Various Artists – IPEM – Institute for Psychoacoustics and Electronic Music
In commemoration of IPEM’s 50th anniversary, Metaphon presents a lavishly illustrated 88 page book (all text in Dutch and English) with two CDs featuring Lucien Goethals, Didier Gazelle, Louis De Meester, David Van de Woestijne, Stefan Beyst, Helmut Lachenmann, Boudewijn Buckinx, Karel Goeyvaerts, Emmanuel Van Weerst, Peter Beyls, Raoul De Smet, Frank Nuyts, Ricardo Mandolini, Peter Schuback, Stephen Montague and Yves Knockaert. All tracks were recorded at the IPEM studio between 1963 and 1999, mastered from the original tapes. Most tracks are previously unreleased. Vinyl version comes out late may in an edition of 300 copies and contains 3LP’s
IPEM is not a teaching organisation. IPEM was founded in 1963, as a joint venture between the Belgian Radio and Television broadcasting company (BRT) and Ghent University. The idea was to combine audio engineering with music production, thus building a bridge between scientific research and artistic research.
The institute was first located in the electronics laboratory of Prof. H. dr. ir. Vuylsteke, but soon after it was associated with the department of musicology, which was lead by Prof. dr. J.L. Broeckx and later on by Prof. dr. H. Sabbe. Together with ir. W. Landrieu, they developed the institute into a music studio and a center for the study of contemporary music.
Music production at IPEM was lead by the composers L. De Meester, K. Goeyvaerts and L. Goethals, all employed by the BRT. They realized many compositions and radio transmissions related to contemporary music.
Since 1968, research results at IPEM were published in yearbooks. In collaboration with Sonology (then at Utrecht), this resulted in 1972 in an international journal, called Interface – Journal of New Music Research.
Since 1987, IPEM has grown to a center with more than 30 researchers working on music. It is currently the research centre of the Department of Musicology at the University of Ghent, and exists for the study of contemporary music with a particular interest in new musicological methods and scientific research in the area of psycho-acoustics, interactive multimedia technologies and their applications, the archiving and preserving of sound and research into emotions and expressions related to music. The Institute organises concerts, summer courses, symposia.
1. Louis de Meester : Incantations (6:36)
2. Lucien Goethals : Studie 1 (5:26)
3. DIdier Gazelle : Studie 1 (3:12)
4. Louis de Meester : Cadenza (from Dialogos) (4:59)
5. David Van De Woestijne : Les Céphalopode (5:41)
6. Stefan Beyst : Ekreksis (4:44)
7. Helmut Lachenmann : Scenario (12:33)
8. Boudewijn Buckinx : Simparolo (3:41)
9. Karel Goeyvaerts : Nachklänge aus dem Theater (part 1) (5:09)
10. Emmanuel Van Weerst : Monochroom (6:25)
11. Peter Beyls : Prints (9:27)
12. Raoul de Smet : Torso (tape part) (7:09)
13. Ricardo Mandolini : El Cuaderno del Alquimista (9:29)
14. Frank Nuyts : Chile (Part1) (7:52)
15. Peter Schuback : L’ombre négatif de Monsieur Sandomir (9:13)
16. Stephen Montague : Slow dance on a burial ground (24:34)
17. Yves Knockaert : Foto II (from Portraits) (12:01)
18. Lucien Goethals : Dendrofonies (11:20)
Metaphon is an independent non-profit organisation. It is a platform dedicated to promoting sound experimentation, soundart and electronic music. It was founded by Timo Van Luyk, Greg Jacobs és Marc Wroblewski in 2007 with the purpose of presenting concerts, performances and installations and for producing audio publications and related media. All three were members of the belgian experimental and improvising music collective, the Noise Maker’s Fifes which worked between 1990 and 2000.
