Sam Rivers-PARAGON (1977)

Sam Rivers-PARAGON (1977)

Some data from external sources:

Sam Rivers, a widely respected jazz saxophonist and composer died Monday in Orlando, Fla. The cause of death was pneumonia; he was 88.

Born in Oklahoma, Rivers studied at the Boston Conservatory before beginning his career during the bebop era. Rivers, who played tenor and soprano saxophone, flute and bass clarinet, went on to record several free-jazz albums under his own name for Blue Note.

During the 1970s Rivers and his wife, Beatrice, opened their New York loft, Studio Rivbea, to free-jazz performances, creating one of the most vibrant spaces on the "loft jazz" scene.
(David Corio/Getty)

A review of Paragon (from 2002)

As the checks got smaller for jazz musicians, the bands did also. The fewer people to pay, the more profitable the venture. In some ways, this was a tragedy. For other musicians, men like Sam Rivers, it was an opportunity to make the music in his head. Rivers is a giant thinker. While his Blue Note recordings are certainly more accessible to the average listener, it is his remarkable trio output that is the core of his musical thought. Rivers is a player whose playing brooks no argument. There aren't many who can hang, even in a supporting role. There certainly isn't room for other soloists. This is sweeping, grand, muscular music, as regular and jagged as a seismograph, or the jittering of a lie detector. Here, he's supported by two men perfectly suited for their roles, Dave Holland and Barry Altschul. Fine musicians, here they are extensions of the music that pours from Rivers.- Rob Ferrier

I hope I will Be forgiven for not putting into my own words what this man (who was so gracious as to sign my l.p's) and his music mean to me, but I feel I am late in posting this and wish to wait no longer. Suffice to say, we have lost a master musician here. Check especially his flute playing in track 5 and hear for yourself.
Thank you, and Goodbye, Mr.Rivers.




















Sam Rivers-PARAGON (1977)
with:
Dave Holland - Bass, Cello
Barry Altschul- Drums, Percussion

Side One:
1- Ecstasy (Tenor Saxophone) 5:41
2- Bliss (Flute) 6:29
3- Rapture (Soprano Saxophone) 5:11

Side Two:
4- Tingle (Piano) 7:25
5- Paragon (All above instruments) 12:13

re-up:
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HAPPY NEW EARS!

To All the members and visitors of/to A Closet Of Curiosities - I wish to extend you all fond wishes for a Happy, Healthy and Prosperous New Year.
I have been here only a very short time, but in that time I have been made to feel welcome and appreciated. I want to Thank all of you who have posted comments in response to my offerings; they are very much appreciated, and I enjoy reading every one. (I have to resist the temptation to clutter up the section with responses of my own...very difficult - I won't try TOO hard.)

Please Keep the comments coming!

Enjoy the last few hours of 2011; CHEERS!
(Oh! And don't forget to buckle up- we're in for a wild ride!)

Best Wishes- Dr Eyescope

Don Cherry/Krzysztof Penderecki- ACTIONS (FOR FREE JAZZ ORCHESTRA) 1971

Don Cherry/Krzysztof Penderecki-ACTIONS (FOR FREE JAZZ ORCHESTRA) 1971

BBC Review (Excerpted):
Liner Notes Enclosed

Actions was recorded live in 1971 at Donaueschingen and features the "New Eternal Rhythm Orchestra" (especially assembled for this project to perform under the direction of Krystzof Penderecki and Don Cherry). The Orchestra were a veritable who's who of the then emerging European Free Jazz scene; Peter Brotzmann, Willem Breuker, Paul Rutherford and Han Bennink, plus Terje Rypdal, Kenny Wheeler and Tomasz Stanko are all in evidence.

Classical composers were finding that their interests and working methods (structured improvisation, graphic scores, conduction and gesture as composition) were overlapping with like-minded musicians from an altogether different area, that of free jazz.

(One can) hear echoes of Turkish folk and classical Indian rhythms on Cherry's pieces ("Sita Rama Encores") interspersed with explosive passages of 'energy' playing.

The Penderecki piece ("Actions for Free Jazz Orchestra") explores the balance between composition and improvisation in a less playful yet no less meaningful way.

Apparently influenced by the Original Globe Unity Orchestra piece of 1967, "Actions" often sounds more overtly 'jazz' than that group (...)

