's and editor's notes. Digipak edition.

MAX NEUHAUS/VARIOUS [see below] The New York School (.052)

Previously unreleased recordings, made 1964-68. Different realizations than those featured on the Columbia LP Electronics and Percussion — Five Realizations from '68. "The term 'New York School' refers to a circle of composers in the 1950's who orbited around John Cage: Morton Feldman, Earle Brown, Christian Wolff and David Tudor above all. Their music paralleled the music and events of the Fluxus group, and drew its name from the New York School of mostly Abstract Expressionist painters who had got their start in the 40's: Motherwell, Pollock, de Kooning, Rothko, Kline. What brought these artists together was a faith in the liberation of the unconscious and an excitement drawn from the street energies of Manhattan. This compact disc offers multiple realizations by the solo percussionist Max Neuhaus of scores by three key members of the New York School: Earle Brown (three realizations of 'Four Systems - For Four Amplified Cymbals', recorded between 1964 and 1968), Morton Feldman (three realizations of 'King of Denmark', recorded between 1965 and 1968) and John Cage (one realization '64 and two realization '65 of 27'10.554'). All three composers conformed to the ethos of the 60's, not to the blend of hippie mysticism and pop commercialism that defined that decade towards its end, but to a broader notion of personal liberation. In this context Max Neuhaus was allowed to express himself, to revel in timbral color (including the use of electronics, as in the amplification of the cymbals in the Brown performances, or in the use of a FM tuner, of a self-built electronic mini-instrument or of a tape with concrete sounds in the Cage performances) and in giddy dialogues between notated compositional intention and performed expression. Each of the realizations on this disc is a valid response to the scores, yet each is different, almost a new piece of music. This edition includes a 16 pages booklet with original photos and concert programs, Max Neuhaus' own comments on the original scores, an editorial note by John Rockwell, reviews by Malcolm Goldstein and Theodore Strongin."


Four previously unreleased realizations of "Zylus" (different recordings than the one featured on the Columbia LP Electronics and Percussion — Five Realizations. Recorded 1959-68. "The term 'New York School' refers to a circle of composers "'Zyklus' was written in 1959 and is one of the first solo pieces to utilize such a large number of percussion instruments (twenty one). When Neuhaus first started to play this piece there were only three percussionists in the world who could play it. Stockhausen's idea was that a performer would play the piece spontaneously, making its complex decisions on the fly. No one played it this way; it was too difficult. Everyone wrote out his own version of the score and played from it. Coming from the world of jazz Neuhaus decided he wanted to take up the challenge of playing it spontaneously. At that time percussionists generally played only one instrument at a time. Playing twenty one simultaneously was unheard of. Neuhaus quickly realized that the only way to do it, in fact, was to think of all them together as just one instrument, one multi-surfaced bank of timbre. Neuhaus decided to travel to Europe and go to Darmstadt where Stockhausen was teaching. He wanted to talk to him about the piece. Stockhausen was interested in the idea that the twenty one instruments had to be physically formed into one instrument and that so much work had been done already. So he offered Neuhaus the big opportunity to perform 'Zyklus' on the first American tour. Stockhausen came over to New York to hear Neuhaus play, but he wasn't satisfied with the improvisation version. It was too long. Neuhaus was determined to teach himself how to do it for this tour. He had another six months. He got down to seven minutes; and he was still improvising, not writing it out. He was ready to play that piece, and played it like nobody had ever heard it before. Each of these four recordings is a document of a true solo performance, one person and two hands, with no additional live help and no overdubbing. This CD also offers four different kinds of beauty, four proofs that the latitude that Stockhausen allowed, when capitalized on by a performer with creative imagination, could validate Stockhausen as a composer and an entire aesthetic of freedom and control. This edition includes a 12 pages booklet with original photos of both official concerts and performances for invited audiences.

CHARLEMAGNE PALESTINE Alloy (Golden 1) (13NMN.035)

