Afternoon in Amsterdam

Afternoon in Amsterdam

released on LP

featuring Gavioli Draaiorgel "Jupiter"
recorded in Holland

From the liner notes:

The subtle pastel coloring of the aged buildings reflected in the canals' calm water; the incredible cleanliness of the worn sidewalks and streets; the happy sounds emanating from the big and colorful hand-cranked barrel organs along the Kalverstraat: these are Amsterdam in the sun-covered afternoons of any season, any year.

Music is important in the Netherlands. Amid the heavy traffic of Amsterdam, Rotterdam, Den Haag, and Scheveningen - traffic made difficult by the unending procession of bicycles and pint-sized motor cars - and in the green, soft, tranquil settings of rural Holland, one hears some sort of music no matter how early or late the hour. Radio Hilversum, the progressive, government-operated station, beams music to all of Europe through the day and night, and rarely do the concerts and operettas at Grote Zaal and Stadsschouwburg fail to attract turn-away audiences. Records are fast-selling items in the music stores, much as they are in North America; only a few weeks separate the arrival of a new pop tune on the American and Dutch hit parades.

The music contained here is like no other music anywhere. There are organs on every continent, but only in the Netherlands are there barrel organs like the massive but movable "Gavioli Draaiorgel Jupiter" instrument heard in this album. The astounding variety of pleasant sounds it produces are achived by a sort of paper folder, or book, whose leaves have, with unbelievable ingenuity, been carefully perforated to produce music when exposed to air pressure. The air, of course, is provided by the powerful organist patiently turning the heavy metal wheel at the organ's side. Another man stands near, collecting voluntary fees from the passersby; at intervals they trade chores. The guilders pile up for the two men, Everybody is happy.

Tracklisting:

Side 1

1.  Afternoon Songs: Amsterdam; On the Old Lindencanal; By Us in the Jordaan; Oh Saberdyosia  {3:03}

2.  Afternoon Songs: The Perl of the Jordaan; At the Foot of the Old Water Tower; The Condemned House  {3:02}

3.  Dutch Waltzes: Hand in Hand; Nobody Like You; On Saturday Afternoon  {2:55}

4.  Dutch Marches: King Football; KLM March; Stadium March  {2:51}

5.  Between Tunnel and Maas Bridge: Always Ships are Coming; Ketelbinkie; Were You Born at Rotterdam; By the Maas  {3:04}

6.  Between Tunnel and Maas Bridge: The Flag of Rotterdam; Anchors Aweigh; Great Rotterdam  {3:00}

Side 2

1.  Dutch Towns: Just Give Me Amsterdam; My Own Rotterdam; There is Only One Den Haag  {1:53}

2.  Dutch Tangos: I Like Holland; Ole Guapa  {2:24}

3.  Sea Songs: The Song of the Sea; Seaman, Oh Seaman; On the Turbulent Waves  {2:13}

4.  Dutch South African Songs: Sarie Marais; Mama, I'd Like to Have a Husband; The Little Shoemaker  {2:18}

5.  Star Songs: Just Look at the Stars Tonight; At Night by Starlight; When Stars are Twinkling in the Sky  {2:29}

6.  Dutch Mill Songs: The Mill at the Brook; Greetje from the Polder; There Near the Mill  {2:37}

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Bird Songs in Your Garden

Arthur A. Allen and Peter Paul Kellogg - Bird Songs in Your Garden

book and accompanying 10" record released in 1961

Produced by Peter Paul Kellogg and Arthur A. Allen from recordings made for the Cornell Library of Natural Sounds.

List of species included in book and record:

Wood Pewee, Cardinal, Robin, Rose-breasted Grosbeak, Catbird, Scarlet Tanager, Song Sparrow, Chipping Sparrow, Red-eyed Vireo, Wood Thrush, Veery, Cedar Waxwing, Brown-headed Cowbird, Blue Jay, Rufous-sided Towhee, Baltimore Oriole, Orchard Oriole, Purple Finch, Yellow-shafted Flicker, White-breasted Nuthatch, Kingbird, Phoebe, Yellow-billed Cuckoo, Black-billed Cuckoo, Screech Owl

Tracklisting:

Side 1

1.  Bird Songs in Your Garden side 1  {12:48}

commentary by Arthur A. Allen

Side 2

1.  Bird Songs in Your Garden side 2  {13:11}

The songs of 25 birds unannounced but identified on side 1

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Meditations sur le mystere de la Sainte Trinite

Olivier Messiaen - Meditations sur le mystere de la Sainte Trinite

released on a 2-LP set in 1973 by Musical Heritage Society (same as 1972 release on Erato)

performed by Olivier Messiaen himself

Organ used on this recording is that of the Church of Sainte Trinite, Paris.