Ian R Watson 2002-11-20


































Side One:

Humus-The Life Exploring Force (Don Cherry) 19:17

Side Two:

Sita Rama Encores (Don Cherry) 6:42
Actions For Free Jazz Orchestra (Krzysztof Penderecki) 16:46

re-up:
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Max Roach- SURVIVORS

Max Roach- SURVIVORS (1984)
From the back cover notes (enclosed):

When I first heard the improvised solo on Side A of this record, it was to me clear that Max had burst the boundaries of traditional jazz form to create a new type of music. It seemed almost impossible to me that anyone could at the spur of the moment improvise a piece of music as well shaped as if it had been written by a master composer (if there were any who could write as well as Max plays) that could have so many layers of rhythm going on all at once, that could swing so hard, and that could be so musically expressive. (...)

My idea for the present piece, for Survivors, was to create a form for this tremendous energy and creative skill, to give an emotional shape and structure that would set forth this new music to the whole world - (my classical world as well as his) so that all can see it for what it truly is: genuinely new, emotionally powerful and - the genuine art music of out time- classic.

28 years ago, at the first Monterey Jazz Festival, we created what to my knowledge was the first true concerto for improvising soloist and orchestra - the "Monterey Concerto For Max". In this, Max played an amazing and musically successful solo. But what I wrote was the "classical music" of a young and emerging composer schooled in Stravinsky, Bartok and Hindemith. The piece did not swing. Now 25 years later- we both think, we have finally got it, (...)
- Peter Phillips

Side Two of this record contains 6 compositions for a soloist.
These are compositions in the traditional jazz idiom in that they comprise a "head": a statement of a musical theme, and a subsequent improvised part derived from the thematic material. The notable difference is that these themes are written for an un-pitched batterie of percussion instruments- a traditional jazz drum kit.
The thematic material is, therefore, primarily rhythmic, but not simply so- the individual drums are used in a relatively melodic manner- high to low, and the results are what might be termed 'architectural' in nature and effect - in that the form of the entire work may be perceived in a single glance, and in that the form is present in all the details.
- DrE


















Max Roach- SURVIVORS

Side One:

1- Survivors (Peter Phillips / Max Roach) (21:28)

Max Roach: Multiple Percussion Set
String Quartet:
Guillermo Figueroa, First Violin;
Donald Bauch, Second Violin;
Louise Schulman, Viola;
Christopher Finckel, Cello


Side Two:

1- The Third Eye (2:10)
2- Billy The Kid (2:57)
3- JasMe (3:37)
4- The Drum Also Waltzes (3:18)
5- Sassy Max (Self Portrait) (3:20)
6- The Smoke That Thunders (5:47)

Max Roach: Multiple Percussion Set

Recorded Oct.19,20,and 21, 1984 at Vanguard Studios,New York.

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Ornette Coleman- PRIME DESIGN / TIME DESIGN

Ornette Coleman- PRIME DESIGN / TIME DESIGN
(A Harmolodic Composition For Four String Instruments and Percussion In Honor Of Buckminster Fuller)
From the back cover (included):

When I met Buckminster Fuller in 1982, he impressed me with a spirited demonstration of his model of the tetrahedron, a geometric figure of the basis of the structural design of the universe. He manipulated the model, turned it inside out, made it dance, but the corners never touched. I said to myself- "That's just like my music", And at that moment I was inspired to write a piece of music based on Fuller's mathematics, dedicated to this man and his shining being, investigating the universe like an ancient child.
This piece is designed for five soloists. At different points in the piece, each musician plays in different time signatures: 2/4, 1/4, 2/3, 4/4, 7/4, 9/4, and 12/4.
The second violin introduces the theme, which is then played by viola, the cello and the first violin. After completing the theme,, each musician plays his part as a solo, performed "ensemble". Each soloist will end at a different place. Second violin finishes first, then the viola, the cello and lastly, the first violin. The audience is invited to contemplate the total sound produced from multi- directional components.
-Ornette Coleman
Performed by the Gregory Gelman Ensemble:
Gregory Gelman, First Violin
Lorissa Blitz, Second Violin
Alex Deych, Viola
Matthew Meister, Cello
Denardo Coleman - Percussion


















Side One:

Prime Design / Time Design (Beginning) 21:30

Side Two:

Prime Design / Time Design (Conclusion) 19:48

re-up:
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Karlheinz Stockhausen- TRANS

Karlheinz Stockhausen- TRANS


From the liner notes (enclosed):

