Joel Mandelbaum?

So, what's up with there not being any recordings of Joel Mandelbaum's
music that I can find? I gather he's a rather significant proponent
of American microtonality in his generation, what with the thesis, the
Xenophonies (or something), the archiphone...

So, has anyone heard his music? Or know anything about recordings?

(I kind of put him in the same category as John Eaton, which my
school's library fortunately had some LP's of. An entire opera in
three acts, "Danton and Robespierre," complete with, like, a
250-member chorus and an orchestra with two sets of woodwinds a
quartertone apart, and three harps or pianos or something sixth-tones
apart. And a synthesizer in 12-note JI used to represent the purity
of Robespierre's ideals and how they get "out of tune" as he gets all
terror-crazed. Yes, the most banal way of using JI, but still,
polymicrotonality, 1980-style. Pretty cool. And quite noisy, just
like the French Revolution.)

-Jacob

--- In tuning@yahoogroups.com,
"Jacob" <jbarton@r...> wrote:
>
> So, what's up with there not
being any recordings of Joel
Mandelbaum's music that I can
find? I gather he's a rather
significant proponent of
American microtonality in his
generation, what with the
thesis, the Xenophonies (or
something), the archiphone...
>
> So, has anyone heard his music?
Or know anything about recordings?

i've heard some of his music, 19-edo renditions of what sounds
like his arrangements of Bach chorales. they're very weird.

-monz

We have been friends for many years. The AFMM has put on a number of his
microtonal works, and Joel is on the AFMM board of directors. We lost our
champion microtonal hornist due to illness and have had to put off a second
performance of his second Wind Quintet in 31-tone ET. Joel long ago lost his interest
in 19-tet in preference of 31-tet.

Having worked with John Eaton over the past several years (he's written 2
pieces for the AFMM), they are quite different from each other, more like
opposites.

Joel has a CD in 12-tet for voice and piano. He is into the pure Just
hamonies that exemplify the 7th harmonic. When he uses it, he means it. John would
use that interval more in passing, surrounded by busyness, and plenty of
"stochasticism." John is more inclined towards noise and Joel is more concerned
with pure consonance.

all best, Johnny Reinhard
Director/AFMM