Composed in 1969, the mystical Meditations sur le mystere de la Sainte Trinite (Meditations on the Mystery of the Holy Trinity) is made up of 9 pieces or meditations that reflect on an attribute of the Trinity. The Meditations contain bird songs, plainsong, quotations from Thomas Aqunias's Summa Thelogica, deci-talas (Hindu rhythms). The liner notes include Messiaen's own musical and theological analysis on the music that helps in understanding the music. Also in the liner notes, Messiaen explains his attempt at creating a musical language called communicable language that is incorporated in the music.
Messiaen's version is the only one that I have listened to in its entirety. I'm not sure if it is the essential version although since it's performed by the man himself, it probably should be. The performance and the recording itself is great. I am welcome, of course, to any other suggestions.

Tracklisting:

Side 1

1.  Meditation No. 1  {8:15}

2.  Meditation No. 2  {11:37}

Side 2

1.  Meditation No. 3  {2:19}

2.  Meditation No. 4  {6:30}

3.  Meditation No. 5  {11:18}

Side 3

1.  Meditation No. 6  {8:30}

2.  Meditation No. 7  {6:27}

Side 4

1.  Meditation No. 8  {10:39}

2.  Meditation No. 9  {9:38}

(1) (2)

Hall Overton / Lester Trimble - Split Release (CRI 1972)

Notes (reprinted in spite of the fact that I find them really rather annoying) excerpted from the back cover (included).

Pulsations is the last in Overton's considerable catalogue and is probably the work that most perfectly fuses his own equal and opposite musical loves, concert music and jazz. In his words, it "explores various aspects of rhythm. Instead of avoiding the pulse, my intention was to write music based largely on a strong, steady beat." This is not, however, the primitive pulse of the typical jazz band but ranges from "straight-ahead propulsion, lag beat, silent beat, free time and doubling"". The moderately knowing listener will recognize characteristic jazz figures, along with others that are subtler, more deeply imbedded in the musical texture,  and also more personal to Overton.
In addition to its specific jazz references, Pulsations sometimes achieves a strange and dreamlike atmosphere that seems to represent the unworldly aspects of the jazz scene.
The work is dedicated to Thelonious Monk, the eminent jazz pianist,who is one of the many jazz people Overton worked closely with. It was commissioned by The Ensemble of New York.

The Ensemble; Dennis Russell Davies,conductor

In Praise Of Diplomacy And Common Sense  has been described as "a sonic happening", "an hallucinatory montage", "an ironic sequence." It has been compared to sections of James Joyce's Ulysses and Finnegan's Wake.
To evoke such observations it would seem to be a new and unusual kind of theatre- one might call it "spatial sonic theatre"- which seeks through techniques of musical and verbal overlapping and interpenetration, to evoke the realities of a dramatic event and simultaneously, to make a philosophical comment upon them.
The composer writes:
"The libretto is a montage of news items culled mostly over an eight-day period from the New York Times, the Washington Post, Time magazine, and Life magazine. It presents the simultaneous spectacles of a bloddy uprising in the Congo, the release of the Warren Report on the assassination of John F Kennedy, violent anti-American demonstrations in Egypt, a threatening contretemps between the USA and the Soviet Union in the United Nations, and other examples of human cruelty and intransigence displaying an apparent absence of true diplomacy or common sense from the national and international arena."

The Ensemble; Dennis Russell Davies,conductor; Richard Frisch,baritone

























Hall Overton- Pulsations (17:42)

Lester Trimble- In Praise Of Diplomacy And Common Sense (14:51)


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Sun Ra Arkestra- Media Dreams (Saturn Records,1978)

Sun Ra Arkestra- Media Dreams


Here's the last of my Saturn Records, which I am posting to celebrate the 90th birthday today of Marshall Allen, alto saxophonist and electronic wind instrument player, current leader of the Sun Ra Arkestra- still going strong!

On a personal note:
I had the opportunity to play with Marshall Allen on the 15th in celebration of the 100th anniversary of Sun Ra's birth. Also in attendance was Danny Ray Thompson, playing flute on this occasion, and I had a very fine time, one high point being at the rehearsal where Marshall took the mic and a few of us had a sing-along, Arkestra-style, to the tune of Fate In A Pleasant Mood, which Marshall also seemed to enjoy very much.
 
Marshall has a penchant for saying things like- "You've gotta do what you can while you can with what you've got", and "You've got to take hold of this one life"; things you hear often enough nowadays.
But when you consider that, the day after playing this gig with the Ratchet Orchestra, Marshall and Danny were off to Italy, and from there all around Europe,to Turkey, Japan, Croatia, and all with only a day's rest here and there (see Sunraarkestra.com for the tour dates) you know this man LIVES by these words.I have little doubt that it is precisely this attitude which is at least partially responsible for his amazing energy and longevity.