"The Golden Research is the name chosen for the complete documentation of previously unpublished works by Charlemagne Palestine starting from the early 1960s to the mid-late 1970s. Such a huge project will include seminal collage and electronic music, Bell Studies, New York and California Drones, Piano drones as well as more specific compositions. All the recordings will be exclusively available through Alga Marghen. Be ready to change your own opinion about minimalism and music in general? Holy1 and Holy2 were both recorded in NYC in 1967. Charlemagne Palestine was listening to a lot of ethnic world music; he was also immersed in the late night New York soundscape and absorb the spatial sound diversity and beauty that such a big city could only express very late at night? He worked also at night building up a sound, oscillator by oscillator; then add tiny increments of white noise that would gradually make the sounds thicker and thicker until they were immense sacred machines humming like gargantuan Tibetan bees. The sounds were played very very loud making all the room and objects in it resonate while outside all was quiet and sleeping. Holy1 & Holy2 were done this way. Then, in 1969, Tony Conrad asked Charlemagne Palestine to make some carillon music for his film Coming Attractions. They were seeing each other regularly when the Free Music Store of radio station WBAI asked Palestine to create a piece for an event they were preparing to broadcast live on radio. So he asked Tony, his saxophonist Bob Feldman and his then wife and soprano Deborah Glaser to collaborate on a work that he would organise around an instrument that he invented at that time called an Alumonium. Tony Conrad played an instrument that he invented, the Long String Drone, that was a long string attached to a long wooden structure and amplified. Bob played the chimes and a conch. Deborah sand and played chimes and Charlemagne sang, also played the chimes and some percussion instruments that they found lying around the hall where they played. The piece became Alloy and the sound used as all electronic background continuum, played through loudspeakers in the hall, were Holy1+2 from 1968. Digipak CD edition with folded insert and liner notes."

CHARLEMAGNE PALESTINE Continuous Sound Forms (Golden 2) (14NMN.036)

"This CD features two very special moments of the acoustic production of Charlemagne Palestine. A very peculiar strumming for 2 harpsichords and the first piano composition marking the passage from the electronic music period to strumming technique. Elisabeth Freeman and Charlemagne Palestine met in 1971 at Cal Arts near L.A. while she was a student of the international harpsichord virtuoso Fernando Valenti. The sound and clarity of the harpsichord perfectly fitted the sonic approach of Charlemagne who, in 1975, invented a strumming for her. In 1976 she performed the World Premiere of Strumming for Harpsichord at the Purcell Room in London and the next year, 1977, the American Premiere of this work at Carnegie Recital Hall in New York City to critical success. Then in 1978 they visited the harpsichord factory of William Martin in Pennsylvania and decided to experiment with two harpsichords together. The recording featured in this CD, Duo Strumming for 2 Harpsichords (three excerpts), was recorded in that magic moment. You will experience both the harpsichord sound and the strumming approach in a way you never had before. This recording of Piano Drone, from 1972, was recorded at Cal Arts playing the first Bosendorfer Imperial piano that inspired the piano music style to come. At the beginning we hear Terry Jennings 'Getting His Stuff' and then Charlemagne play in the style of that time which was very arpeggiated liquid and dreamy. This Piano Drone on the original Imperial of California beginning with the voice of Terry Jennings is dedicated to him."


"The first electronically generated sounds that Charlemagne Palestine ever heard came from the machines he encountered in ordinary daily urban life. Machines like the refrigerator electric motor, or electrical generators; but it was especially the sounds of motion (race cars, motorcycles, war planes, rocket ships) that first excited his sonic imagination as a young teenager. Then he heard the electronic music of Tod Dockstader, Pierre Henry and Pierre Schaeffer, the famous 'Podme Electronique' of Varese, Xenakis and 'Gesang der Junglinge' of Stockhausen. He immediately reacted buying a cheap reel to reel tape recorder, cutting and pasting recording tape and making collage sound experiments. Then, one day, Charlemagne Palestine experienced at an electronic music studio what electronically produced sounds waves looked and sounded like through an oscilloscope and he began studying Helmholtz's on the sensation of tone. He started dreaming of an expressive continuous evermoving, everchanging sound form; an enormous sonorous, 3-dimensional sculptural canvas in mid-air using electronically produced sounds. The first experiments were done with simple sine tone generators emitting the purest sound waves without any overtones. With access to more complex systems the sound was constructed using the sine/sawtooth/square wave oscillators in a fluid everchanging mix of adding or filtering overtones and white noise to create sonorities constantly changing timbres and weight. Five early electronic compositions including 'Sine Tone Study' (1967); 'Open Closing' (1968), created through speed alterations of 'Holy 1+2'; 'Seven Organism Study' (1968); 'Negative Sound Study' (1969) and 'Timbral for Pran Nath' (1970). Late night electronic sonorities created on the Buchlas 100 & 200 systems available at the New York University Intermedia Centre. All compositions previously unreleased. 3-folded digipak cover with original photos and liner notes written by the composer."

