Eris – Jon Brenner (2011)
From the composer:
“‘Eris’ was originally written as a wind ensemble piece in late 2006. the piece is named after the dwarf planet that was responsible for the ousting of pluto. This version of ‘Eris’ was recorded in May, 2011, with synthesizers, electric guitars, electric piccolo bass, and electric bass with one on a part.”
Jon Brenner is a Seattle-based composer and musician who writes contemporary art music and performs chamber music, new and old. His works include music for soloists, chamber ensembles, film, art installations, and larger ensembles. Jon plays viola da gamba and harpsichord and has appeared with the New Baroque Orchestra in Seattle.
Artwork for ‘Eris’ by Jon Brenner
Further information at www.jonbrenner.com.
Wash 2 – James Ross (2010)
James Ross is a Brooklyn, NY-based composer and performer who writes music for orchestral and chamber ensembles, as well as solo music for the guitar and the zhongruan (a type of Chinese lute). He has also performed and recorded electronic and improvised music. I find his most compelling work to be reflective looped ambient pieces, of which ‘Wash 2′ is an excellent example.
Ross’ music unfolds slowly into an introspective space that carries the listener along on a gentle current of soft sounds and textures. Even at its full 25 minutes ‘Wash 2′ seems short – the music is fully engaging the entire time.
Polymetric Piano Counterpoint (The Dawn), Fabio Anile (2010)
Polymetric Piano Counterpoint (The Dawn), Fabio Anile (2010)
“Minimalist composition based on patterns of different lengths sharing the same pulse. Instruments: grand piano, marimba, shakers, claves, live looping software.”
Dance – Polymetric Piano Counterpoint by Fabio Anile
Fabio Anile website (www.eterogeneo.com)
Ground Machine, (After Purcell) Lloyd Rodgers (1984)
Ground Machine (After Purcell), Lloyd Rodgers (1984)
performed by the Cartesian Reunion Memorial Orchestra
this groundbreaking group featured compositions by Michael Bayer, Chuck Estes, Douglas Hein, William Houston, Steve Moshier, Frank Riddick, and Lloyd Rodgers. at various times, the orchestra featured musicians Jannine Livingston, harpsichord; John Glenn, bass; Lloyd Rodgers, clarinet and keyboard; Douglas Hein, acoustic guitar; Diana Halpern, violin; Joeseph Goodman, violin; and Michael Baer, violincello
http://www.lloydrodgers.com/
Paul Bailey: Retrace Our Steps (2004)
Paul Bailey: Retrace Our Steps (2004)
“Retrace Our Steps is a secular oratorio in 4 acts (2004) based on texts by Gertrude Stein, Guy Debord and Jenny Bitner. the work explores the relationships between idealism, alienation, and consumerism.”
act 4
Retrace Our Steps, Graphic Libretto
curated by david toub
Matthew Hunter: Prepared Piano Improv. I (2009)
Matthew Hunter: Prepared Piano Improv. I (2009)
Prepared Piano Improv. I (2009) by Matthew Hunter
“”Utilising the unusual timbres of an inelegantly prepared piano as devised by myself and my sound engineer friend Dan.
A chance meeting with resulted in us toying with a piano at the school of music. I was being clever and showinghim how to mute the strings with my hand. In response he took 4 or 5 plastic folders out of his bag and placed them across all the strings.We liked the sound so much that we moved into the studio. He set up mics, carefully spread the folders across the strings, put some headphones on me, and told me to play. This was the result, and it was only when he played it back to me a few weeks later that I realised how well it worked. Hopefully there will be more in the future.”
EMU Recording Studio, Edler Conservatorium of Music. Recorded by Dan Pitman.”
