Music of Otto Luening

Otto Luening - Music of Otto Luening

Otto Luening biography

SONATA FOR PIANO (IN MEMORIAM FERRUCCIO BUSONI)

performer: Ursula Oppens - piano

recorded November 5, 1974

FUGUE AND CHORALE FANTASY WITH ELECTRONIC DOUBLES FOR ORGAN AND TAPE

performer: Alec Wyton - organ

tape realized at the Columbia-Princeton Electronic Music Center

recorded November 4, 1974

The FUGUE AND CHORALE FANTASY WITH ELECTRONIC DOUBLES FOR ORGAN AND TAPE (1973) consists of varied and easily recognizable sections from my Fugue (1971) and Chorale Fantasy (1922) for organ. The Electronic Doubles are based on tape recorded fragments from these two works, sometimes with slight variations, as played by the brilliant organ virtuoso Dr. Fred Tulan on the large Ruffati pipe organ in St. Mary's Cathedral in San Francisco, and on the poly-synthesis stops of the new Hammond Concorde and the special Hammond X-66 organs. With the technical assistance of Daria Semegen, approximately fifteen reels of timbre variations of these fragments were produced with the Bode Frequency Shifter at the Columbia-Princeton Electronic Music Center in New York, and then put on tape. These variations were subsequently developed and worked into Electronic Doubles of the original material, being, in effect, electronic echoes of the various sections played by the organ. Careful timing and the timbre relationships between live and taped sound bring cohesiveness and an overall balance to the work. (Otto Luening)

Tracklisting:

Side 1

1. Sonata for Piano (In Memoriam Ferruccio Busoni): Introduction {3:00}

2. Sonata for Piano (In Memoriam Ferruccio Busoni): Dramatic Scene {4:47}

3. Sonata for Piano (In Memoriam Ferruccio Busoni): Burlesque {6:22}

4. Sonata for Piano (In Memoriam Ferruccio Busoni): Fantasia {6:05}

Side 2

1. Fugue with Electronic Doubles for Organ and Tape {10:27}

2. Chorale Fantasy with Electronic Doubles for Organ and Tape {10:44}

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Historic Moments Volume Two

Creation Rebel - Historic Moments Volume Two

From the liner notes:

"Historic Moments Vol. 2" is the third installment of the On-U sound Creation Rebel collections [no I don't have any more on hand, please don't ask]. This compilation contains tracks from "Starship Africa" and "Threat To Creation".

The talents of musicians such as Dr. Pablo, Crucial Tony, Clifton "Bigga" Morrison, Style Scott, Bonjo I, Tony henry, Desmond "Fat Fingers" Coke, Mr. Magoo, Sucker and Keith Levine are well in evidence along with the blossoming production skills of one Adrian Sherwood circa 1979 - 1980.

This album as the title suggests is a snapshot of an historic moment in time and is a must for all ON-U Sound fans and connoisseurs of great music alike.

--------------------------------------------------------------------------------------

The product of the fertile and prolific British producer, mixmaster, and dub genius Adrian Sherwood, Creation Rebel was one of Sherwood's first endeavors as a producer. Originally the backing group for the late reggae great Prince Far-I, Creation Rebel worked with Sherwood from 1977-1980, recording some of the best reggae dub music this side of Lee Perry during the early English punk era. Languorous, funky, spacy, and totally intoxicating, it's exciting to hear the awesome production/mixing talents of Sherwood in their early days. Similarly, the band (drummers Style Scott and Fish Clarke, bassist Clinton Jack, keyboardist Bigga Morrison, guitarist Crucial Tony, and percussionist Slicker) play with a grace, effortlessness, and power that most studio bands would kill to achieve. With the band's talents so wonderfully used by Sherwood, this is without a doubt some of the best and most important non-rock music to be made in England in the late '70s. (bio from AMG)

Tracklisting:

1. Space Moment Section 1 {4:59}

2. Space Moment Section 2 {5:16}

3. Space Moment Section 3 {4:33}

4. Space Moment Section 4 {3:19}

5. Space Moment Section 5 {0:48}

6. Space Moment Section 6 {8:57}

7. Space Moment Section 7 {4:08}

8. Space Moment Section 8 {4:15}

9. Space Moment Section 9 {4:33}

10. Chemical Specialist {4:19}

11. Threat to Creation {3:35}

12. Last Sane Dream {3:22}

13. In I Father's House {3:53}


(1) or (1) (2) or (2) [maybe reposted soon]

Columbia-Princeton Electronic Music Center 1961-1973

various artists compilation - Columbia-Princeton Electronic Music Center 1961-1973

CD released in 1998

This is an excellent and essential compilation of vintage first-generation electronic music from one of the most well-known electronic music studios.