"Two rows of strings sit one behind the other at the front of the stage from extreme left to extreme right, the second row somewhat higher.
They play slowly,completely synchronously-like dolls-the whole time, synchronized by weaving loom sounds which shoot through the hall out of loudspeakers...over the heads of the people,very penetrating.
The curtain slowly opens (in the Donaueschingen performance many voices in the public said "Ohhhhhh..." because the entire orchestra is bathed in a violet light and everything looks so unreal...)
There is a large orchestra of winds and percussion divided into four groups. And the four groups are amplified over four loudspeakers...
But one never sees this orchestra during the performance.
One hears an orchestral work the entire time, but the strings sit in front of the major orchestra and the strings play only a sound-curtain and they optically cover the major orchestra.It is therefore a metaphysical work insofar as the entire time, one feels:"the essential is "behind" but one cannot see it!
...I dreamed the piece. That is why I cannot speak at all freely about it: I do not have an objective relation to it.I simply dreamed it thus".

About the record:
The tape recording of the world premiere in Donaueschingen (Oct.16,1971 Southwest German Radio) is reproduced on Side A of this record.It is- with all the reactions of the public- a document of the hot atmosphere of a Stockhausen premiere.Performances with other orchestras followed, and the symphony orchestra of the Saarland Radio, conducted by Hans Zender, performed TRANS twice in November 1973 in the city theater of Metz, France, and made a studio recording in January 1974. This recording is reproduced on side B, to point out how very much the sound Picture of TRANS changes, through interpretation, acoustics of the hall, various methods of instrument amplification and recording technique.


















Side One:

TRANS
Urauffuhrung (First Performance-Creation) (28:20)


Side Two:

TRANS
Studioaufnamme (Studio Recording) (26:10)


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Benjamin Britten / Arthur Honegger- Split Release

Benjamin Britten- A CEREMONY OF CAROLS (1942)
Arthur Honegger- CHRISTMAS CANTATA (1953)

From the back cover notes (enclosed):

Although Arthur Honegger's Christmas Cantata and Benjamin Britten's A Ceremony Of Carols employ religious texts, neither is a religious work in the sense of music composed for liturgical use.
They might, rather, be referred to as celebrations: Honegger's of Christmas and of peace and good will among men of different nations; and Britten's of medieval life and religious attitudes as expressed in the popular carol
The Christmas Cantata is one of the last works of Honegger, the Swiss composer who died in 1955. Its score bears the place and date of completion, Paris, January 25, 1953, together with the note that the work is "after the sketch of January 24, 1941" . At that earlier time, Honegger had completed a portion of the work inspired by a poem of Caesar Von Arx. Von Arx died, and Honegger abandoned work on the original project,only to to take it up again twelve years later and fashion from it what is probably a very different work from that he originally had in mind. The Christmas Cantata is scored for baritone soloist, mixed choir, children's choir , organ and orchestra. (...) The work,while superficially not very typical of this composer, somehow still contains, in different application, the hallmarks of Honegger's musical style: the contrapuntal craftsmanship, the rather stern orchestration, the neo-classic interest, the final feeling of affirmation.
Benjamin Britten's A Ceremony Of Carols was composed in 1942, and is scored for treble voices (preferably boys') and solo harp. As its name indicates,it is based on carol texts, but it is not, simply because of that, a Christmas work; its texts include several that relate to other times of the year. There are eleven sections in the work, one of them, the fourth, having two parts.(...)
The work is representative not only of Britten's deep interest in medieval England, but of his ability to evoke it musically without the necessity of quoting medieval tunes.The work is at once both old and new, conveying the spirit of times long gone by through a medium and style that could be only of the twentieth century.




















Side One:

Benjamin Britten: A CEREMONY OF CAROLS (1942)

1- Procession (1:43)
2- Wolcum Yole! (1:28)
3- There Is No Rose (1:21)
4- That Yonge Child (1:37)
5- Balulalow (1:19)
6- As Dew In Aprille (1:03)
7- This Little Babe (1:35)
8- Interlude (4:24)
9- In Freezing Winter Night (3:28)
10- Spring Carol (1:12)
11- Deo Gratias (1:17)
12- Recession (1:57)


Side Two:

Arthur Honegger: CHRISTMAS CANTATA (1953) 24:30

re-up:
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KNOCK, KNOCK (Knocking on the Closet Door)

Who Is It?

