A Possible History of Electronic / Electroacoustic Music Vol-1 (1937-1952)

A Possible History of Electronic / Electroacoustic Music Vol-1 (1937-1952)
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01_Olivier Messiaen_Oraison – For Ondes Martenot – 1937
02_John Cage_Imaginary Landscape – 1939 – For 2 Phonographs
03_Pierre Scaheffer_Étude noire – piano sounds recorded for Schaeffer by Boulez
04_Pierre Schaeffer_Variations Sur Une Flute Méxicane – 1949
05_Pierre Schaeffer_L’Oiseau RAI – 1950
06_Perre Henry_Bidule En UT – 1950
07_John Cage_Imaginary Landscape No.4 (March No.42) – 1951
08_John Cage_Imaginary Landscape No.5 – 1952
09_John Cage_Williams Mix – 1952
10_Herbert Eimert_Klangstudie I – 1952
11_Eimert-Beyer_Klang im Unbegrenzten Raum – 1952
12_Eimert-Beyer_klangstudie II – 1952
13_Otto Luening_Low Speed – 1952
14_Otto Luening_Invention In Twelve Tones – 1952
15_Otto Luening_Fantasy In Space – 1952
16_Bruno Maderna_musica Su Due Dimensioni – 1952
17_Karlheinz Stockhausen_Étude – 1952
18_Vladimir Ussachevsky_Sonic Contours – 1952

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Pierre Schaeffer_Cinq études de bruits

Pierre Schaeffer_Cinq études de bruits
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Cinq études de bruits (Five Studies of Noises) is a collection of musical compositions by
Pierre Schaeffer. The five études were composed in 1948 and are the earliest pieces of musique
concrète, a form of electroacoustic music that utilises recorded sounds as a compositional
resource.

The five études were composed at the studio Schaeffer established at RTF (now ORTF),
Studio d’Essai. They are:

    Étude aux chemins de fer – trains
    Étude aux tourniquetes – toy tops and percussion instruments
    Étude violette
    Étude noire – piano sounds recorded for Schaeffer by Boulez
    Étude pathétique – sauce pans, canal boats, singing, speech, harmonica, piano

The works were premiered via a broadcast on 5 October 1948, titled Concert des bruits.

John Cage and David Tudor Concert at The San Francisco Museum of Art

John Cage and David Tudor Concert at The San Francisco Museum of Art (January 16, 1965)
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Program
John Cage: Duet for Cymbal (from Cartridge Music, 1960) (19:17)
Christian Wolff: for 1, 2 or 3 people (23:36)
John Cage: Variations IV (31:46)

Recorded by KPFA Radio on the 39th birthday of David Tudor, this historic concert with John Cage
thundered through the halls of the sculpture court of the San Francisco Museum of Art before a
capacity audience that included the late Darius Milhaud in his wheelchair and other Bay Area arts
 dignitaries. The volume levels were raucus and the medium of live electronic music never more
vibrant. Opening with a work performed on a single cymbal with contact microphones agitated by
a wide gamut of objects, and concluding with Variations IV in which loudspeakers outside the
performance space in various hallways interacted with speakers next to the audience, this was
truly an affair to remember.

Anthony Braxton_23 Standards

Anthony Braxton
23 Standards
 4-disc set (mp3,Rar, contact me):

23 Standards vol.1
23 Standards vol.2
23 Standards vol.3
23 Standards vol.4
Personnel: Anthony Braxton, reed; Kevin O’Neil, guitar; Kevin Norton, percussion; Andy Eulau, bass.
Track Listing: DIsc 1: Crazy Rhythm; Off Minor; Desafinado; 26-1; Why Shouldn’t I; Giant Steps.
Disc 2:Tangerine; Black Orpheus; Round Midnight; Ju Ju; After You’ve Gone.
Disc 3: Everything I Love; I Can’t get Started; It’s a Raggy Waltz; Countdown; Blue in Green; Beatrice.
Disc 4: Only the Lonely; Recorda Me; Ill Wind; I’ll be Easy to Find; Three to Get Ready; Dolphin Dance.