Douglas Hein: Orlando, He Dead (1985)
Douglas Hein: Orlando, He Dead (1985)
Orlando, Orlando, he dead, he dead, Orlando, he dead.Josquin, Johann, Amadeus, Ludwig, they dead, they dead, all them guys they dead.Buddy H., Brian J., Mama C. Karen C., they dead, they dead, all them guys, the dead.La, la, la …And when your dead your dead forever,forever, forever, foreverYou don’t go live no more,no more, no more, no more.You be dead more long than live‘Cuz when your dead your dead forever,Forever, forever, forever.Some day me be dead,Some day you be dead,Some day me be dead,Some day you be dead,All us guysWe deadLa, la, la ….
performed by the Cartesian Reunion Memorial Orchestra
this groundbreaking group featured compositions by Michael Bayer, Chuck Estes, Douglas Hein, William Houston, Steve Moshier, Frank Riddick, and Lloyd Rodgers. at various times, the orchestra featured musicians Jannine Livingston, harpsichord; John Glenn, bass; Lloyd Rodgers, clarinet and keyboard; Douglas Hein, acoustic guitar; Diana Halpern, violin; Joeseph Goodman, violin; and Michael Baer, violincello
DJ Wolf at renewable music (June 2005)
“Sometimes the internet is a wonderful place. Composer Paul Bailey has just put up an mp3 of Doug Hein’s Orlando he dead, one of my favorite pieces from the repertoire of the legendary Cartesian Memorial Reunion Orchestra (a semi-situationist, semi-electric chamber ensemble in the grand style of LA in the 80’s). Hein’s piece is one of the few vocal works in the Cartesian ’s repertoire, with the only lyric I know of that meaningfully includes both Orlando di Lasso and Mama Cass. It’s also one of the very few genuinely funny works of recent modern music. But more importantly, it’s an example of exquisite counterpoint and near-counterpoint and fake renaissancery.”
text and music by Douglas M. Hein
curated by Paul Bailey
Michael Nyman: An Eye for Optical Theory (1982)
Michael Nyman: An Eye for Optical Theory (1982)
Originally composed for the Peter Greenaway film The Draughtsman’s Contract based on a round attributed by William Croft. performed and arranged by the PBE (Paul Bailey Ensemble)
curated by paul bailey
Lloyd Rodgers – Draw Me A Sheep (1986)
Lloyd Rodgers: Draw Me A Sheep (1968)
from the “the little prince” (a ballet in two acts)
performed by the Cartesian Reunion Memorial Orchestra
curated by Jim Perkins
Frank Riddick: Nea Praxis
performed by: Cartesian Reunion Memorial Orchestra (1979-1992)
this groundbreaking group featured compositions by Michael Bayer, Chuck Estes, Douglas Hein, William Houston, Steve Moshier, Frank Riddick, and Lloyd Rodgers. at various times, the orchestra featured musicians Jannine Livingston, harpsichord; John Glenn, bass; Lloyd Rodgers, clarinet and keyboard; Douglas Hein, acoustic guitar; Diana Halpern, violin; Joeseph Goodman, violin; and Michael Baer, violincello
curated by: paul bailey
Drṓwryh Creesp: Tulsan Twilight
Drṓwryh Creesp: Tulsan Twilight
“Formed in 2007. Drṓwryh Creesp is a one man project from Brisbane, Australia. Guitar and piano lie at the centre of the music with the aid of strings, an array of percussion, bass and various others.
Initially called Ulin Vod Naar, and creating dark ambient/industrial sounds, Drṓwryh Creesp changed its direction towards ambient instrumentals and therefore the few works completed as Ulin Vod Naar entered the Drṓwryh Creesp catalogue as an album entitled “Ulin Vod Naar”, as well as the “Beacon” release.”
curated by Shane Cadman
William Houston: …fulfillment (1982)
from an email by William Houston:
“As I recall, I was listening to a lot of Bruckner at the time. The piece was also influenced by a Michael Bayer piece which I can’t recall the name of at the moment. Maybe Lloyd (Rodgers) remembers. Anyway, the piece was originally called “I Can’t Get no Fulfillment” which words we would occasionally sing in concert (I think). It’s been a long time…”
Michael Bayer: Law and Order (1983)
Michael Bayer: Law and Order (1983)
law and order is based on a 1983 event in which artists sprayed political slogans over advertisements in the new york city subway and was originally performed ad-nausea by the cartesian reunion memorial orchestra (1982-1988)
Jim Perkins (Bigo and Twigetti): Feed (2009)
Jim Perkins (Bigo and Twigetti): Feed (2009)
“bigo and twigetti is a collection of musicians from London, who create music which combines elements of folk, electronica and classical music with live laptop performance. Their music can be found under several guises, from individual composers and artists to collectively under b&t; or Ranger3. Their live shows feature realtime use of electronic effects, recording and playback combined with a mixture of hand-made and homespun folk playing and technically complex yet emotive classical performance.”