As a record label Metaphon mainly focuses on releasing archival and previously unreleased sound work by Belgian electronic music composers and sound artists from the 20th century. There is yet a lot of important and interesting material that has remained in obscurity although it is undoubtedly of significant value to our cultural and musical heritage. Metaphon endeavours to uncover these hidden treasures. (see ‘releases’)
As a concert promoter Metaphon concentrates on contemporary soundart and related disciplines. We intend to organise several events per year at various locations according to the musical content and the specific requirements of each project. This also enhances the possibility for artists from different countries and with various backgrounds to connect, interact and create new pieces within the framework offered.
Just few, but more interesting items have released in deluxe edition. Almost each ones released in CD and LP version.
Carl Stone (born Carl Joseph Stone, February 10, 1953) is an American composer, who is one of the pioneers of live computer music. He has been hailed by the Village Voice as “the king of sampling.” and “one of the best composers living in (the USA) today.” He has used computers in live performance since 1986. His works have been performed all around the world.
Stone studied composition at the California Institute of the Arts with Morton Subotnick and James Tenney and has composed electro-acoustic music almost exclusively since 1972.
He had a work-study job in the Music Library, which had many thousands of LP records in the circulating collection (this was 1973). The collection included a lot of western classical music of course but also a really comprehensive world music collection, avant-garde, electronic music, jazz and more. Because the librarians were concerned that the LPs, many of which were rare, would soon become unlistenable at the hands of the students and faculty, his job was to take every disc and record it onto cassette, a kind of back-up operation. He soon discovered that he could monitor the output of any of the recordings he was making and even mix them together without disturbing the recordings. So, he began to experiment, making musical collages, and started to develop habits of combining disparate musical materials.
Stone utilizes a laptop computer as his primary instrument and his works often feature very slowly developing manipulations of samples of acoustic music, speech, or other sounds. Because of this, as well as his preference for tonal melodic and harmonic materials similar to those used in popular musics, Stone’s work has been associated with the movement known as minimalism.
Prior to his settling on the laptop, in the 1980s, he created a number of electronic and collage works utilizing various electronic equipment as well as turntables. Prominent works from this period include Dong Il Jang (1982) and Shibucho (1984), both of which subjected a wide variety of appropriated musical materials (e.g. Okinawan folk song, European Renaissance music, 1960s Motown, etc.) to fragmentation and looping. In this way his work paralleled innovations being made in the early days of rap and hip hop (e.g. Grandmaster Flash, of whose work he was unaware at the time). It was during this period that he began naming many of his works after his favorite restaurants (often Asian ones).
His first residency in Japan, sponsored by the Asian Cultural Council, was from November 1988 to April 1989. While living in Tokyo he collected more than 50 hours of recordings of the city’s urban soundscape, which he later used as the basis for his radio composition Kamiya Bar, sponsored by Tokyo FM radio, and released on a CD of the same name by the Italian label NewTone / Robi Droli.
Stone has collaborated frequently with Asian performers, including traditional instrumentalists such as Min Xiao-Fen (pipa), Yumiko Tanaka (shamisen), Kazue Sawai (koto), Michiko Akao (ryuteki), and those working with modern instruments, such as Otomo Yoshihide (turntables, guitar), Kazuhisa Uchihashi (guitar, daxophone), Yuji Takahashi (computer, piano), and vocalists such as Reisu Saki and Haco. He has also collaborated on an album with Hirohito Ihara’s Radicalfashion and recently with Alfred Harth who partly lives in Korea.
We can listen on two CR-R, wich released by Kendra Steiner Editions. Oneof them is Alfred 23 Harth & Carl Stone – “Gift Fig” (KSE #207), and other is Alfred 23 Harth / Carl Stone / Samm Bennett / Kazuhisa Uchihashi – “The Expats” (live at Superdeluxe, Tokyo 2010, KSE #233). Carl Stone’s music has been used by numerous theater directors, filmmakers, media artists, and choreographers.
Beginning in the early years of the 21st century, Stone began to compose more frequently for acoustic instruments and ensembles, completing a new work for the San Francisco Bay Area-based American Baroque.