I can only say "keep saying what you've got to say while you can say it" , and
"Happy Birthday, Marshall Allen!"

About the record:
This is a weird one,
MysterRa plays a keyboard with an "auto-arpeggio" feature (a2) and gets downright goofy with it, getting it to arpeggiate clusters and the like.
There is also some very celestial synthesizer work (a1,a3) and piano (b2) and a couple of fine solos from John Gilmore on Tenor (a2,b2) and Michael Ray on funky Trumpet (a2).
Altogether a very fine and varied record, from Bop and Ballad to the outer limits, and with good sound quality and presence.

Sun Ra Arkestra- Media Dreams

a1- Saturn Research (3:10)

a2- Constellation (13:52)

a3- Yera Of The Sun (4:39)

b1- Media Dreams (13:54)

b2- Twigs At Twilight (7:30)

b3- An Unknowneth Love (4:43)
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Arpa Paraguaya

Jorge Gurascier - Arpa Paraguaya

LP released in 1971

Unfortunately, there is not any useful information to be found about Jorge Gurascier or this particular LP. No liner notes have been provided by the label. All I can say is that if you enjoyed the Paraguayan Harp, Vol. 2 post from last year, you'll enjoy this one.

Tracklisting:

Side A

1.  Pajaro Campana  {4:23}

2.  Canto del Reservista  {3:41}

3.  Rodriquez Pena  {2:03}

4.  Misionera  {3:11}

5.  Que Sera de Ti  {3:30}

6.  Asuncion  {3:10}

Side B

1.  Tren Lechero  {3:06}

2.  Sueno Otonal  {3:47}

3.  Cascada  {3:55}

4.  India  {3:48}

5.  Virgencita de Caacupe  {2:23}

6.  Mis Noches Sin Ti  {3:36}

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CAPAC Musical Portraits #3

Here is another installment in the CAPAC Musical Portrait series posts.

This one features the Larry Lake record missing from the post of January 14,2013 (featuring the work of the other members of the Canadian Electronic Music Ensemble).At the time of that post, I was missing the record from the sleeve and I promised to post it if I ever found it.

Well,it's been a stretch but, (ahem)-
PRESTO! here it is- compliments (once again) of my father, who is much better these days at finding records than I am.

He is also responsible for finding the other two records in this post; part of a collection of some 60 or so Musical Portraits which he managed to find. These were among the duplicates,many of which he sent to me.

Thanks, Daddy-O!

I focused my attention here on records containing electronic music although acoustic instruments are also in evidence, both in the Bruce W Pennycook and in the Rudolf Komorous.

Larry Lake- Musical Portrait QC-1287
 
a1-Sonata (excerpt)
 
a2-Face (excerpt)

b1-Le Bord Du Son (excerpt)

b2- Cavatina (excerpt)


Bruce W Pennycook- Musical Portrait  (Series 3) QCS-1497

a1-gr,RR (excerpt)

b1-August Suite No 3; Intermezzo

b2- Three Complaints for Flute* and Countertenor
3- The Trouble With Geraniums

b3- Three Miniatures for Harp Flute and Clarinet
2- In Strict Tempo

b4- The Yonge Street Variations No 1 and 2

*(Note-The trouble with "The Trouble With Geraniums" is that the Flute is much too Guitar).-Dr E


Rudolf  Komorous- Musical Portrait QCS-1192

a1-York/1967/ (excerpt)

a2-part of a canon from Anatomy Of Melancholy/1974

b1-Rossi/1974-75/ (excerpt)

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Chamber Concerto/Ringing Changes

Charles Wuorinen - Chamber Concerto/Ringing Changes

released on LP in 1971

I'm glad that I am able to have a new post in what has been a few months.

Chamber Concerto

composed in 1963 for cello and 10 players

Fred Sherry - cello

The Group for Contemporary Music:

Harvey Sollberger - flute
Josef Marx - oboe and English horn
Jack Kreiselman - clarinet and bass clarinet
Donald MacCourt - bassoon
Jeanne Benjamin - violin
John Graham - viola
Alvin Brehm - double-bass
Robert Miller - piano
Raymond DesRoches, Richard Fitz, Claire Heldrich - percussion

