anonradio: the next generation

Background Noise: John Cage month part one with Geoffrey Barnard

Posted in Uncategorized by loops on August 30, 2010

The link is here

Richard Fielding and  John Blades back for a very special morning. John Cage was the most important composer and conceptualist of the 20th-century. This morning we are very privileged to be taken on a guided journey into and through the world of John Cage with Australian Improvising Music Pioneer Geoffrey Barnard Who Knew John Cage Well and stayed in his New York apartment on a number of occasions. Welcome Geoffrey to background noise and the first part of our John Cage month. Through anecdotes and rare insights we will gain a personal perspective of the great John cage that you will not read about in books including some quotes. There is plenty of basic biographical information On John Cage on the Internet which we will not be covering. Geoffrey has carefully chosen music for each of the programs from his own collection of the music of John Cage. This morning the early years of the 1940s and 50s.
Tracks played

 

First bracket

Track title, year, source, duration

Imaginary Landscape No 2 , April 1942, Hat Hut Records, Switzerland:, 6’24”
Radio Music , May 1956, Cramps Records, Italy:, 6’02”                                                                        

Second bracket                                                        

 Solo for Sliding Trombone , 1957-58 + Fontana Mix , Nov 1958, Etcetera Records, Netherlands:, 16′ 52″

Third bracket                                                                  

Fontana Mix – Feed , 1958/1965, Alga Marghen, Italy: 10′ 08″

  Version recorded in December 1965 at WDR Studios, Cologne

Max Neuhaus, live electronics

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Background Noise: John Cage month part two with Geoffrey Barnard

Posted in Uncategorized by loops on August 30, 2010

The link is here

, Richard and John return with the second instalment of our special John Cage month with Geoffrey Barnard Australian improvising music pioneer who knew John Cage well and stayed several times in his New York apartment ,Welcome back  Geoffrey. Having laid the foundations in program one we go deeper into the life and ideals Of John Cage. With carefully chosen music from Geoffrey’s collection, starting with 1947, 1960  into the 1970s and 80s. Including the words Of John Cage himself. We delve into little-known but essential aspects of his life and provide an overview of the legacy and impact of his ideas and music. Further unique insights and anecdotes from Geoffrey.
Tracks played

Musical bracket one

Title, year, source, duration

Music for Marcel Duchamp , (1947), Cramps Records, 6′ 29″

Music for Amplified Toy Pianos , (Feb 1960), CD included with Italian publication John Cage (Materiali Sonori Edizioni), 11’50”

Musical bracket two

Extracts from a conversation at the State University of New York, Albany on 9 September 1973 between John Cage and Joel Chadabe (with a contribution by David Tudor) prior to the first US performance of Bird Cage,Electronic Music Foundation, USA:, 3’18”

Bird Cage, (April 1972), Electronic Music Foundation, USA, 14’32”

Musical bracket three

Five, (January 1988), Mode Records, USA:, 5’06”

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Background Noise: Ron Geesin

Posted in Background Noise by Ellard on October 20, 2008

Here is a link, the programme first aired on 23rd of September.

Richard Wright, keyboard player and founding member of Pink Floyd passed away on September 15 at the age of 65 following a short illness with cancer. Wright’s richly textured keyboard layers were a vital ingredient and a distinctive characteristic of Pink Floyd’s sound. In addition, Wright frequently sang background and occasionally lead vocals onstage and in the studio with Pink Floyd. he wrote significant parts of the music for classic albums such as Meddle, The Dark Side of the Moon and Wish You Were Here, as well as for Pink Floyd’s final studio album The Division Bell .Now a Richard Wright track,sysyphus part III (1’49”)from ummagumma the1969 fourth album by Pink Floyd.It’s hard to beleve it”s Pink Floyd.