Don Cherry_Mu

An outstanding work in the free jazz and avant-garde jazz idiom, the Mu sessions are among the most beautiful improvised duets recorded during the height of the free jazz movement. Recorded in France in 1969, Mu remained an obscure collector’s item for three decades until its reissue in two parts during the ’90s. With Don Cherry on pocket trumpet, piano, Indian flute, bamboo flute, voice, bells, and percussion and Ed Blackwell on drums, percussion, and bells.
mp3, RAR
contact me…

Luigi Russolo_The Art Of Noises

Luigi Russolo (30 April 1883 – 4 February 1947)
The Art of Noises
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was an Italian Futurist painter and composer, and the author of the manifesto
The Art of Noises (1913). He is often regarded as one of the first noise music experimental
composers with his performances of “noise concerts” in 1913–14 and then again after World War I,
notably in Paris in 1921.

01_Risveglio Di Una Città, 1913
02_Crepitatore
03_Ululatore
04_Gracidatore
05_Gorgogliatore
06_Ronzatore
07_Arco Enarmonico
08_Corale, 1921
09_Serenata, 1921
10_L’Aviatore Dro Op.33
11_Macchina Tipografica
12_Canzone Rumorista
13_Omaggio A Luigi Russolo

Obscure No. 2: Ensemble Pieces – Christopher Hobbs, John Adams, Gavin Bryars

Obscure No. 2: Ensemble Pieces – Christopher Hobbs, John Adams, Gavin Bryars (1975)
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1_Christopher Hobbs – Aran

Bells [Tubular Bells], Triangle [Triangles], Cowbell [Cowbells], Toy Piano –
Christopher Hobbs Organ [Reed Organ], Toy Piano, Triangle [Triangles],
Drums –
John White Organ [Reed Organ], Triangle [Triangles], Wood Block [Wood Blocks], Cymbal [Cymbals] –
Gavin Bryars

2_John Adams–American Standard (John Philip Sousa / Christian Zeal and Activity /Sentimentals)

Engineer [Recording Engineer] – Alden Jenks
Flute, Clarinet, Clarinet [Doubling Bass-clarinet, Doubling Bass-drum], Tuba,
Percussion [Trap Set], Violin, Viola [2 Violas], Cello, Double Bass, Harp –
New Music Ensemble Of The San Francisco Conservatory Of Music, The

From a live performance by The New Music Ensemble of The San Francisco Conservatory
of Music at the Museum of Art on March 23rd 1973. 

3_Christopher Hobbs – McCrimmion Will Never Return

Organ [Reed Organ] – Christopher Hobbs, Gavin Bryars

4_1,2, 1-2-3-4

Cello – Cornelius Cardew
Double Bass – Gavin Bryars
Drums – Mike Nicolls
Engineer – Phil Ault
Guitar – Derek Bailey
Oboe – Andy Mackay
Piano – Christopher Hobbs
Trombone – Paul Nieman
Violin [Violins] – Stuart Deeks
Vocals – Brian Eno, Celia Gollin

Morton Feldman_Two Pieces For Three Pianos

Morton Feldman: Two Pieces for Three Pianos (January 24, 1969)

A performance of Morton Feldman’s Two Pieces for 3 pianos, by Robert Moran, Loren Rush,
and the composer himself.

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Cecil Taylor_Chinampas

Cecil Taylor
Chinampas
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Chinampas is a solo album by Cecil Taylor recorded in London on November 16 & 17, 1987 and
released on the Leo label.

The Allmusic review by Thom Jurek states “Chinampas is a true oddity in avant jazz
pianist/poet/dancer Cecil Taylor’s voluminous catalog. This is a spoken word record of Taylor
reciting his poetry while accompanying himself on timpani, bells, and small percussion.
To address what these poems are about is a meaningless endeavor. It would be the same
as trying to explain what his piano playing is about. It’s all language; it’s all music.
In fact, these poems, studio recorded beautifully in the fall of 1987, tell the story of
Taylor’s approach to making music, creating solid matter from thin air, and then —
like the true shaman that he is — transforming it into sand and blowing it away to make room
for something else… This is an hourlong record that can not only keep the listener’s attention,
 but can also bring the listener to restful sleep. It is at turns maddening and soothing,
and ultimately instructive. In Chinampas (an Aztec word that means “floating garden”),
it means that everything is fluid, everything is interconnected, and language —
if it extends itself far enough — has the power to embrace it all. As an artist Mr.
Taylor has gone where few have gone before him, let alone succeeded; this is what he is used to.
But he may have surprised even himself in the sheer musicality of his mystical universal tome”.

Cecil Taylor: poetry, voice, tympani, bells, small percussion
Recorded 16 + 17 November, 1987

CHINAMPA – an Aztec word meaning “floating garden”