The Columbia-Princeton Electronic Music Center was the first electronic music center of its kind to be established in the United States, and from 1959 to the late 1970s it was one of the premier sound facilities in the world. The history of the EMC falls into four sections: 1951-59, as the original experimental studio begun by Vladimir Ussachevsky; 1959-1983, the Columbia-Princeton Electronic Music Center, directed by Ussachevsky, and the leading electronic music studio in the United States; 1983-1994, as the Columbia University Electronic Music Center, directed by Mario Davidovsky; and 1994 to the present, as the Columbia University Computer Music Center, directed by Fred Lerdahl and Bradford Garton. [now directed only by Bradford Garton] From 1951 to 1983, the function of the EMC was the teaching and production of electronic music, and the vast majority of pieces composed at the Center - approximately three hundred - were composed during this period. Some of these compositions have become classics of music history.
...
In 1959, with funding from the Rockefeller Foundation, the Columbia-Princeton Electronic Music Center was founded, with Ussachevsky as director, and his colleagues Otto Luening, Milton Babbitt, and Roger Sessions on the committee of direction. A number of composers were invited to do the first work at the Center, including Bulent Arel (Turkey), Halim El-Dabh (Egypt), Mario Davidovsky (Argentina), and Charles Wuorinen, who was then a graduate student at Columbia. The Center presented its first concert in May 1961, the program consisting of Ussachevsky's Creation-Prologue, Arel's Stereo Electronic Music No. 1, Halim El-Dabh's Leila and the Poet, Milton Babbitt's Composition for Synthesizer, Mario Davidovsky's Electronic Study #1, Otto Luening's Gargoyles for Violin Solo and Synthesized Sound, and Charles Wuorinen's Symphonia Sacra. [all of these pieces with the exception of Wuorinen's piece are on the Columbia-Princeton Electronic Music Center LP] This wide variation in musical style and aesthetic continued at the Center for the next twenty years, until Ussachevsky's retirement.  (Alice Shields)

Tracklisting:

1. Bulent Arel - Postlude from "Music for a Sacred Service" {4:01}

2. Charles Dodge - Earth's Magnetic Field {14:08}

3. Ilhan Mimaroglu - Prelude No. 8 (To the Memory of Edgard Varese) {3:59}

4. Bulent Arel and Daria Semegen - Out of Into {16:38}

5. Ingram Marshall - Cortez {8:35}

6. Daria Semegen - Electronic Composition No. 1 {5:52}

7. Alice Shields - Dance Piece No. 3 {5:53}

8. Alice Shields - Study for Voice and Tape {5:17}

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P'ansori: Korea's Epic Vocal Art & Instrumental Music

various artists compilation - P'ansori: Korea's Epic Vocal Art & Instrumental Music

Sorry, it's been over a week since the last post, but I had to resolve some technical issues with the internet connection. Hopefully, that won't be a problem for a long time.

From the liner notes:

For a vocal tradition of such remarkable virtuosity and power, it is surprising that Korea's p'ansori is so little known outside its native country. This extraordinary difficult art demands that a single performer impersonate and enact all of the roles of epic folk tales, conveying the entire saga with the voice alone, and with none of the theatrical trappings - scenery, lighting, costume, make-up, dramatic exits and entrances - that aid the Western opera singer. Moreover, where the opera diva has a full orchestra for accompaniment, the p'ansori soloist is supported by just one drummer who plays the pook (a kind of barrel drum). A full performance of one of the p'ansori "epics" - basically, moralized folk tales of which five are in existence - can easily last eight hours. During the elaboration of the tale, the vocalist must act out all of the roles as they occur, with appropriate characterization, using only a fan and occasional stylized gestures. To place this feat in a "western" perspective, imagine a performance of a work longer than Tristan by an unaccompanied singer. But the vituosic vocal technique required by p'ansori communicates a richness and subtlety essentially different from that encountered in the Western lieder or opera tradition. What the listener experiences is a unique synthesis of song and speech - a kind of verbal dynamic in which, as composer Chou Wen-Chung has pointed out, phonemes and speech sounds themselves become musical events. What Westerners usually think of as decorative musical "ornamentation" is actually the essential material of p'ansori, with its rapid timbral and rhythmic changes, falling glissandos, enormous variety of articulative shadings, fluctuating tremolos, and wide vibratos.

