Microtonal music that ought to be available

There are a lot of fine pieces that have finally surfaced on cd -- I think
immediately of the Ensemble Modern recording of Nono's _Prometeo_, the
Arditti performance of the quartet or of the great cd accompanying the
Lieberman/Miller book on Lou Harrison (including David Doty's realization
of the _Simfony in Free Style_ and Harrison's own performance of the _Music
for Corneille's Cinna_ ) -- but there is still a lot out there that needs
to be recorded and released.

Off the top of my head, then, here's a list of microtonal works that ought
to be available on cd. Some have previously been released in other formats,
some have been released on now-extint cds, others have never been
commercially recorded. This is by no means a 'best of' list, rather a list
of strong pieces that are difficult to find and shouldn't be.

Barlow: _Cogluotobusitsletsmesi_

Barrett: _String Quartet ("I open and close")_

Cage: _HPSCHD_
_____, _Cheap Imitation_ for solo violin (must be a new performance)

Erickson: _Kryl_

Harrison: _At the tomb of Charles Ives_

Ives-Reinhard: _Universe Symphony_ (I have some reservations about the
realization, but it still should be available)

Leedy: _String Quartet I.S.I.M._
_____, _Harpsichord Books_
_____, _Pastorale_

Lucier: _Navigations for strings_

Oliveros: _Tashi Gomang_

Partch: _Delusion of the Fury_
_____, _Oedipus_ (original, complete recording)

Stockhausen: _Studie II_ (landmark electronic work in 25th root of 5
tuning, a new realization would be welcome)
_____, _Sternklang_ (to hear K-HS playing on Partch's diamond)

Tenney: _Bridge for two pianos_ (complete)
_____, _Changes for six harps_ (complete)

Young: _Chronos Kristalla_
_____, the big band' piece

Daniel Wolf <DJWOLF_MATERIAL@compuserve.com> writes:

>Off the top of my head, then, here's a list of microtonal works that
ought
>to be available on cd. Some have previously been released in other
formats,
>some have been released on now-extint cds, others have never been
>commercially recorded. This is by no means a 'best of' list, rather a
list
>of strong pieces that are difficult to find and shouldn't be.

>Ives-Reinhard: _Universe Symphony_ (I have some reservations about the
>realization, but it still should be available)

His string qt. Cosmic Rays and his 17 limit soprano and string qt should
be on a cd.

>Partch: _Delusion of the Fury_
>_____, _Oedipus_ (original, complete recording)

I'll second that!

>Tenney: _Bridge for two pianos_ (complete)

It's out on Hat Art as a limited edition. So I guess it's
out of print.

>Young: _Chronos Kristalla_

I heard it at BAM in '95(?) and I'd really like to hear it again.
It's a little too long to fit on one cd though.

>_____, the big band' piece

The Theatre of Eternal Music Big Band where they play along
with a sine tone installation.

I've never heard it live. I have a mono recording I made off a birthday
broadcast - All I can hear is the installation, La Monte singing
and an occasional trombone. I really wish I could have been in the room.

--
* D a v i d B e a r d s l e y
* xouoxno@virtulink.com
*
* J u x t a p o s i t i o n E z i n e
* M E L A v i r t u a l d r e a m house monitor
*
* http://www.virtulink.com/immp/lookhere.htm

Dan Wolf wrote:

==========

...

Stockhausen: _Studie II_ (landmark electronic work in 25th root of 5
tuning, a new realization would be welcome)
_____, _Sternklang_ (to hear K-HS playing on Partch's diamond)

Tenney: _Bridge for two pianos_ (complete)
_____, _Changes for six harps_ (complete)

=========

Studie II and Sternklang are available (but very pricey) from
Stockhausen-Verlag. (Studie II is on a disk with Studie I, Etude,
Kontakte, and Gesang.)

Tenney's Bridge is on HatART CD 6193, along with Flocking.

I would love to hear a lot of the other pieces on your list.

I think Studie One and two are Stockhausens multiple Sine pieces if I am not
mistaken.
I have always been fond of Stimmung--which translates as "Tuning"
Which should definitely be re-released on CD. Several of the singers on
Stimmung moved into toning and overtoning as a result of that piece.
Pat

Carter Scholz wrote:

> From: csz@wco.com (Carter Scholz)
>
> Dan Wolf wrote:
>
> ==========
>
> ...
>
> Stockhausen: _Studie II_ (landmark electronic work in 25th root of 5
> tuning, a new realization would be welcome)
> _____, _Sternklang_ (to hear K-HS playing on Partch's diamond)
>
> Tenney: _Bridge for two pianos_ (complete)
> _____, _Changes for six harps_ (complete)
>
> =========
>
> Studie II and Sternklang are available (but very pricey) from
> Stockhausen-Verlag. (Studie II is on a disk with Studie I, Etude,
> Kontakte, and Gesang.)
>
> Tenney's Bridge is on HatART CD 6193, along with Flocking.
>
> I would love to hear a lot of the other pieces on your list.
>
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Message text written by INTERNET:tuning@onelist.com
>From: Patrick Pagano <ppagano@bellsouth.net>

I think Studie One and two are Stockhausens multiple Sine pieces if I am
not
mistaken.
I have always been fond of Stimmung--which translates as "Tuning"
Which should definitely be re-released on CD. Several of the singers on
Stimmung moved into toning and overtoning as a result of that piece.
Pat<

The electronic studies are indeed sine wave pieces, but the technology
available was just not good enough to get the timbres in phase.
Fortunately, these pieces are precisely notated so that they may be
realized new. If I remember correctly, Peter E�tv�s has done an arrangement
of Studie II (for string orchestra?).

I have never found it a coincidence that Stockhausen made _Stimmung_ after
paying a visit to La Monte Young and Marian Zazeela's loft. I think that
the Stockhausen has dated very badly. The bad erotic poetry (composers
really shouldn't write lyrics!) and proto-new age 'magic names' just come
across as silly, while the rhythmic and timbral tranformation techniques
now seem both pedantic and lack potential for surprise. Young's aesthetic,
on the other hand, avoids giving the superstructure the kind of
explicitness that has dated _Stimmung_ so badly, and uses a rule-base to
control the improvised realization of the work that is really more honest
than the hidden compositional controls exerted by Stockhausen.

I included _Sternklang_ on my list instead of the closely-related
_Stimmung_ because it is materially more interesting (the diamond tonality
and the techniques used by the instruments to control the formants) but
more importantly because it takes the common ideas to extremes not present
in the earlier piece.

You are right that _Stimmung_ is related to the whole new-agish 'overtone
singing' enterprise here in Germany (which has really slowed down since
actual Tuvan and Mongolian singers started appearing live in Germany
shopping districts, playing for spare change), much as David Hyke's choir
was related to Young's ensemble work. It is an interesting social-cultural
and economic phenomenon and many of the performers are very accomplished
at what they do but I find it hard to imagine that there is really
sufficient content in these musics to drive a music-theoretical discussion
of any depth or weight.