Charles Wuorinen - conductor

The Cello Concerto was composed over the first six months of 1963 for the Group for Contemporary Music, which Harvey Sollberger and I had founded the previous spring. It was premiered in January of 1964 by the Group at Columbia University, with Robert Martin as soloist and Arthur Bloom conducting.
The external design of the work divides it into five connected movements, each of which casts the soloist in a different light. In the first, his role is conventionally bravura, and this is what separates him from his accompaniment. In the second (barring short interludes in which he does not participate), he plays the lead voice in a four-part canon; the other three voices are divided between the two groups of accompanying instruments, so that each group has only six pitch-classes in its vocabulary. The cello here is unique in its ability to utter all twelve. In the third movement, the soloist asserts himself by initiating events, which are then reflected elsewhere in the ensemble ... The fourth movement sees the cello as leader of a concertante group drawn from the larger ensemble, which varies in instrumentation at each appearance. Behind the relatively fast music of the soloist and his immediate friends is a slow-moving background ... The final movement offers a summary of all these solo-ensemble relations, for along with other transformations, it is a retrograde of the entire work, first at four times the original speed, then twice, then undiminished, and finally, for the very last notes, augmented.
The cello is accompanied by a divided ensemble, and occasionally you can hear the music localized in one group or the other; there is, however, no overt or consistent antiphony between the two. To the right as we face the cello are flute, oboe, clarinet, bassoon, violin, and viola; to the left are piano, contrabass, and percussion (in this recording divided among three players, rather than the two called for in the score). (Charles Wuorinen)

Ringing Changes

composed in 1969-1970 for percussion ensemble

The New Jersey Percussion Ensemble:

Raymond Des Roches - director

Joseph Passaro - vibraphone and timpani
Marty Martini, Louis Oddo - vibraphone
Dean Poulsen, Eugene McBride - piano
Ken Hosley, Donald Mari - drums
Matthew Patuto - brakedrums
Doreen Holmes - almglocken
Michael Moscariello - cymbals
Vincent Potuto, Jr. - tamtams
James Pugliese - string drum and chimes

Charles Wuorinen - conductor

Ringing Changes was composed in 1969 and '70 for the excellent ensemble of student percussionists founded and directed by Raymond DesRoches, the group that performs it here. The work is in a single long movement, and is - somewhat like the Concerto - based on a continuous polyphonic skeleton which lies beneath the sonic surface of the work, and which generates the moment-to-moment continuity. Here the music is divided between pitched and non-pitched voices, and a basic four-voice polyphony is disposed with two voices given to pitched instruments - mainly piano four-hands and vibraphones - and two ("noise" or relative-pitch) given with various alternations and duplications to sets of 12 metal instruments, 12 drums, 6 cymbals, and 4 tamtams. An occasional inflectional role is performed by a string drum, and at the end chimes and timpani appear.  (Charles Wuorinen)

Tracklisting:

Side One

1. Chamber Concerto  {18:05}

Side Two

1. Ringing Changes  {16:50}

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The Music of Cheops

Steve Douglas - The Music of Cheops

released on LP in 1976

I found another LP where the music was too recorded in the Great Pyramid. I thought the Paul Horn - Inside the Great Pyramid was the only album of its kind. Now I wonder if there were more albums recorded in the Great Pyramid and if so, how many.

Throughout most of his career, Steve Douglas (1938-1993) has been a session musician playing sax on recordings of some of the biggest names and notables in pop and rock music including The Beach Boys, Elvis Presley, Aretha Franklin, Duane Eddy, The Righteous Brothers, The Ramones, etc. Douglas was a part of hit maker Phil Spector's "Wrecking Crew", a group of session musicians Spector used for his sessions. Douglas was inducted into the Rock and Roll Hall of Fame in 2003 in the Sideman category.

Douglas also plays the flute which he does on this album in addition to the sax. The Music of Cheops was recorded on February 10, 14, and 15, 1976, all during at night. Douglas composed and played all the music in the King's Chamber, a room that is 34 feet long, 17 feet wide, and 19 feet high. From listening to the record, the room sounds like an awe-inspiring acoustic space where the echoes give the music an otherworldly sound, a sound that probably could only be achieved in such as space as the King's Chamber.
His Rock & Roll Hall of Fame bio actually mentions this album. According to the notes in his bio, Douglas wanted to keep a low profile because of health problems in the early 1970s. Apparently, he didn't record many sessions during that time. He recorded his own music. Curiously, his bio does not mention what other albums he released. The Music of Cheops sounds like something that Douglas made just for himself, the kind of music he wanted to play. It seems like he wanted to get away or needed to get away from the intense environment of the music industry. It's meditative serene music similar to Paul Horn's, but Douglas is more free flowing. His music goes in different directions and he does more to take advantage of the space by exploring and producing more sounds from his instruments. He also was there before Horn by a few months.

Tracklisting:

The Pyramid [side 1]

1.  Pharoah's Piper  {4:34}

2.  Impressions from the IVth Dynasty: A. Pyramid Power  {1:44}

3.  Impressions from the IVth Dynasty: B. Nubian Lament  {1:32}

4.  Impressions from the IVth Dynasty: C. Flight of Horus  {0:57}

5.  Impressions from the IVth Dynasty: D. Reflections Along the Nile  {4:00}

6.  Impressions from the IVth Dynasty: E. Procession  {2:18}

The Sphinx [side 2]

1.  Time Capsule - 1976 A.D. - 2860 B.C.  {1:54}

2.  Meditations at Luxor  {5:47}

3.  Journey from Atlantis  {8:09}

4.  Ascent  {0:54}

Disclaimer: I was unable to erase a lot of crackle and surface noise on side 1. I am seeking a better copy. If I ever find one or able to get a hold of one, I'll re-rip side 1. At least, you'll know what the music is like. I think my rips of side 2 sound fine.
Update: In the comments section, there is a link to my files that have been cleaned of most of the noise on side 1.