The first track on Side One and the last track on Side Two are the p'ansori and the rest are the instrumental tracks.

Performers:

Kim, So-hee, singer

Kim, Yoon-duk, pook, kuhmoongo

Chi, Young-hee, p'iri, changgo, haegeum

Sung, Keum-yun, changgo, kayageum

Tracklisting:

Side One

1. Kim, So-hee and Kim, Yoon-duk - Scene from Heung Boo-Ga (p'ansori) {7:38}

2. Chi, Young-hee and Sung, Keum-yun - Pyungjo Hoe Sang (first movement) {3:33}

3. Sung, Keum-yun and Chi, young-hee - Kayageum Sanjo {7:10}

Side Two

1. Chi, Young-hee and Sung, Keum-yun - Haegeum Shinawi {3:08}

2. Kim, Yoon-duk and Chi, Young-hee - Kuhmoongo Sanjo {6:17}

3. Chi, Young-hee and Sung, Keum-yun - Chambu Taryong {2:13}

4. Kim, So-hee and Kim, Yoon-duk - Scene from Shim-Ch'ung-Ga (p'ansori) {9:22}

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Digital Soundscapes

Barry Truax - Digital Soundscapes

The Blind Man (1979), for two-channel tape based on a poem and reading by Norbert Ruebsaat

Aerial (1979), music for solo amplified horn and four computer-synthesized soundtracks; Steven Field - horn

Wave Edge (1983), for four computer-synthesized soundtracks

Solar Ellipse (1984-85), for four computer-synthesized soundtracks

Riverrun (1986), for four computer-synthesized soundtracks

From the liner notes:

All of the works on this recording have been composed with reference to environmental sound, whether as actual source material, as in "The Blind Man", or as metaphor, as in the computer-synthesized pieces. I find it significant that as computers are increasingly involved in music that I and other composers should look to the richness of environmental sound and its spatial characteristics for acoustic models and sound symbolism. This development occurs ironically at a time when noise as a byproduct of the same technology continues to be a major environmental problem. It is my hope that the musical vision of these works may encourage in the listener a greater soundscape awareness and sensitivity. (Barry Truax)

Tracklisting:

1. The Blind Man {16:00}

2. Aerial {9:32}

3. Wave Edge {9:38}

4. Solar Ellipse {11:14}

5. Riverrun {19:44}

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For anyone interested in the book, Handbook for Acoustic Ecology, look in the comments.

Musical Atlas: Thailand

various artists compilation - Musical Atlas: Thailand

This is a compilation of music from the Thailand province of Chieng Mai. The cover above is for the long-ago reissued CD version. The post is for the LP version. Just like with Musical Atlas: Cambodia, I borrowed this and had to return it so I was unable to snap a picture of the album cover.

Excerpts from the liner notes:

Liké: Introductory Piece

The liké is a traditional theatre form, now becoming obsolete, in which music and dancing are the most important factors. The musical accompaniment is provided by an instrumental ensemble called piphat, the Thai version of the Khmer pinpeat orchestra. It consists of two xylophones, ranad ek and ranad thum, two sets of small knobbed gongs placed in circular frames tuned an octave apart, gong wong yai and gong wong lek, a keyed metalophone, ranad ek lek, two oboes, pi nai, and several percussion instruments: a pair of barrel drums, khlong thad, a horizontal double-headed drum, taphon, and a pair of small cymbals, ching.
The introductory piece heard on the present recording is performed while the audience is arriving.

Plasat Vai

This type of music, which is performed during religious processions, shows a very distinct Chinese influence. The scale employed, however, is one of those on which Thai music is based. In addition, the instruments are found only in this region. The ensemble is made up of three soeung lutes with three strings, two of which run in double courses while the third is a single string, tuned a fifth apart, each soeung being pitched an octave below the preceding one, a six-holed khluy bamboo flute, a two-stringed fiddle of Chinese origin, the so-u, which was undoubtedly assimilated to South-East Asian music several centuries ago, a pair of large cymbals, chhap, a pair of small cymbals, ching, and a horizontal double-headed drum, khlong.