Good Morning, Richard Fielding and myself John Blades return for a morning of quintessentially British  avant-gardeism.  This morning the recent double CD Biting the hand, the BBC radio broadcasts of Ron Geesin from 1969 to 1975 and released on Hux Records .  He is one of Britain’s leading avant-garde composers and performers. The first CD includes introductions by and discussions with perhaps his greatest radio supporter, The Late John Peel.From his website:
Composer, performer, sound architect, writer, lecturer, broadcaster and interactive designer, Ron Geesin was born in Ayrshire in Scotland in 1943. He co-wrote Pink Floyd’s Atom Heart Mother [EMI CD] and made Music From The Body [EMI CD] with Roger Waters. After his first solo album A Raise Of Eyebrows [Transatlantic 1967], he became one of the first one-man record companies with As He Stands, Patruns and Right Through. His first book of poems and stories Fallables appeared in 1974.
On the CDs all instrumentation Is by Ron Geesin and includes:

Ron Geesin: voice, 6-string, 4-string, 1-string, detuned, multi-tracked and “eastern” banjos, red petrol can, piano (plucked, beaten and played), percussion, ring-modulated and multi-tracked percussion, celeste, mouth, cymbals, tape delay system, tape inside London bus, harpsichord, water cistern, VCS3 synthesizer, synthesizer bass, tape loop, tape loop of train on rails, mandoline, drum. etc

CD1, the main other voice Is John Peel

Track,Title,Duration

1,2,3, 7,8,9,15,18

1,blues tuned a bit green,1’39”

2,pretty little faces,2’56”

3,off the left cuff,2’12”
4,yesterdays sheep,2’37”

7,a piece for harmonium,2’21”, all from 1968

For Expo 70 (Osaka Japan), he made a large multi-source sound-work in the British Pavilion. He Has Also constructed other multimedia environmental works.

He was often featured on John Peel and Bob Harris shows for BBC R1.

Continuing with  CD one:

8,John Peel introduction,1’21”

9,wind of life,2’21”

11,whirls of brain,0’56”, 1968

15,3/4 plywood cover for voice.3’28”

18,Mr tape machine,speak with your heads,3’45”, 1969

And he has composed music for film and television.  Interestingly  he describes his live improvisations as “sub-conscious flow”, studio music as “electro-melodic sound-painting” and his life as “chance careering”.

Not surprisingly his influences include The Goons And Surrealism.

 

CD2, the first selection

1,Ron’s notebook,3’04”,
3, agitation in anticipation of offspring part W,2’24”,

5, agitation in anticipation of offspring part Y,4’20”, 1969

As a spirited and informed lecturer, he has excited students since 1969 from primary schools to universities, examining the combining of music and sound with subjects as diverse as typography, the street and the media.

A Great Revelation for Ron Geesin was his discovery of the A 77 Revox reel-to-reel tape machine and tape loops and delay.  He Has Collaborated with artist/writer Ian Breakwell in audio, video and radio.

He Has Released approximately 28 recordings since 1973.

Continuing with CD2, the final selection:

7,a cymbal and much electronics ,2’59”
8, got me black vest on,2’24”

9, which way out?  Thank you,2’23”,1971

10, two feet and a mouth,3’24”,
13, Chrisfarce,3′ 16″

14, from Sevenoaks to Charing Cross,2′ 51″,1972

Finally , Ron Geesin said in 1969 “I want to mean something but I don’t want to belong to anything “.

Background Noise: Marcel Duchamp music and words

Posted in Uncategorized by loops on July 1, 2008

link

Bebe Barron, one of the most innovative musique concrete composers of the last century, died on April 20 in Los Angeles; with her husband Louis they composed the first electronic score for a feature film ,the 1956 science-fiction classic “Forbidden Planet”. She was 82. It Was the Only film score they ever created.  Mrs. Barron would sort through hours and hours of tape. Together the Barrons would cut and splice; play segments at varying speeds to change the pitch; run segments in reverse to create new sounds; or induce delays to produce echoing feedback. She Was a Real music concrete/reel to reel tape practitioner whose legacy will live forever . We Started out with an excerpt from the soundtrack to Forbidden Planet  directed by Fred M Wilcox.