Steve Moshier: Shadow Boy (1981)
Steve Moshier: Shadow Boy (1981)
“the cartesian reunion memorial orchestra (crmo) was formed in 1979 by 8 composer/performers to spread joy and happiness to the musical world. the ensemble, the major autonomous collective in los angeles, performed over 100 concerts from 1979-1992 throughout so. cal. collaborating with major dance companies, theatre groups and performance artists. this historic compilation of studio recordings captures the power and essence of the seminal ensemble and the energy that was in LA in the 80′s”
Douglas Hein: Orlando He Dead (1985)
from renewable music (June 2005)
“Sometimes the internet is a wonderful place. Composer Paul Bailey has just put up an mp3 of Doug Hein’s Orlando he dead, one of my favorite pieces from the repertoire of the legendary Cartesian Memorial Reunion Orchestra (a semi-situationist, semi-electric chamber ensemble in the grand style of LA in the 80′s). Hein’s piece is one of the few vocal works in the Cartesian ‘s repertoire, with the only lyric I know of that meaningfully includes both Orlando di Lasso and Mama Cass. It’s also one of the very few genuinely funny works of recent modern music. But more importantly, it’s an example of exquisite counterpoint and near-counterpoint and fake renaissancery.”
Cartesian Reunion Memorial Orchestra (1979-1992)
this groundbreaking group featured compositions by Michael Bayer, Chuck Estes, Douglas Hein, William Houston, Steve Moshier, Frank Riddick, and Lloyd Rodgers. at various times, the orchestra featured musicians Jannine Livingston, harpsichord; John Glenn, bass; Lloyd Rodgers, clarinet and keyboard; Douglas Hein, acoustic guitar; Diana Halpern, violin; Joeseph Goodman, violin; and Michael Baer, violincello
Lloyd Rodgers: The Swing (1979)
Lloyd Rodgers: The Swing (1979)
from the black book/the swing 13 (performed by the Lloyd Rodgers Group 2002)
Lloyd Rodgers: The Swing (1979)
from the black book/the swing 13, performed by the Lloyd Rodgers Group (2002)
John Glenn, Electric Bass, Sean Ferguson, Electric Guitar, Bruno Cilloniz, Vibraphone, and LLoyd Rodgers, Keyboard
The Swing was originally composed for the Cartesian Reunion Memorial Orchestra and is based on Erik Satie’s Le Balancoire from Sports et Divertissements
Shane Cadman: Piece100909 ForTheMightyNBD (2009)
Shane Cadman: Piece100909 ForTheMightyNBD
ImprovFriday piece (100909) dedicated to the Mighty Noah Bailey Dowell.
Another ImprovFriday piece. I know Noah Bailey Dowell and his family from a church we all used to go to. He is known as “The Mighty” and he died on 10.3.09 after a battle with a rare form of cancer. He was 8 years old. He and his family are an inspiration. They are all mighty indeed!. This piece is for Noah. I don’t know what else to say.
Mike Crain: Wandering (2009)
Mike Crain: WanderingMike Crain: Wandering
written for the weekly online music event ImprovFriday, October 16th-17th 2009
David Toub: this piece intentionally left blank (2006)
“This came about as an improvisation, and is virtually unchanged other than a few minor tweaks. It was composed using an Ensoniq KS-32 synthesizer providing input into Reason 3.0.4. The score is a pretty close approximation of what was improvised, but is not 100% accurate. It can be performed by any keyboard, although it could also be performed for any group of instruments. I felt the bass line would be very interesting if played by a bass guitar, for example. This work is dedicated to my friend Kel Smith. It was premiered on May 9th, 2007 by the Diverse Instrument Ensemble under Lloyd Rogers at Cal State Fullerton in an arrangement by Paul Bailey for oboe, alto sax, french horn, trombone, bass guitar and two vibraphones.”
Lloyd Rodgers: The Black Book (04.01.01)
Lloyd Rodgers: The Black Book 04.01.01
“the black book-a private music consists of 374 compositions, exercises, and epigrams written, usually one a day from 12.28.00 to 12.27.01., notated in ink with no edits; a year long musical journal”