Hay Ya Ret

This ensemble, which is called kruang say thai doeum, <<>>, resembles the Khmer and Laotian ensembles even more closely. The melodies played by this ensemble are thought to date back to the old kingdom of Laos at the time when it occupied the northern part of Thailand. It may be compared with the North Laotian orchestras that play at weddings and some Cambodian ensembles that perform magic music and music for entertainment. The scale is similar to that of Khmer traditional music. The ensemble consists of two double-stringed fiddles, so duang and so-u, a zither, khim, these three instruments having a distant Chinese origin, a khluy flute, and a percussion ensemble made up of small single-headed drums always played in pairs, thon and ramana, and a long double-headed drum, khlang khek, of Malayan origin. This ensemble generally accompanies entertainment songs or courting songs. In earlier times it was used to accompany the reception of the guests at wedding ceremonies.

Tracklisting:

Side I

1. Piphat Orchestra of Plo Sieng Pieng Ensemble - Liké: Introductory Piece {24:15}

Side II

1. The Ritual Orchestra of Va Nantaram Monastery - Plasat Vai {8:28}

2. Krung Say Thai Doeum Orchestra of Chieng Mai Sankhit Ensemble - Hay Ya Ret {12:46}

(1) or (1)

György Ligeti

György Ligeti - György Ligeti [5-LP set]

This set is an excellent overview of avant-garde composer György Ligeti's music from just about all periods of his career. This includes pieces for string quartet (Streichquartett Nr. 1, Streichquartett Nr.2), electronic music (Artikulation, Glissandi), organ (Etüden Nr.1, Etüden Nr.2, Volumina), harpsichord (Continuum), chamber music (Kammerkonzert, Ramifications), orchestra (Konzert für Violoncello und Orchester, Lontano, San Francisco Polyphony, Atmosphères) and choral/vocal (Requiem, Aventures, Lux aeterna). I've wanted to post the 2001 soundtrack as an accompaniment to the earlier 2001 post (Arthur C. Clarke reading), but I believe it's been posted several times elsewhere so I hope this is an adequate substitute as at least there is more music by the most fascinating composer on the soundtrack.

Tracklisting:

LP1

Side 1

1. Streichquartett Nr.1 - Metamorphoses Nocturnes {21:15}

Side 2

1. Streichquartett Nr. 2: Allegro nervoso {4:56}

2. Streichquartett Nr. 2: Sostenuto, molto calmo {4:07}

3. Streichquartett Nr. 2: Come un meccanismo di precisione {3:21}

4. Streichquartett Nr. 2: Presto furioso, brutale tumultoso {2:08}

5. Streichquartett Nr. 2: Allegro con delicatezza {5:36}

(1) (2)

LP2

Side 3

1. Continuum {3:33}

2. Zehn Stücke für Bläserquintett {12:31}

3. Artikulation {3:45}

4. Glissandi {7:27}

Side 4

1. Etüden Nr. 1 Harmonies {6:26}

2. Etüden Nr. 2 Coulée {3:12}

3. Volumina {15:01}

(3) (4)

LP3

Side 5

1. Kammerkonzert {19:52}

2. Ramifications, Version für Streichorchester {7:49}

Side 6

1. Ramifications, Version für 12 Solostreicher {7:38}

2. Lux aeterna {9:12}

3. Atmosphères {8:15}

(5) (6)

LP4

Side 7

1. Konzert für Violoncello und Orchester {12:15}

2. Lontano {10:02}

Side 8

1. Doppelkonzert {12:14}

2. San Francisco Polyphony {10:11}

(7) (8)

LP5

Side 9

1. Requiem {26:01}

Side 10

1. Aventures {10:37}

2. Nouvelles Aventures {11:38}

(9) (10)

American Contemporary

various artists compilation - American Contemporary

A compilation of "new music" pieces, released in 1977, that vary in style. The first one "Fantasy" is an exciting harpsichord piece. "Four Preludes for Leigh Howard Stevens" is a rather calm piece for marimba. "Echoes" mixes amplified clarinet with two-channel electronic tape. The final piece "Automobile" uses percussion, bass, flute and a soprano. The piece's composer Russell Peck explains in the liner notes: "In the first movement of 'Automobile', I postulated a lounge act in the year 2000, when supposedly Stockhausen-Boulez sounds will be in, as Chopin's are today....Movement II is a 50s' nostalgia number. Indeterminacy and R&B are combined into what George Rochberg called a 'Borsch - Circuit Comedy Act.' Players are dealt cards with cues, vamps, monologues, solos and ensembles which interact across a chance grid of accelerating tempi."