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African Tribal Dances

various artists compilation - African Tribal Dances

released on LP

From the liner notes:

"The greatest free show on earth!" These words were used by an overseas visitor to Africa to describe the African Tribal Dances heard on this hi-fi recording made on the Witwatersrand. Every Sunday morning various mines take the turn in presenting to the public, visitors in particular, a cross section of the dancing of the tribes employed on the mines. These people come from many parts of Africa and use the dances as a form of exercise and a means of retaining their identity. The excitement is intense and it can certainly be described as the greatest free show on earth!

Technical notes:

These recordings were made with the camera in mind; the movement of sound in the recording follows the most likely camera requirements. To achieve this effect 6 Neumann microphones were suspended over the dance arena resulting in the best possible pick-up of the action taking place. This is a complete transistorised recording, a special 6 channel mixer being used in conjunction with a Nagra transistorised recording. The recordings were made by Alan D. Boyle and the recording lasting approximately 36 minutes was edited from 3 hours of tape to bring you the best sounds of each group participating.

Tracklisting:

Side 1

1.  Mzingili - untitled  {4:02}

2.  Nguni - untitled  {2:36}

3.  Bapedi - untitled  {1:59}

4.  Bakwenas (Bechuanas) - untitled  {1:59}

5.  Whistling Bechuanas (Balete) - untitled  {3:01}

6.  Hlubi - untitled  {3:09}

7.  Batswa (Shangaan from Nyambane) - untitled  {3:03}

Side 2

1.  Mchopi - untitled  {3:04}

2.  Amakway (Shangaan Choir) - untitled  {1:49}

3.  Amakwenkwe (Xhosa) - untitled  {2:04}

4.  Pondo - untitled  {2:27}

5.  Baca (Gumboot Dancers) - untitled  {3:11}

6.  Bacas Umzimkulu - untitled  {2:51}

7.  Barotse - untitled  {2:31}

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Hovhaness/Husa/Straight-Split Release (CRI 221) ca. 1968

Notes excerpted from the back cover (enclosed)

The Hovhaness TRIPTYCH was commissioned by the Columbia Broadcasting System,each number being composed for a specific Christmas of Easter broadcast.

I:The AVE MARIA is scored for two oboes,two horns,harp and women's chorus.It is  a four-part polyphonic motet in ancient modal scales.

II:The CHRISTMAS ODE is scored for piano, strings and celesta.It opens with a brief introduction for solo violin over plucked sounds and bell-like celesta in a polymodal idiom. this leads to a soprano solo, interspersed with lively but chorale like string interludes and modal counterpoint creating a mood which the composer describes as "celestial joyousness".

III:The EASTER CANTATA,dedicated to Oliver Daniel, was composed in three days for the Easter broadcast of 1953. Since Mozart's Jubilate was on the same program, Hovhaness was required to use the same instrumentation for his work: two oboes,two horns and strings (plus, at his request,a harp and celesta). The composer writes:
  "The EASTER CANTATA  begins with a tiny prelude in fantastic sounds,tuning the ear to the musci of lamentation.A mournful air and chorus follow, depicting the sorrow of the Crucifiction.A soprano aria changes the mood to ecstasy as it contemplates the Resurrection.Canonic textures of harp,celesta and pizzicato strings prepare the entrance of the soprano solo over drones, and continue their polyphony throughout the movement.A lively double canon in the orchestra accompanies a joyous  polymodal canon sung by the chorus,forming the climax of the Resurrection movement".

Karel Husa:MOSAIQUES FOR ORCHESTRA
Professor Husa describes the review of Hans Hauptmann as a completely unclued statement of his own meditations while composing the music:

"It reaches spectacular orchestral display with rather macabre tone effects.Rhythm and instrumentation combine into an organic conglomeration of rising bizarre grandiose sounds.The entire work appears menacing and diabolic.It is a clarion call of defense,an admonition to meet chaos with the unification of coordinated powers.In the end we have a quiet,soothing release of unrestrained form."