Stone served as president of the American Music Center from 1992 to 1995, and was director of Meet the Composer/California from 1981 to 1997. He also served as music director of KPFK-FM in Los Angeles from 1978 to 1981.
For many years, Stone has divided his time between San Francisco and Japan. He is a faculty member in the Department of Information Media, School of Information Science and Technology at Chukyo University in Japan.
The result of the last changeling radio show is this four hour long possibility. In this way I can present “Trillium R” (4xCD box) and “Trillium M” from Anthony Braxton’s Trillium Cycle.
Anthony Braxton – Trillium
Anthony Braxton’s Trillium Cycle is the ongoing project closest to his heart, where he brings his “restructuralist” vision to the grandest of Western musical traditions: opera.
In 1984 Braxton decided to write “Trillium” opera. In this time he stated that “Trillium is a point of definition in his music system. He planned Trillium will consist of a complex of 36 autonomous acts that can be refitted into any combination to total 12 three-act operas. Five of Braxton’s operas have been performed thus far:
Trillium A (one act, fully staged in San Diego in 1985-ben),
Trillium M (two acts, in a concert performance in London in 1994),
Trillium R (four acts, fully staged in NYC in 1996),
Trillium E (four acts, recorded on March 18-21, 2010 at an studio in NY),
Trillium J (four acts, 1. & 3. acts performed in Brooklyn on 8 October 2011 ).
„Trillium M” recorded live at London’s Sadlers Wells Theatre in May 1994, this realization is the second CD of an double CD, wich was released by Leo Records in 2006, „Trillium R” released on 4xCD Box in 1999. “Trillium E” was recorded on March 18-21, 2010 at Systems Two Recording Studio in Brooklyn, NY by a cast of 12 vocalists, 12 solo instrumentalists and a 40-piece orchestra, released on 4xCD Box too in 2011.
1. & 3. acts of Trillium J, with a cast of twelve singers and 35-piece, performed at Roulett, Brooklyn (NYC) on 8 October 2011. It was the closing of Tri-Centric Festival. The total Trillium J, will be premiered in April 2014 at Brooklyn’s Roulette, headlining a two-week festival of Tri-Centric music. Braxton is currently at work composing Trillium X.
excerpt from “Trillium E” (June 19th, 2010, NYC)
The name “Trillium” is derived from Braxton’s “Tri-Axium” philosophical writings. He sees The Trillium Project as representing the three partials of his life’s work: music (sound logic) systems, thought (philosophical) systems, and ritual and ceremonial (belief) systems. Braxton describes The Trillium Project as an opera complex” of autonomous one-act settings interconnected through twelve recurring character archetypes that illustrate the basic components of his logic system, represented both by the twelve singers and by the same number of improvising instrumental soloists.
Each act occurs within a specific dramatic context, but there is no overarching narrative structure; rather, the interest is in how the characters interact within the parameters of a given situation. (These situations range from a corporate board meeting to interplanetary space travel.) Braxton does not shy away from the melodramatic potential of traditional opera: there are swordfights and chases, giants and plagues. However, the “apparent story” is just one of three levels; underlying each act are the “philosophical” and “mystical” dynamics that so deeply inform Braxton’s libretto and music.
Braxton writes, “Events in this sound world attempt to act out a given central concept from many different points of view. There is no single story line in Trillium because there is no point of focus being generated. Instead the audience is given a multi-level event state that fulfills vertical and horizontal strategies (objectives). The wonder of this approach brings a fresh vitality to the music and will allow for a broad range of interpretations. I believe that the medium of opera is directly relevant to cultural alignment and evolution.”
Anthony Braxton – Trillium R
How can a guy like Braxton, who writes constantly, get a high mark on his first outing? Simple — with the exception of Anthony Davis, who wrote Malcolm X, no one from the jazz side of the fence has attempted such a complete attempt to embrace the world of Western classical music so thoroughly. (Perhaps it is Wynton Marsalis’ “Blood on the Fields” jazz oratorio).