Tracklisting:

Side 1

1. William Penn - Fantasy {11:15}

2. William Penn - Four Preludes for Leigh Howard Stevens {6:00}

Side 2

1. Olly Wilson - Echoes {10:21}

2. Russell Peck - Automobile {9:26}

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Multi Bass '70

Francois Rabbath - Multi Bass '70

On Multi Bass '70, Rabbath incorporates jazz, contemporary classical, Indian and African elements into the pieces on this recording. These elements combined with Rabbath's innovative style of double bass playing make for a great listen. For further information, this page has a biography on Rabbath and an interview with him.

Tracklisting:

1. L'odyssee d'eau {8:47}

2. Poucha-Dass {2:37}

3. Incantation pour junon {3:21}

4. Horda {2:18}

5. Embruns {2:26}

6. Papa Georges {3:54}

7. La Guerre et la paix (War and Peace): 1 Avant-Guerre (Before the war) {2:53}

8. La Guerre et la paix (War and Peace): 2 Guerre (War) {3:09}

9. La Guerre et la paix (War and Peace): 3 Apres-Guerre (After the war) {3:14}

10. La Guerre et la paix (War and Peace): 4 Paix (Peace) {3:03}

11. Mutants d'eau pale {3:38}

12. Breiz {1:46}

13. Equation du temps {1:33}

14. Thyossane {4:04}

15. Olivier {3:13}

16. Sete quate {1:32}

17. Ma mere, baidja {4:25}

(1) or (1) (2) or (2) [maybe reposted soon]

Musical Atlas: Cambodia

* no image available *

various artists compilation - Musical Atlas: Cambodia

I apologize to my visitors for having no picture of the album cover. My batteries on my camera died so I wasn't able to take a picture of the cover before I had to return the album to an acquaintance. I was unable to locate a picture of the album cover on the Internet. I thought of placing some other picture in its place, but it wouldn't seem right to do so.

This LP is in the UNESCO Musical Atlas series and covers folk and ceremonial music of Cambodia. Here's a little background derived from the liner notes:

Cambodia has been the cradle of one of the most vigorous civilizations of South-East Asia. During its golden age in the 11th and 12th centuries this civilization brought forth the architectural wonders embodied in the monuments of Angkor and a highly developed musical and choreographic activity, distant echoes of which have come down to our time. We can no longer admire the orchestras of several hundred musicians presented by the princes to the Brahmans or the king, or the thousands of female dancers engaged by Jayavarman VII, the illustrious builder of Bayon, to perform at ceremonies in the great temples. Nevertheless, several distinctive musical forms have survived, and their great originality has influenced the music of neighbouring countries such as Thailand and Laos, which, depending on the vicissitudes of history, were sometimes subject to the Khmer Empire, as well as Burma and Malaysia.
Cambodian music can be divided into two main categories: the orchestras consisting mainly of stringed and wind instruments, and the orchestras of melodic percussion instruments such as keyed metellophones, sets of gongs, xylophones and other percussion instruments. This record presents several aspects of both categories.

Tracklisting:

Side I

1. The Orchestra of Pêang Lovea - Bât Phleng Khlong {5:40}

2. The Orchestra of Pêang Lovea - Bât Ham Rong {5:03}

3. Srey-Yim - Bât Khlong-Saray Andet {6:49}

4. Srey-Yim - Bât Sampong {2:30}

5. Tuk-Môn - Roeung Moyolvong {6:34}

Side II

1. Tuk-Môn - Entertainment Music for the Chapey {4:00}

2. The Musicians of Siem Reap - Khlang Khêk {5:40}

3. The Artists of the Ta-Phul Village Troupe (Siem Reap) - Nang Sbek Thom-The "Sampeah Kru" Ceremony {4:10}

4. The Artists of the Shaow-Theatre Troupe of the Village of Ta-Phul (Siem Reap) - Nang Sbek Thom-Episode from the Ramayana {4:35}