Hello. Allow me to introduce myself.You may call me Dr Eyescope.
I wrote a comment here some 5 months ago, telling Grey Calx how much I loved his (for me; newly discovered) blog, and offering to contribute, if he would like me to.
At that time, I knew nothing about digitizing music, using a scanner, or uploading.
In other words: Blogging.
Zilch.
But, as it happened, Grey Calx liked the content of my collection (and, I suppose,the
'cut of my jib'), and so my "apprenticeship" began. (That is; many emails with tips, suggestions and the basics of blog).
Now, a little later than we estimated, here I am.
My grateful thanks to you, Grey Calx.

What MUSIC?

I began collecting records as an adolescent, but I really got going when, (in about 1979) I was introduced to the used record stores in my city.I stopped collecting in about 1997 or so, when the prices became inflated, and the selection thinned out.I now buy fewer than 10 vinyl records a year.(Usually directly from the artists at live shows).
But in between '79 and '97 I collected voraciously- focussing mainly on the 'avant-garde' strains of Rock, Jazz, and Classical music.
I have always enjoyed sharing my records with others,mostly by D.J.ing on student radio a fair bit over the years.
Now I have the opportunity to share some of my favorite music (and other stuff) with you in A Closet Of Curiosities.

I hope you enjoy it.

Sincerely, Dr Eyescope.

b.t.w: I take requests.

Various Artists: AMERICAN STRING QUARTETS VOL 2: 1900-1950

American String Quartets Vol.2: 1900-1950
(Vox Box SVBX 5305) Released in 1974From the Booklet (enclosed):

This set is the last album in a three-volume survey of American string quartet literature. The two previous released companion albums are titled "The Early American String Quartet" (Vox Box SVBX 5301) and "The Avant Garde String Quartet in the U.S.A." (Vox Box 5306). The first album contains works historically ranging from a string quartet attributed to Benjamin Franklin to works by such early twentieth-century American composers as George Chadwick and Charles Griffes, and are all performed by the the Kohon String Quartet. The second album released contains works written since 1950, and is illustrative of the manifold approaches to structure, the presence (or absence) of various types of controls, and the use of a variety of musical materials which have, for the most part, occurred since the end of the Second World War. The earliest work represented in that album is John Cage's String Quartet In Four Parts (1950) and the most recent is George Crumb's Black Angels (1970). These works are performed by the Concord String Quartet. In this third, and concluding, album of the series the Kohon String Quartet returns to perform works spanning from the early decades of this century through the early 1960's.These, too, are illustrative of the wide range of styles that flourished during that period.
In his notes for the album containing the avant garde works, Lejaren Hiller states that "Stylistic heterogeneity and healthy eclecticism have always been characteristic traits of American music..." and the works contained in this album no less confirm the validity of that observation.The composers represented here possess strongly independent personal styles, and they all show a manifold desire to explore new melodic, harmonic, and rhythmic materials in their individual ways.For the most part, however, they do so within the confines of traditional homophonic and polyphonic forms.
The composers represented in this album are also indicative of the coming of age of American music.(...)

Note:
"The Avant Garde String Quartet in the U.S.A." can be found in The Closet.
"The Early American String Quartet" will be posted in the near future.

American String Quartets Vol.2: 1900-1950
(Vox Box SVBX 5305) Released in 1974
The Kohon Quartet:
Harold Kohon: 1st Violin
Isadora Kohon: 2nd Violin
Eugene Dengel: Viola
W.Ted Hoyle: Cello


Side 1:
Peter Mennin: String Quartet No.2 (1951)
1: Allegro ardentemente (7:45)
2: Prestissimo (2:20)
3: Adagio semplice (4:03)
4: Allegro focosamente (3:15)

Aaron Copland: Two Pieces For String Quartet (1923-28)
1: Lento molto (5:04)
2: Rondino (3:55)



side 2:
Walter Piston: String Quartet No.5 (ca.1962)
1: Allegro (4:35)
2: Adagio (7:35)
3: Allegro (4:25)

George Gershwin: Lullabye For String Quartet (ca.1920) (11:35)



side 3:
Virgil Thomson: String Quartet No.2 (1932)
1: Allegro moderato (6:21)
2: Tempo di Valse (3:54)
3: Adagio sostenuto (4:52)
4: Allegretto (6:58)

Charles Ives: Scherzo For 2 Vioins, Viola and Cello (1903-14) (1:44)



side 4:
William Schuman: String Quartet No.3 (1939)
1: Introduction and Fugue (7:37)
2: Intermezzo (7:38)
3: Rondo-Variations (8:21)



side 5:
Roger Sessions: Second String Quartet (1951) (beginning) (27:16)
1: Lento;
2: Allegro appassionata Alla breve;
3: Andante tranquillo;
4: Presto



side 6:
Roger Sessions: Second String Quartet (conclusion)
5: Adagio (5:21)