BEN PATTERSON Early Works (8NMN.028)

"Alga Marghen proudly presents the first record ever produced by Ben Patterson: 'This is not only my first CD, but also the first recordings of these works available to the general public.' Starting as a virtuoso double-bass performer of classical music, Ben Patterson was one of the very first founders of the Fluxus Group in Wiesban. This digipak CD will introduce you to some American neo-avantgarde music classics, a crossover between John Cage exploding influences and the experimental art atmosphere of the early 1960s in Europe. The compact disc program includes two essential 1961 documents: 'Duo For Voice And A String Instrument' and 'Variations for Double-bass,' both recorded in concert at the Galerie Parnass in 1962; this event has special historic significance in that it included the first public presentation by George Maciunas of his Fluxus manifesto and plans for the Wiesbaden Fluxus Festival. 'Duo' was Patterson's most ambitious and lost attempt to combine graphic notation and chance operations for the realization of a performance score, while 'Variations' represents the moment when, unexpectedly, out of some unknown place, something new entered the process -- humor! The other three tracks were recorded in Milano especially for this release; for this purpose a collaboration was asked to Philip Corner, Walter Marchetti, Davide Mosconi and a few more friends. These newly recorded pieces include 'A Simple Opera' (1995), a repetitive hommage to Emmett Willons on his 70th birthday; 'Paper Piece' (1960), the work that cut the umbilical cord to all of the author's previous classical and contemporary musical training and experience, and 'Pond' (1961), a piece that reminds of Richard Maxfield's electronic music with voice collage. The edition includes a fold-out 16 page insert with original scores and photos."

HENRI POUSSEUR Paysages Planetaires (.051) 3-CD BOX

"In 2000, Henri Pousseur was asked by Philippe Samyn, a Brussels architect who likes to work in association with other arts, to lend his support to the plan for the construction of a business complex by one of the most important building enterprises in the country. There were four low buildings arranged like different parts of a medieval castle-village, grouped around a kind of large open central court. Leaning on the suggested image, Pousseur immediately suggested that the first spinal-column be composed of an electronic carillon, sounding in variations every hour, thus making the hours between 6 a.m. and 10 p.m. Henri Poussuer imagined then a connection between the time of Nivelles (a city 40 km south of Brussels, where this large project will be situated) and the time of the entire planet and the more or less metaphoric sonic and musical realities attached to it. He made on the one hand the 16 hours of a theoretically complete day of work (from the cleaning service up to the last researches in the office) correspond to the 24 hours of a complete terrestrial revolution. And divided the globe into eight large north/south 'slices', themselves divided into three perpendicular 'rings': north, center, south, with the understanding that only inhabited lands were taken into consideration. To each of the 8 'great hours' of the total duration, Pousseur associated three regions, one of each ring (north/central/south) set out as far apart as possible on the terrestrial globe. Over a background of a fairly continuous variety of noises which are perpetually evolving: sea, fire, city, swamp, industry, forest, etc. there are ethno-musical samples from one region or from several regions involved, more or less worked over by all sorts of numerical methods which vary their capacity to be recognized and their effectiveness as quasi-traditional music. This work once finished (realised in the Studio of the composer's son Denis), Pousseur made a synthesis on three discs by superimposing the landscapes (a bit in the manner of the previous Etudes paraboliques) in 16 Paysages Planetaires. The titles of the landscapes expresses by their contraction the simultaneous or alternate presence of several regions; for example, 'Alaskamazonie' is self-explanatory. Something like 'Gamelan Celtibere' brings out a play; between the West Coast of Europe with the Indonesian archipelago and even the northern part of Australia. Continuing like this you could find it amusing to reconstruct the circum-planetary movement of the work. Michel Butor, for forty years accomplice of Henri Pousseur, has been willing to write the prose-verse alternating poetic structure, very luminous, which makes a global accompaniment to the procession of these landscapes. His text is included in the 60 pages documentation booklet, also featuring two long essays by Henri Pousseur: 'Paysages Planetaires' and 'Athmospheric and Cultural Sources for Each of the Landscapes'. Finally, by this work, Henri Pousseur renders homage to all the singers and instrumentalists, sound engineers, ethnic musicologists and editors who have either produced, or gathered and transmitted, all the marvellous musical invention which inspired and nourished the work and which, with the sounds of the world, of nature, of society and of industry, are supposed to represent a kind of formal summing-up of life's multiplicity on this sailing Earth as she travels through cosmic space. All the images, obtained through extensive digital treatments, were conceived and manipulated by Henri Poussuer. Heavy cardboard slipcase with 3CDs and 60 page booklet."

GHEDALIA TAZARTES Diasporas/Tazartes (.053)

"More than 5 years after the CD edition of Eclipse totale de soleil and Transportes, Alga Marghen finally decided to also reissue the first and the forth LP by Ghedalia Tazartes including both on one CD. Ghedalia Tazartes is a nomad. He wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. He traces vague landscapes where the mitre of the white clown, the plumes of the sorcerer, the helmet of a cop and Parisian anhydride collide into polyphonic ceremonies. Don't become a black, an Arab, a Tibetan monk, a Jew, a woman or an animal but to feel all this stirring deep inside of you. The greatest trips are made in the deep end of the throat: the extra-European music open the ear to Ghedalia's intra-European exotism. Where was music before music halls? Where was the voice before it learned how to speak? Ghedalia is the orchestra and a pop group all in one person: the self is multitude and others. The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices. The permanent metamorphosis is a principle of composition, it escapes control, refuses classification. To hell with the technocrates of noise and the purists of synthetic culture. All art like all true mythology use a double clavier, playing nature and culture, feeling and the distance of the flesh, death. Off limits!"