 

This Morning on Background Noise, Marcel Duchamp. He Was Born near Blainville in France in 1887 (died in France in 1968) .  Marcel Duchamp, is recognised today as being a leading artist and theorist of the 20th-century.  After early experiments with traditional styles and Cubism he abandoned orthodox forms and techniques and in 1915 relocated to New York.  There he worked on provocative readymades such as fountain (1917), a porcelain urinal signed R Munch and promoted surrealism, and Dada together with Francis Picabia from the Dada group in Zürich and Man Ray.They brought to New York the Dada ideas of absurdity and anti art. The New York Dada was rather more playful than the European counterpart and Duchamp introduced  his humour and ideas about art into the New York activities, they often met in Greenwich Village. We Will Hear, alternately music and spoken word by Marcel Duchamp, mainly from the CD released last November on the English label LTM.  The CD is  titled Marcel Duchamp: Musical Erratum + in conversation. Written in 1913, the Musical Erratum for piano forms part of the sequence of notes and projects which led to Duchamp’s celebrated artwork, La Mariée Mise à Nu Par Ses Célibataires, Même (The Bride Stripped Bare By Her Batchelors, Even, often called The Large Glass). La Mariée is also the sub-title of the 1913 piano work. The Piano  Works Are Composed using chance operations.Abstract, elusive and even “inachievable” according to the artist, the Musical Erratum consists of two scores. In the first, notes are replaced by numbered keys, and virtuoso performance is discouraged in favour of novel mechanical instrumentation. The second offers a form of random composition, by which numbered balls are dropped into the moving wagons of a toy train. Famously, Duchamp described the whole as “a very useless performance, in any event.” Two versions are included on this CD, including a conventional (but non-virtuoso) performance on piano, and another on which spinning rotary discs brush the piano strings to produce extraordinary tones, the first piece we will hear performed by Mats Parsson and Kristine Scholz in 1981,

: and then we will hear various, spoken word pieces, interspersed with the piano music Musical Erratum (La Mariée Mise à Nu Par Ses Célibataires, Même) (the bride stripped bare by her bachelors.  Even)/ performed by Tom Felderchuh in 2007.

1,erratum musicale: La Mariée Mise à Nu Par Ses Célibataires, Même)/ preparedpiano,

8, piano part three,                                                                                                                                            2, the creative act (lecture given by Duchamp, in April 1957 at the conference of the American Federation Of Arts in Houston, Texas)

11, piano part 6

 

 

 

3, A L’Infinitif (in the infinitive)

12, piano part 7

4, interview (part one), with George Hamilton, London, 1959

13, piano part 8

The third piece of the three he composed, Sculpture Musicale is a note on a small piece of paper, which Duchamp also included in the Green Box (published by him in 1934) . According to Arturo Schwarz, the piece was written sometime during 1912 – 1920 /21, although 1913 is the most probable year. The Musical Sculpture is similar to the Fluxus pieces of the early 1960s. These works combine objects with performance, audio with visual, known and unknown factors, and elements explained and unexplained. A realization of such a piece can result in an event / happening, rather than a performance.

CD2

3, Sculpture Musicale  Musicboxes version by Petr Kotik

4, Sculpture Musicale (Mesostic by John Cage) John Cage, voice

 

WHAT’S ON

1. Anthony Mannix, Australian art Brut maker, exhibition called a cerebral Odyssey at Orange Regional Gallery until Sunday July 13.  The Gallery is located on the corner of byng and Paisley streets in orange.  You can e-mail the Gallery for directions approaching from Sydney.  The e-mail address: CPhillips@orange.nsw.gov.au.  The opening hours are Tuesday to Saturday 10 a.m. to 5 p.m., Sundays midday to 4 p.m..  Now we will hear about the exhibition from Anthony, whom I spoke to recently.

 

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