Howard Hanson: Quartet In One Movement,Opus 23 (ca.1927) (17:50)
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Boris Blacher- MUSIKVERLAGE

Boris Blacher MUSIKVERLAGE

(All sleeve notes in German.)
These Notes excerpted from external sources:

Memories of Boris Blacher
by Harald Kunz

Blacher certainly took great pleasure in experimenting. This began already in the 1920s with the Dadaistic opera Habemeajaja. The high point was reached with music for Werner Egks meaningless but emotive artificial words in his Abstrakte Oper Nr. 1, which initially caused a scandal but went on to be a success. The end point was Ariadne, a duo-drama in which two speakers recite a text written in Goethe's time to an accompaniment by electronics in microtones of a third.

He also found great pleasure in jazz. Jazzy syncopation in Concertante Musik had made him unpopular with the Nazi press and later compositions often use chords that recall Blacher's liking for the Glenn Miller Sound of the 1940s. From time to time he wrote compositions for jazz ensembles like the Modern Jazz Quartet and the German All Stars. Blues Espagnola und Rumba for the twelve cellists of the Berlin Philharmonic Orchestra demonstrates how elegantly Blacher combines jazz elements with the classical tradition.

The creativity of the musician Blacher was guided and controlled by the rationality of Blacher the mathematician. According to the laws of mathematics, he constructed his compositions and created the rhythmic serial principle of his „Variable Metrics“. Yet even in the most logical of his scores, there are always deviations from the norm, breaks in the rules; Blacher said of such „mistakes“ that they are what renders art human.
Intelligence and imagination, charm and humour, nonchalance and understatement were the hallmarks of his personality. With these congenial traits in his music, Boris Blacher's oeuvre will remain timeless and contemporary.

(translation: Gloria Custance)
Reprinted by kind permission of Boosey & Hawkes
(...) Blacher's is an idiom of striking originality,based upon free atonal counterpoint. His adherence to the neo-classic esthetic manifests itself in his fondness for terseness and directness of expression.His orchestral writing is bright, vivid, and thinned out according to a careful selection of instruments. The result is a lightness and transparency which is at the opposite pole from the fat sound of German postromanticism. The rhythmic subtlety of Blacher's music derives from a technique of "variable meters" that are worked out according to definite mathematical progressions. The meter changes from bar to bar according to a pre-existent series which applies to rhythm the tone-row principle of twelve-tone music.Yet Blacher does not transform the technique into a system, leaving himself free to vary it according to his needs.His penchant for satire and irony goes hand in hand with a suppleness and volatility that are not often found in German music.(...)

Joseph Machlis- Introduction To Contemporary Music (1961,W.W.Norton & Company, pp 251-2).

note: Blacher was married to the pianist Gerty Blacher-Hertzog.



















Side One:

ABSTRAKTE OPER NO. 1, OPUS 43 (1953) 27:21
(The University of Illinois Opera Group, Leitung- Ludwig Zerner)


Side Two:

ELEKTRONISCHE IMPULSE (1965) 2:50

SONATA FUR KLAVIER, OPUS 39 (1951) 7:54
(Gerty Herzog- Klavier)

APRESLUDE- 4 Lieder nach Gedichten von Gottfried Benn OPUS 57 (1958) 4:41
(Ernst Haeflinger- Tenor ; Gerty Herzog- Klavier)

WHAT ABOUT THIS, MR. CLEMENTI? 3 Stucke (1943) 3:05
(Gerty Herzog- Klavier)

re-up again:(1)

Ilhan Mimaroglu / Freddie Hubbard Quintet- SING ME A SONG OF SONGMY (A FANTASY FOR ELECTROMAGNETIC TAPE) 1971

Ilhan Mimaroglu / Freddie Hubbard Quintet

SING ME A SONG OF SONGMY (A FANTASY FOR ELECTROMAGNETIC TAPE) 1971

The Personel is: FREDDIE HUBBARD,trumpet & flugelhorn; JUNIOR COOK,tenor saxophone; KENNY BARRON,piano; ART BOOTH,bass; LOUIS HAYES,drums.
THE BARNARD-COLUMBIA CHORUS;DANIEL PAGET, conductor.
String orchestra under the direction ofGene Orloff and Selwart Clarke; ARIF MARDIN, conductor & Hammond organ
RECITERS listed in Track listings.
Synthesized and processed sounds,Mix components and final mixes realized by Ilhan Mimaroglu.

