J. S. Bach - Suite No. 4 In E Flat Major - Prélude

O Eterne Deus

Poem text and context: https://www.brainpickings.org/2018/04/23/ursula-k-le-guin-hymn-to-time-janna-levin/

POEM TEXT / CONTEXT

Astrophysicist Janna Levin reads "Hymn to Time" by Ursula K. Le Guin

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Anthony Burr and Charles Curtis present this collection of curated compositions from Alvin Lucier and Morton Feldman. Two Lucier pieces, August Moon and Trio For Clarinet, Cello & Tuba are presented here for the first time. Liner notes are excerpted from a lecture on Morton Feldman given by Alvin Lucier. 

“For Feldman, dynamics serve an acoustical function. When he mitigates a piano attack he reduces that spike of noise that’s at the onset of every piano sound leaving only the sinusoidal pure after-sound. It’s as if he invented electronic music with the piano.” Alvin Lucier from liner notes. 

“Lucier manages to hear a layer of acoustical physics in Feldman’s music that perhaps no one else would hear. He’s hearing something in Feldman that is actually coming from his own musical world; in a way, hearing his own music in Feldman’s, and drawing inspiration from that.”

Chamber Music:  Morton Feldman - 3 Clarinets, Cello And Piano (1960) - Anthony Burr/Charles Curtis

This is an audio mix of the 4 elements from my sound installation/sculpture "Il tempo insassato che pur scorre" from 2020.

Background sound is played through the floor monitors, stereo, and they are placed on your left and right as you enter the room. This sound fills up the space like the light and opens it up beyond the walls of the gallery space, implying a reverberant, large, empty room/hall. The sound is composed by layering the multitude of oscillators coming from the EMS Synthi 100, covering each part of the spectra. 
The sound played through the speakers in front (which are covered by the cloth), are scattered sonic artefacts in low and mid registers, that should appear to be almost tangible and "real", as if something is moving beneath the cloth.
Devices hanging on the left and right wall are winding and unwinding the tape. They are sonified from within the box by the ready-made loops that consist of material produced by sampling the working procedures of the reel-to-reel tape recorder.

Durations of the tracks in the installation, differ from the ones in this mix which is made as an audio preview.

Installation was premiered at the gallery Weisser Elephant on January 2020 in Berlin, alongside the works by Alva Noto,  Robert Lippok, Katharina Bevand, Cecile Dupaquier, Anne Gathmann, Harriet Gross and Elliane Radiue, to whom this event was dedicated, celebrating her work in electro-acoustic music and her birthday.

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Il tempo insassato che pur scorre (sound part)

A single 20 minute piece made from fragments of love letters. 
Special thanks to: Tanya Serisier, Lucille Calmel, Kjersti Andvig, Jurgen Ots, Nicola Carr, Jeanette Rhenstrom, Jimmie Peggie, Sarah Lamble, Maud OK, Paula Garcia Stone, James Webb, Marcos Filipe de Neves Ferreira, Malfada, Carolina Cunha e Silva, Flavio Derbekannt
This piece also contains an excerpt from Salomé Voegelin's Text score for writing a love letter.
This work is a longer version of a piece first made for BBC show The Verb, for their episode on loneliness.
Mastered by Simon Scott at SPS Mastering.

Where To Begin (excerpt) - Kate Carr - out April 28

taken from the album "1", originally released july 1998.
re-released on Mute as a box set (vinyl / cd) 24 April 2020.
https://mute.ffm.to/POLE123

pole - Modul

In this broadcast from Cologne, Germany, recorded on April 30, 2015, at the Kölner Philharmonie during the New York Philharmonic’s EUROPE / SPRING 2015 tour, then Music Director Alan Gilbert conducts Stravinsky’s complete score to the ballet Petrushka, featuring Philharmonic pianist Eric Huebner, as well as Ravel’s Valses nobles et sentimentales and Richard Strauss’s Der Rosenkavalier Suite. Stick around for the encores: a waltz from Swan Lake and a rousing brass arrangement of That’s a Plenty.  

STRAVINSKY  Petrushka (1911 version, complete ballet score) 
                 Eric Huebner, Piano 

RAVEL  Valses nobles et sentimentales 

R. STRAUSS  Der Rosenkavalier Suite 

Encores: 

TCHAIKOVSKY  Waltz from Act 1, Scene 2 of Swan Lake 

POLLACK  That’s a Plenty  

Alan Gilbert, Conductor

Stravinsky’s Petrushka from Cologne

tracklist:
1. John Cage - Radio Music (00:00:08)
2. Nico - Frozen Warnings (00:00:50)
3. Ellen Fullman - Over and Under (00:05:05)
4. Dean Blunt - Need 2 Let U Go (00:06:24)
5. The Invisible String Band - A Very Cellular Song (00:08:51)
6. White Noise - Love Without Sound (00:21:47)
7. B. Rupp - Drifting Between Sleep (00:24:52)
8. Tod Dockstader - Water Music, Part 6 (00:32:18)
9. Avey Tare - Abyss Song (Abby's Song) (00:35:33)
10. Marja Ahti - Coastal Inversion (00:47:30)
11. Alastair Galbraith - Trees (00:59:50)
12. Nuno Canavarro  - Crimine (01:01:49)
13. Jack Briece - Seventh Heaven (01:04:23)
14. Laraaji - Unicorns In Paradise (01:11:07)
15. Autechre - Hub (01:20:43)
16. Max De Wardener - Foxtrot (01:27:37)
17. Swans  - In My Garden (01:29:54)
18. William S. Burroughs - Curse Go Back (01:35:20)
19. Ruth Anderson - Sum (01:36:24)
20. Ensemble Skalectrik - Outer Phase (01:43:56)
21. Fennesz - Paint It Black (01:47:57)
22. Kink Gong - Aono (01:51:50)
23. Dorine_Muraille - Dopees (01:53:26)
24. Kate NV - If Anyone's Sleepy (01:56:57)

130701 - A Dream Across The Border 12 - radio show on 1BTN - 14.06.20

“I had the idea for ‘The Four Temperaments’ many years ago at a country inn in Zealand. On the wall of the room where I was drinking a glass of beer with my wife and some friends hung an extremely comical coloured picture, divided into four sections in which ‘the Temperaments’ were represented and furnished with titles: ‘The Choleric’, ‘The Sanguine’, ‘The Melancholic’ and ‘The Phlegmatic’. The Choleric was on horseback. He had a long sword in his hand, which he was wielding fiercely in thin air; his eyes were bulging out of his head, his hair streamed wildly around his face, which was so distorted by rage and diabolical hate that I could not help bursting out laughing. The other three pictures were in the same style, and my friends and I were heartily amused by the naivety of the pictures, their exaggerated expression and their comic earnestness. But how strangely things can sometimes turn out! I, who had laughed aloud and mockingly at these pictures, returned constantly to them in my thoughts, and one fine day I realized that these shoddy pictures still contained a kind of core or idea and – just think! – even a musical undercurrent! Some time later, then, I began to work out the first movement of a symphony, but I had to be careful that it did not fence in the empty air, and I hoped of course that my listeners would not laugh so that the irony of fate would smite my soul.”

Nielsen - Symphony No.2, Op.16 > III. Andante Malincolico

Background and poem text <a href="http://www.brainpickings.org/index.php/2013/09/02/f-scott-fitzgerald-keats-ode-to-a-nightingale/">here</a>. 

F. Scott Fitzgerald reads "Ode To A Nightingale"

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