GHEDALIA TAZARTES Tazartès' Transports (2TES.011)

"Probably represents the most original example of the artist's poetical and personal approach to sound organisation. The material of the first track, which gives also the title to this CD, was recorded in 1977 at the artist's own studio in Paris; the CD reprint of this mixed atmospheres masterpiece is followed by 'Transports 1' and 'Transports 2', both composed in 1997 for a theatre piece. We are here in front of a different kind of transport, where the more complex and powerful sound material contributes to create the dense, monolithic structure of these previously unreleased tracks. 'Elie', a piano piece performed in duo with the composer's young daughter, brings a poetic and more relaxing magic to end the program."

VARIOUS [see below] Rumoriallarotonda (11NMN.031)

"Live recording at the Rotonda del Pellegrini, Milan, January 21st, 1959 featuring John Cage, Morton Feldman, Juan Hidalgo, Leopoldo La Rosa, Walter Marchetti. Among all the events involving John Cage during the long stay in Europe that followed his controversial appearance at Darmstadt Ferienkurse in September 1958, the concert he held in Milan on January 21st perhaps represents a less well known episode. The reasons that justify the necessity to present here, after forty years, the complete recording of the concert, and that restore the measure of the exceptionality of this rare document can be summarized in the contrasting reactions catalyzed by this event. Featuring Cage's intervention both as composer and performer of one's own work as well as of two piano pieces by Morton Feldman, the concert at Pellegrini's 'Rotonda' may be considered the first event of experimental music in Europe in which the presentation of American and European composers consciously acted on an agreeing and equal aesthetic horizon. Both the set of pieces in programme and the peculiar environmental frame of the concert were fit intentionally for emphasizing the radical aesthetic conceptions of the compositions performed. Cage's choice was highly representative and relapsed into those works of his recent catalogue that more than any other was pushed on the way of a conscious neutralization of compositive intention. The Duo which opens the concert significantly consists of the parts for flute and viola excerpted from his celebrated 'Concert for Piano and Orchestra'. Cage then completed his participation in the concert, besides performing some unspecified numbers from 'Music for Piano' (the piece that showed him the possibility to de-conceptualize the resort to chance operations transcribing the paper pointal imperfections), also performing two of the three 'Piano Pieces' with which Morton Feldman, in 1954, was reconverted to conventional notation, while preservrarifyingame rarefying qualities his music formerly acquired by means of the systematic adoption of aleatory graphic notations. Juan Hidalgo, Walter Marchetti, and Leopoldo La Rosa on the contrary premiered six compositions purposefully written for this occasion, employing aleatory procedures for the first time in their works. Both Hidalgo and Marchetti wrote a trio and a quartet firstly following a common notational stylization, which provides the spatial distribution of a prearranged, but reversible, sequence of intervals within a flexible temporal grid, structured fixing each subsequent time limit. Curiously, those procedures forerun the so-called 'temporal-brackets' technique that Cage will employ, at the end of a long creative career, in time-structuring his famous 'Number Pieces'. The cyclical alternation between the instrumentally always-heterogeneous ensemble works and the slight sonority of the solo piano pieces, was presumably regulated, in fact, by an evident principle of symmetry. More than constituting a restriction, a so rigid performing frame plausibly acted as an efficacious form of conjugation in strict connection with the environmental space. Exploiting the circular architectonic structure of the concert hall all the performers were spread abroad among the audience, with the piano exactly in the centre. According to Cage, in the integration of the physical space into the performing process one can recognizes a basic requisite that consented to transform music composition in an unforeseen event in which the physical separation of the performers allows the sounds to issue from their own centers and to interpenetrate in a way which is not obstructed by the conventions of European harmony and theory about relationships and interferences of sounds. At a distance of only few months since Cage described with these words -- in one of the three lectures given in Darmstadt then collected under the title 'Composition as Process' -- one of the distinctive features of his conception of an experimental work, the concert at Pellegrini's 'Rotonda' perhaps represented the first concrete opportunity to verify and extend these same concepts. So, not only the concert at Pellegrini's 'Rotonda' was characterized by the performance of works that accepted the indeterminacy as their own operative premise, but also for having been a collective event in which the individual contribution of each composer, the strict succession of the works without solution of continuity, the dislocation of the sound sources in the space, mutually acted as autonomous elements, but interrelated in the comprehensive design of their concordant dimensioning in the environment. The edition includes a 36 pages essay with photos and full documentation of the event."