And it deems that Braxton is the only one who has his work be worthy of comparison to the works of Webern, Berg, and Schoenberg, not to mention Morton Feldman and John Cage.
Compared to his jazz work, Composition No. 162 — An Opera in Four Acts/Shala Fears for the Poor (dedicated to Nelson Mandela) is far from dense compared to his jazz quartet, quintet, and orchestra work.
The opera is performed by nine singers and a full symphony orchestra who has among its membership instrumental soloists like clarinetist Chris Speed, flutists Ned Rothenberg and Rob Brown, and violinist Sara Parkins.
All of the operas in the Trillium series will have three primary levels spread throughout their acts and scenes: an “apparent story,” which is a narrative that can be appreciated more or less for what it seems to say; a set of “philosophical associations” that make the work refer outside itself into the world of ideas; and finally, “the mystical or spiritual fundamental that underlines each setting,” in other words, an allegory — noh or kabuki theater anyone?
The narrative in Shala is a long, drawn-out, rhetorical narrative involving the marketing of products and productions to the masses, specifically to the lower classes. These products are everything from food to loans, all of them created to extract a maximum of profit regardless of damage. Certainly there is a preaching to the converted here, with a plot as concerned with the obvious as the face of our culture. But Braxton — through his use of color, shape, texture, and above all intersecting musical and dramatic dynamics — cuts through and makes his dialogue enter into the imagination, where the listener extrapolates her or his own experience and places it firmly in the operatic sequence of events.
And after all, like all of Braxton’s music, this opera, Shala Fears for the Poor, is about language and how it mediates and transcends images. Braxton is trying to transcend the language of the opera while using it for his own purposes. If this is where the future of opera is headed, if this is where it’s language will ultimately be decided, enclose a grammar book.
Anthony Braxton – Trillium R: Shara For The Poor – Composition No. 162 (Opera In Four Acts) (199,4 x CD Box, Braxton House, BH-008) CD1
Anthony Braxton – Trillium R: Shara Fears For The Poor – Composition No. 162 (Opera In Four Acts) (1999, 4xCD, Braxton House, BH-008) CD2
Anthony Braxton – Trillium R: Shara Fears For The Poor – Composition No. 162 (Opera In Four Acts) (1999, 4xCD, Braxton House, BH-008) CD3
Anthony Braxton – Trillium R: Shara Fears For The Poor – Composition No. 162 (Opera In Four Acts) (1999, 4xCD, Braxton House, BH-008) CD4
Composition No. 126 Trillium – Dialogues M
Recorded live at London’s Sadlers Wells Theatre in May 1994, this realization of Anthony Braxton’s Compositions 175 and 126 was released by Leo Records in 2006 on a double CD. Both works are outgrowths of the composer’s Trillium opera project, which was first defined a full decade before this recording was made.
Composition 126 was originally designated “Trillium – Dialogues M (1986) Joreo’s Vision of Forward Motion,” a four-scene, one-act opera with two interludes for six soloists, dancers, choir, piano, large orchestra, and percussion. This was conceived with instructions for costuming and stage design. As presented in 1994, the work involved four vocalists, an 18-piece creative orchestra (including a string quartet) under Braxton’s direction, and a partially electronic “constructed environment.” Structurally and texturally, the music at times seems closely aligned with what Braxton refers to as the Post-Webern Continuum, in the selection and configuration of tones and the use of silence as a structural element. The keyboard improvisations of Roy Powell are especially intriguing, as is the interplay among the instrumentalists behind the declamatory vocals
Anthony Braxton with the Creative Jazz Orchestra – Composition No. 175 & Composition No. 126 (2005, 2xCD, Leo Records, CD LR 453/454) CD2 Composition No. 126 Trillium – Dialogues M (Jorneo’s vision of forward motion for four vocalists, creative orchestraand consructed environment