Music With Changing Parts - Philip Glass (1973/1994)

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Music With Changing Parts - Philip Glass (1973/1994)



Here is one of Philip Glass' early, purely minimalist works. Music In Changing Parts was completed in 1970, recorded in 1971, and originally released as a double LP set in 1973. The problem with the LP format is that it broke the composition up into four parts with a fade out at the end of each side and a fade in at the beginning of the next. After a long period out of print it was reissued on CD in 1994, allowing the composition to be presented as a single piece, the way it was intended and originally performed. The original recording was digitally remastered for CD. If you don't know Glass' early works but like pieces from the same period by Steve Reich or Terry Riley you're sure to enjoy this. Encoded at 320kbps.

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Track Listing

1. Music With Changing Parts - 61:38

Wim Mertens Jardin Clos (1996)

Jardin Clos (1996)

Wim Mertens

thanks to Dr. Cravinhos
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1. As Hay In The Sun
2. Often A Bird
3. Wound To Wound
4. Out Of The Dust
5. Secret Burning, A
6. Hedgehogs Skin
7. Pierced Heart
8. Not Me



Skopos (2004)

Wim Mertens

Thanks to Dr Cravinhos
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1. And growth can be heard (8:07)
2. Swirling backwards (3:42)
3. From out which (5:40)
4. Bold forgetting (3:52)
5. Songes (1:12)
6. Venturing into colony (6:10)
7. Further hunting (6:11)
8. Working the ploughs (6:03)
9. What that one does (9:14)
10. Bewildering din (3:44)

Receptacle - Wim Mertens 2007

Mertens fans!!!! NEW RELEASE
Thanks to Dr. Cravinhos

Receptacle - Wim Mertens 2007


The new work of the composer Wim Mertens, recorded in February and March 2007.
Receptacle features 9 new titles for an ensemble of 18 musicians, 17 women and Wim Mertens on piano.

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01. Evenhandedly
02. Retranchement
03. As Ifs
04. Passend
05. The Paths Not Taken
06. Gist
07. Rival Sameness
08. Send
09. Passend (reprise)

Minimalist's GrandFather

Terry Riley

(Colfax, California, 1935)

Compositor estadounidense. Ha desarrollado técnicas de improvisación musical basadas en la utilización de magnetófonos y compuesto obras como In C (En do mayor) (1964) que han tenido un fuerte impacto en la vanguardia musical. La grabación de sus obras Poppy no good and the phantom band (1967) y A rainbow in curved air (1969) le dieron a conocer entre el gran público.

In C


His music is usually based on improvising through a series of modal figures of different lengths, such as in In C and the Keyboard Studies. In C (1964) is probably Riley's best-known work and one that brought the minimalist music movement to prominence. Its first performance was given by Steve Reich, Jon Gibson, Pauline Oliveros, and Morton Subotnick, among others, and it has influenced their work and that of many others, including John Adams and Philip Glass. Its form was an innovation: the piece consists of 53 separate modules of roughly one measure apiece, each containing a different musical pattern but each, as the title implies, in C. One performer beats a steady stream of Cs on the piano to keep tempo. The others, in any number and on any instrument, perform these musical modules following a few loose guidelines, with the different musical modules interlocking in various ways as time goes on. The Keyboard Studies are similarly structured – a single-performer version of the same concept.
A Rainbow In Curved Air inspired Pete Townshend's synthesizer parts on The Who's "Won't Get Fooled Again" and "Baba O'Riley" (later used in CSI New York), the latter named in tribute to Riley as well as to Meher Baba

Terry Riley: A Rainbow in Curved Air


The Who - Baba O'Riley

• A Rainbow in Curved Air (1968)/Poppy Nogood and the Phantom Band (1968)
  
  This is the Classic that launched the revolution in cyclic modal music with dazzling pyrotecnic displays of cascading shimmering scales and arpeggiated figures all played live on a variety of 1960's electronic intstruments and the first big album to use sophisticated tape delay loops designed by Terry and worked in collaboration with CBS engineer, Glen Kolotkin. This was virtually the first multitrack album recorded in 8 track at CBS in 68. They had just wheeled the new machine in as Terry was starting his sessions Considered by many to be Terry's greatest early Masterpiece.
  