Some quotes from the gatefold (enclosed):
"The eclectic approach provides the essential condition for creative freedom".
"You can't write music right unless you know how the man that'll play it plays poker" -Duke Ellington
"I'm one of the world's greatest trumpet players".-Frederick DeWayne Hubbard, introducing himself in a television interview.
"Criminology doesn't pay".
"Before asking what you can do for your country, ask what your country has done for you".

SING ME A SONG OF SONGMY (A FANTASY FOR ELECRTOMAGNETIC TAPE)

Side One:

SING ME A SONG OF SONGMY, Part 1 (time: 19:43)

(a) THRENODY FOR SHARON TATE
(Prelude & Comment)
The Quintet, string orchestra, synthessized & processed sounds,Mary Ann Hoxworth, reciter
(b) THIS IS COMBAT,I KNOW
Trumpet,tenor saxophone, piano, string orchestra, synthesized & processed sounds
Fazil Husnu Daglarca's poem 'Poverty', recited by NHA-KHE.
(c) THE CROWD
TheQuintet, string orchestra, chorus, Hammond organ, synthesized & processed sounds.
Quotations from Soren Kierkegaard's essay,'That Individual' recited by Mary Ann Hoxworth, Additional textrecited by Charles Grau, Fazil HusnuDaglarca's quatrain,'Bloodless' recited by Gungor Bozkurt, Musical quotation from Scriabin's 'Etude in B flat minor, Op.8.
(d) WHAT A GOOD TIME FOR A KENT STATE
The Quintet, chorus & string orchestra, Musical quotation from Brahms' 'Ein Deutsches Requiem'.

Side Two:

SING ME A SONG OF SONGMY, Pt.2 (Time: 21:15)

(a) MONODRAMA
Trumpet solo, processed trumpet sounds.
(b) BLACK SOLDIER
String orchestra, processed string and percussion sounds, Fazil Husnu Daglarca's poem, 'Colored Soldier' recited by Freddie Hubbard
(c) INTERLUDE I
The Quintet
(d) INTERLUDE II
Synthesized and processed sounds, chorus, string orchestra, Hammond organ, NHA-KHE's poem,'Lullabye for a Child in War'
recited in Vietnamese by the poet.
(e) AND YET, THERE COULD BE LOVE
Trumpet solo, chorus, string orchestra, synthesized sounds,
Fazil Husnu Daglarca's poem 'Before The Bombs Struck The Dark Breasts' recited by NHA-KHE.
(f) POSTLUDE
Trumpet solo, processed trumpet sounds & synthesized sounds. Final words quoted from a poem by Che Guevara and recited by Gungor Bozkurt.



















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Lukas Foss- GEOD

GEOD (FOR ORCHESTRA) 1969
Buffalo Philharmonic Orchestra
Conducted by LUKAS FOSS

From the liner notes:

GEOD- A music without beginning or end, without development, without rhetoric, without 'events'.
The large orchestra is divided into four groups. Each has its own musical language. Each comes as if from far away, appearing, disappearing.
...Each group has its own conductor. He beats standing up while his men play audibly. He continues to beat, but in a sitting position during periods of inaudible playing. One does not stop, one submerges into inaudibility. The one who decides 'which' music emerges 'when', is the fifth or principle conductor.
...Could there not be a music, which, properly conceived and executed, will sound like "music happening of its own accord"?
...It took me a long time to arrive at a valid technique for such a music. My first step was "Elytres", a score which contains on every page more than is ever heard vertically at one time. Whenever that page is played, much of it is omitted. The next time that page is heard, only what was omitted before is played. New here is the concept of obtaining variation, via omission.
But in "Elytres" as well as in three subsequent works, omitting still meant stopping (tacet). Only much later (in the "Baroque Variations") did omitting begin to mean to me: submerging into inaudibility.
...By inviting the conductor(...) to mix the four musics of GEOD, the point is clearly made that this is not chosen-note (masterwork) music. It must not be performed that way, and it must not be listened to in that way.
...One could say that rather than "listen", one "listens In"on sounds in nature and/or memory, passing by in an endless, quiet parade.


















GEOD For Orchestra

Side One: GEOD (Beginning) (18:34)

Side Two: GEOD (Conclusion) (17:56)


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