5. The Musicians of the "Pinpeat" Orchestra of Siem Reap - Krao Nay {7:44}

(1) or (1)

2001: A Space Odyssey read by Arthur C. Clarke

Arthur C. Clarke - 2001: A Space Odyssey

When I was transferring posts to this new version of this blog on the new Blogger engine, this one somehow got lost in the shuffle and never made it here until now. I forgot about this LP on the old version of this blog originally posted on October 12, 2006.
This particular release contains the final chapters of 2001 read by Arthur C. Clarke himself and a snippet of the memorable Richard Strauss piece, Also sprach Zarathustra, used as the film version's theme music. No need for me to explain the plot as I'm sure most people are familiar with it, but just in case this Wikipedia site explains everything. There is an audiobook of the complete novel on tape and CD, but I am not aware of any other release having a reading of this work by Clarke.

Tracklisting:

SIDE A

1. The Moons of Saturn {14;17}

Experiment --- The Sentinel --- Into the Eye --- Exit

2. Through the Star Gate {12:16}

Grand Central --- The Alien Sky (beginning)

SIDE B

1. Through the Star Gate {28:53}

The Alien Sky (conclusion) --- Inferno --- Reception --- Recapitulation --- Transformation--- Star-Child

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La lontananza nostalgica utopica futura

Luigi Nono - La lontananza nostalgica utopica futura

First, I would like to thank H.C. Earwicker for his contributions during the past week. He did an outstanding job with his first three posts. As he already said, he'll return in a few weeks with something delightful.

The item that is the focus of this post is a piece for solo violin, 8 magnetic tapes and 8 to 10 music stands. I don't know of many pieces of music composed for music stands or that emphasize music stands. Actually, I do not know of any other pieces for music stands. Throughout the piece (split into 6 separate tracks) at points there seems to be sounds of music stands themselves being dragged or being moved. As mentioned in the liner notes on how this is supposed to be performed: "The 6 parts (1, 2, 3, 4, 5, 6) of 'La Lontananza' should be placed on 6 music stands on the stage (and in the audience as well), irregularly and asymmetrically, never near each other, but in such a way as to permit free although never direct passage between them, the player searching them out. They can also be 'complicated' with 2 or 4 empty music stands in order to make the passage way more varied and imaginative, the players even suddenly getting lost or coming to a halt."

Performers:

Melise Mellinger - violin

Salvatore Sciarrino - sound design / sound projection

Tracklisting:

1. Leggio I {9:25}

2. Leggio II {12:21}

3. Leggio III {10:33}

4. Leggio IV {8:16}

5. Leggio V {11:30}

6. Leggio VI {9:30}

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JAPANESE KOTO ORCHESTRA

Originally, I wanted to post some recordings from the Japan Collection of the UNESCO world music series here, but they are on DAT tape, and I didn't get to make the transfer in time. So here's an equally beautiful substitute, the CD reprint of a rather old Lyrichord LP. Judging by the "patina" of the recording, I'd say it's from the 1960s.

1 - Otone No Nagare Ni Sote (Along the Great Tone River), composed by Tsuyoshi Sakamoto
2 - Nagare (The Stream), composed by Kazuko Tsukushi
3 - Shochikubai (Music of Pine, Bamboo and Plum Blossoms), composed by Mitsuhashi Koto

Featured are different schools of composers, but unfortunately no dates of birth are mentioned, so we're left wondering how old these poetic pieces may be. Without doubt, the lengthy and episodic "Otone No Nagare Ni Sote" is the highlight here. It's played by 5 kotos, hoteki (flute), shamisen and shakuhachi. Some passages, like the chromatic part in the second half, suggest Western classic-romantic influences. The use of illustrative "sound painting", as well as the frequent quotation of phrases and themes from folk music, are amazing - and even ears less accustomed to Japanese music will have a fantastic listening experience.

"Shochikubai", for a trio of koto, shamisen and kokyu (the only bowed traditional Japanese instrument), seems to have something of a Chinese "touch", though that impression may be attributed to the sound of the seldom heard kokyu.

Enjoy, with a nice cup of light green sencha, or hot sake.


Now it's time for me to step back and let grey calx take over. Next from me, in a few weeks: John Cage's "Empty Words IV", as read by humself, and released way back on double LP by the long gone Edition Michael Frauenlob Bauer.

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