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  01 A Rainbow in Curved Air (18:46)
  02 Poppy Nogood and the Phantom Band (21:38)
  
  
  
  
• In C
  
  Terry Riley's In C, one of the most influential compositions of the past quarter century, has been played by almost every conceivable combination of instruments; however, the Shanghai Film Orchestra's version ranks as one of the most exciting and exotic interpretations. It marks the 25th anniversary of the piece, and represents the first time a Western new music piece has been recorded in China
  
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  o1. In C (28:36)
  
  
  
  
• Requiem for Adam
  
  for the Kronos Quartet, A monumental 42 minute work written in Memory of Adam Harrington, son of David and Regan Harrington ( Kronos Quartet, string quartet founded by violinist David Harrington ). A compassionate and moving quartet that is a great example of the Kronos/Riley collaboration at the peak of their creative powers. Masterful writing and breath taking performance.
  
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  01. Ascending the Heaven Ladder (13:23)
  02. Cortejo Funebre en el Monte Diablo (7:08)
  03. Requiem for Adam (21:32)
  
  
  
  
• No Man Land
  
  The film score for Alan Tanner's film of the same name with music by Terry Riley performed by Terry, Krishna Bhatt and Zakir Hussein.
  
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  01 Jaipur local
  02 Blue anthem
  03 A spark from the infinite ( Part 1)
  04 Medusa's refrain (Part 1)
  05 Jewel Movement
  06 Medusa's Refrain (Part 2)
  07 A spark from the infinite (Part 2)
  08 Return of the dream collector
  
  
• Chanting the Light of Foresight (1987/1994)
  Performed by Rova Saxophone Quartet
  
  CHANTING THE LIGHT OF FORESIGHT The gift of prophecy is enacted as the imbas forasnai or Light of Foresight in a scene where the hero Cuchulainn has completed his warrior and shamanistic training under his guru, Scathach. She chants to him his future through the light of foresight. The chant is composed in sets of repeating phrases that couple 8/8 and 7/8 measures that undergo continual variation towards more impassioned and frantic statements before ending much as it begins. --- TERRY RILEY
  
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  1. The Tuning Path 17:09
  2. The Pipes Of Medb (Medb's Blues) 7:06
  3. Song Announcing Dawn's Combat 8:56
  4. The Chord Of War 5:40
  5. Ferdia's Death Chant 4:14
  6. Chanting The Light Of Foresight 8:52
  

By Request, SYMPHONY N° 8

SYMPHONY N° 8 (2006)

Music by Philip Glass
Dennis Russell Davies, conductor
Bruckner Orchester Linz

Symphony No. 8 represents a return, after a number of major works, to orchestral music where the subject of the work is the language of music itself, as in the tradition of the 18th and 19th century symphonies. contains no references or allusions to non-musical materials at all. However, its formal structure is quite unusual and is worth a brief comment. The three movements are markedly different from each other in length, texture and internal musical procedures.

The first movement is the longest of the three, almost 20 minutes in length. It begins with a statement of eight different 'themes.' This series is then developed in whole or in part, recombined with various harmonies and melodic elements and culminates in a series of 'stretto'-like passages producing a highly contrapuntal effect.

The second movement, about 12 minutes long, is in the form of a passacaglia with a series of melodic variations. The harmonic basis of the passacaglia is 16 measures long, which allows for some extended, at times quite oblique, melodic embellishments.

The third movement, by comparison to the first two, is quite brief a short 7 minutes. However, what it lacks in length it makes up in density. The theme with its accompanying harmony is heard twice then joined by a counter theme, also heard twice. An extended cadence serves as a coda to the third movement and the symphony itself. (Philip Glass 2006)

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TRACKS

1. Movement I (19:27)
2. Movement II (12:18)
3. Movement III (6:57)