Willard Straight;DEVELOPMENT FOR ORCHESTRA was commissioned by Mrs.Courtney Campbell for the 1961 Washington Square Concert series and premiered that year undr the direction of Russell Stanger.It was composed for the limited instrumentation available (flute,oboe,two horns,two trumpets,percussion and strings) and has no programmatic implications beyond the musical one suggested by the title.It is a series of free and contrasting variations not of a melodic line but of the harmonic structure of the opening measures.
-Carter Harman
 
Side One:

a1-3:Alan Hovhaness:TriptychMembers of the Bamberg Symphony 
Singers:Benita Valente,soprano
Alferdo Antonini,conductor

I- Ave Maria 2:44
 
II- Christmas Ode 6:28
 
III- Easter Cantata 13:12 


Side Two:
 
b1: Karel Husa: Mosaiques For Orchestra (1961) 16:03 
Stockholm Radio Symphony Orchestra
Conducted by the composer.  

b2:Willard Straight: Development For Orchestra (1961) 8:42
London Philharmonic Orchestra
Russell Stanger,conductor
 























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Master Musician of India

Ustad Ali Akbar Khan - Master Musician of India

released on LP in 1966

The title of Chandranandan alludes to the Hindi words "chandra" (moon) and "nandan" (son). Accordingly, it is evening music, and introspective rather than romantic. After the briefest possible alap the basic rhythmic pattern of sixteen beats (teental) is set by the tabla. This particular performance unfolds first in vilambit laya (slow rhythm), gaining momentum with the ensuing madhya laya (moderate rhythm), then breaking into drut laya (fast rhythm). An unusual feature here, beginning about three-quarters of an inch from the end of the side, is the yugal-bandi ("yugal", concert; "bandi", a sort of contest) or question-and-answer exchange in which the sarodist and tabla player "talk" to each other, the latter replying to the former in precisely the same "words", mutatis mutandis. Not once in the heat of this episode do the artists traduce the fundamental teental; the "questions" are exactly eight beats long and the "answers" begin on the ninth beat and end on the sixteenth. Nor does this fidelity to the rhythm waver in the ati-drut (very fast) peroration, which readers such an overwhelming climax that one of the invited guests at the recording session could not forebear from applause despite a strict injunction. The engineers could not edit out the spontaneous first moment of this reaction without doing violence to the recording., and so it is still there to be heard, at the very end of the side.
The word "Gauri" is a proper female name; the prototype was the wife of none less than Lord Shiva, the Hindu deity who was among other things god of the arts. The word "manjari" means flower petals.Gauri Manjari, then, one may take to be an artist's offering to his muse. Properly under these circumstances, it is not one of the thrice-familiar ragas. It is in fact one of the aprachalit ones - "unpopular" is the translation but in the sense that it is relatively new and known only to Ali Akbar Khan's audiences. Being without benefit of tabla, this recorded performance seems to be all alap. In truth it is a complete but compact ragini. There is no rhythmic pattern, but in the absence of beats there is a clearly defined pulse and a feeling of laya (which alludes to bar-lines; the teental units on the overside contain four layas each). When this pulse quickens, about one inch in on the side, we are in the jor, corresponding very roughly to what we would call the development section. Less than another inch later we are precipitated into the concluding jhala, which emphasizes overtones and Beethoven-like patterns of repeated notes and dazzling pyrotechnics all contained within the compass of the ragini as initially stated by the composer-performer.  (James Lyons from the liner notes)

Chandranandan and Gauri Manjari are both raginis (female). The playing time for Chandranandan is between 8 P.M. and 3 A.M. It has three expressions of human feelings (rasas); they are Karuna (pathos), Bhakti (devotion), and Sringara (love). In the beginning, the melody creates the pathetic emotion, and then leads to the expression of devotion. When the Bhakti or devotion is settled and established in the tune, then through a change of notes, but maintaining the same ragini, it takes us into the feeling of love. And that is Sringara. This Sringara rasa is not bound by the carnal desires. It is a love which is based above that; the love which comes through the pains of life and the devotion of life.
Gauri Manjari is composed of Bhakti (devotion), Karuna (pathos), and Vir rasa (the rasa of strength), mixed with very little Sringara. The time for this music is between 9 P.M. and 2 A.M. Gauri Manjari begins with a feeling of uneasiness of mind, and then, gradually, the rasas will bring the other feelings one by one, and end in the notes of happiness.
These two raginis took several years to compose. They are my original creations. I have taken the characteristics of many ragas and raginis and mixed them, and created a new color and character. This is the final shape and expression of the tunes.  (Ustad Ali Akbar Khan)

Tracklisting:

Side 1

1.  Raga Chandranandan  {21:28}
Ustad Ali Akbar Khan - sarod ; Pandit Mahapurush Misra - tabla ; Anila Sinha - tanpura

Side 2

1.  Raga Gauri Manjari  {19:07}
Ustad Ali Akbar Khan - sarod ; Anila Sinha - tanpura

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Paraguayan Harp, Vol. 2

Ed Lange and His Trio Andeno - Paraguayan Harp, Vol. 2

released on LP in 1977

I found this record at a thrift store. While finding really good records like this one between $1 and $2 at thrift stores and other similar places is great, one of the drawbacks is that volume 2 of something is there yet volume 1 or other volumes are missing. I searched in the same racks again twice trying to find the first volume of Paraguayan Harp. No luck. Perhaps someday I'll obtain volume 1. In the meantime, do enjoy Paraguayan Harp, Vol. 2 supremely produced and performed.

From the liner notes:

The Indian Harp of Paraguay was most probably introduced to South America by the Jesuit missionaries of the middle 1500's. These astute men studied the Guarani language (the language of the Tupi-Guarani Indians in and around Paraguay) and Christianized them in their native language, and taught them to sing and dance in celebration of the God of the Western European world. Most probably it was the medieval harp of Ireland that was carried to Paraguay. After many turbulent years, during which the missionaries were killed or run out of Paraguay, the musical instruments and European influence remained.

Until the turn of this last century, the harp was most probably an accompanying instrument, and differed in shape and tonal quality from the present one. As the harp gained popularity, it became more and more the focal point of conjuntos [groups], and began to attract the attention of prolific folk song composers. The Paraguayan harp of today is a highly sophisticated, incredibly fine-tempered instrument, and is still undergoing changes. It is distinctively Paraguayan, and yet has found popularity the world over. It is a diatonic instrument, and has 36 strings covering five octaves. It is played with the fingernails and callouses to achieve a wide range in tonal qualities. Although diatonic, much of the solo music of the harp is played in the relative minor key, and guitars sometimes add in missing notes to achieve otherwise impossible chords. The masters of the instrument have achieved a rapid dexterity that entrances audiences, who see hands flying all over the harp. This is a virtuoso's instrument, and to play it well requires either brutal attack of the instrument - or tender caressing of the strings. It is a harp played by men and yet... it sings to the Gods.

Tracklisting:

Side 1

1.  Pajaro Campana (The Bell Bird)  {4:16}

2.  El Condor Pasa  {3:56}

3.  Malambo  {4:03}

4.  Lamento Paraguayo (Paraguayan Lament)  {3:22}

5.  Rio Rebelde (Rebel River)  {2:45}

Side 2

1.  Mi Atarraya (My Fishing Net)  {3:06}

2.  El Tren (The Train)  {2:35}

3.  Zambita  {3:07}

4.  Torrealbara  {3:06}

5.  Caballito (Little Horse)  {2:30}

6.  La Calecita (Merry-Go-Round)  {1:52}

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Micheline Coulombe Saint Marcoux-Musical Portrait (ca.1977)

 

Here is my second multi-disc installment in the Composers,Artists and Publishers Association of Canada's "Musical Portrait" series.

The first (three records) featured composers from Ontario.These three feature composers from Quebec, including work from one of the most highly respected and best-known of contemporary Canadian composers, Bruce Mather.
Also noteworthy is the inclusion of a complete work- "Atmospheres" by Nicole Rodrigue, and (excerpts from) some very good electronic works by Micheline Coulombe Saint-Marcoux,which hearken back to the sounds of the classic era of electronic music, and should definitely appeal to many of you.


Micheline Coulombe Saint-Marcoux- Musical Portrait (ca.1977)

side one:

a1-excerpts from Assemblages (4:31)
Christina Petrowska,piano

a2-String Quartet no.2, 3rd Movement (3:02)
Classiquue de Montreal(?)

side two:

b1- 3 excerpts from Zones (electronic music) (3:34)

b2- 3 excerpts from Trakadie (for percussion and tape) (4:21)
Guy LaChapelle,percussion

























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Nicole Rodrigue-Musical Portrait (ca.1977)

 


Nicole  Rodrigue-Musical Portrait 

side one:

a1:Atmospheres (beginning) (8:08)

side two:

b1:Atmospheres (conclusion) (2:06)

b2:4 Movements from Soufriere (5:53)



























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Bruce Mather-Musical Portrait (ca.1977)

                                                                                                                                      
Bruce Mather- CAPAC Musical Portrait

side one:

a1:excerpt from Madrigal V (5:10)

a2:excerpt from Symphonic Ode (3:14)

side two:
 
b1:excerpt from Sonata For Two Pianos (5:36)
Garth Beckett,Boyd MacDonald,pianos
 
b2:excerpt from Madrigal II (2:58)
Mary Morrison,Soprano
Patricia Rideout,Contralto
Ensemble of the Societe de Musique Contemporaine Du Quebec,
Serge Garant,conductor

 























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French Music And French Musicians,Program 184-Therese Brenet

This series of records is from the late 1960's.The French Broadcasting System In North America present French Music And French Musicians.
These records are no doubt rare in that the individual programs (clocking in at  thirty minutes each) are divided between two different l.p. records (so thet the radio dj could make the smooth transition from part one to part two without having to break and turn over the record.)
These records are almost 50 years old, and so I imagine that finding the correct pairs to reproduce an entire show might be pretty difficult.

Another, more interesting feature is that the records contain in many cases broadcast premieres of compositions commisioned by the ORTF specially for these overseas broadcasts.
(This first post is one of these).
It seems quite possible to me that many of these contemporary pieces may not have ever subsequently received major label recordings, and might therefore be one-of-a-kind, unique items.

Each program begins with a spoken introduction-a brief biography of the composer and a short description of the work to be presented, with the principal soloists, orchestra and conductor named.
As the records have no covers and most are missing the typed paper insert, I might make errors in spelling the names of the musicians presenting these works.My apologies in advance.

Last year my father was lucky enough to find almost 100 of these l.p.'s and, as far as I know, all programs are complete. He's been sending me the modern music ones, and this is the first one I've decided to post.
Thanks, Beboppa Poppa!
 

The French Broadcasting System In North America-
French Music And French Musicians, Program 184.

Therese Brenet- Fragor, poème en six mouvements pour deux pianos et orchestre 1969 

a1: spoken introduction  (1:41)

a2: Fragor (beginning) (11:51)

b1: Fragor (conclusion) (15:02)

b2: end notes (0:28)

Commande de  (Commissioned By)  l’O.R.T.F.
Catherine Brilly,Anne-Marie Fontaine- Pianos
Strasbourg Orchestra,Directed by Roger Albert




















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Musical Portrait-David Grimes

Some selected records from the (first?) CAPAC Musical Portrait Series (ca.1977)
"A Fiftieth Anniversary Project".

Considering how many individual 7-inch records were released by the Composers,Authors and Publishers Association of Canada in numerous "Musical Portrait" series (dozens of records in each of at least 5 series in total), it is amazingly difficult to find information on this promotional endeavor, ostensibly intended to give the radio-listening public a broader knowledge of the state of contemporary Canadian music when it was created in 1977.

These "not for sale" 7-inch 33 1/3 rpm records contain music (presumably selected by the composers themselves) which was intended to showcase the variety of styles which each composer utilized.
Most of the records contain excerpts from longer works, though some also contain complete shorter works.
As each record totals only around 17 minutes, it is understandable that some composers would choose to have presented as broad a scope as possible from their entire oeuvre by selecting excerpts.
However, it does make the absolute value of each record hard to evaluate..
My conclusion is that they are useful as a sort of advertisement, as the excerpts are at least long enough to get a distinct sense of the style of the given works.

Finding the complete works to satisfy your interest may be difficult, however, as the chances are that the entire works can be found only in limited-edition CBC boxed sets dedicated to the individual composer, which are not easy to find nowadays.

In any case-I hope that you will find something of intrinsic value in these little artifacts, and maybe some new leads to follow in your search for overlooked or underexposed Canadian composers and their works.

My first offering includes works by 3 of the 4 founding members of the Canadian Electronic Ensemble (unfortunately,my copy of the record by the fourth member- Larry Lake, is missing from its sleeve. If it turns up I'll addend the post.)



 CAPAC Musical Portrait-David Grimes (QC-1289)

a1-excerpt from Increscents for violin and electronic instruments (4:50)
Morry Kernerman,violin
James Montgomery and David Grimes,synthesizers
 
a2-excerpt from Sotto Voce for voice and tape (3:03)
Marry Morrison-soprano

b1-excerpt from Walter for trombone and electronics (3:42)
David Grimes,trombone
James Montgomery,electronics
 
b2-excerpt from Legend (4:00)
Canadian Electronic Ensemble 

























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Musical Portrait-James Montgomery

CAPAC Musical Portrait-James Montgomery (QC-1290)
 
a1-excerpt from Relations for piano and tape (2:02)
Karen Kieser,piano 

a2-excerpt from White Fire for amplified brass quintet(1:50)
The Canadian Brass
 
a3-excerpt from Reconnaissance for amplified String Quartet (3:50) 
Vaghy String Quartet

b1-excerpt from Paris (4:34)
Canadian Electronic Ensemble 

b2-excerptr from October 4th, 1974 (3:07)
Canadian Electronic Ensemble 
 

 


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Musical Portrait-David Jaeger

 

CAPAC Musical Portrait-David Jaeger (QC-1288)
 
a1-excerpt from Fancye for organ and tape (6:47)
Derek Healy,organ
 
a2-excerpt from Quanza Duetto for 2 guitars and tape (1:50)
Robert Bauer and Douglas Virgin,Guitars
 
b1-excerpt from Whale Oil (4:35)
Canadian Brass Ensemble
 
b2-excerpt from Star Song (3:15)
Canadian Electronic Ensemble




























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