Mostrando postagens com marcador Hildegard Kleeb. Mostrar todas as postagens
Mostrando postagens com marcador Hildegard Kleeb. Mostrar todas as postagens

15.1.23

ANTHONY BRAXTON : Piano Music (Notated) 1968-1988 (Hildergard Klebb) (1996) 4CD | FLAC (tracks+.cue), lossless

In 1995 and 1996, Swiss pianist Hildegard Kleeb recorded a four-CD set containing nine of Anthony Braxton's notated piano works composed between 1968 and 1988, beginning with the piece that Braxton chose to designate as his first numbered "opus": "Composition No. 1 (1968)." Art Lange's textual commentary describes this thoughtful essay, with its divergent intervals, as a "song." The sonata-like "Composition No. 5 (1968)" might well have been its sequel. "Composition No. 139 (1988)" is a conventionally notated song-like cousin to the earlier works. All three exist within Braxton's designated realm of "frozen improvisation." These exercises in musical intuition appear to reflect the influence of Arnold Schoenberg, Anton Webern, and Karlheinz Stockhausen, even while reflecting Braxton's own developing systems of creativity. "Composition No. 10 (1969)," dedicated to Russian painter and theoretician Wassily Kandinsky, uses a graphic score as a blueprint for improvisation. This means that composer and performer collaborate in ways (and with results) that cannot occur when every single note and dynamic directive are written down. "Composition No. 16 for Four Pianos (1971)" was originally improvised by the composer, and the nature of the graphic/symbolic score allows for maximum freedom of interpretation. Kleeb's overdubbed realization is gradual, employs silence as a structural element, and lasts twice as long as the original. "Composition No. 33 (1974)" introduces a horde of static nebulae. This work places unusual responsibilities upon the interpreter, including phraseology, dynamics, and tempi. Lange compares it with the works of Iannis Xenakis and Morton Feldman. "Composition No. 30 (1973)" is a living embodiment of Arnold Schoenberg's cardinal assignment: to search for the sake of searching. The 82-page score is an expansive and freely formed catalog of ideas and potential actions. "Composition No. 32 (1974)," resulting from a 76-page score, introduces note clusters which are generated with the sustaining pedal held to the floor. Lange rightly compares this piece with works by Cecil Taylor and Olivier Messiaen. The rafts of percussive tonality are similar to those conjured by Braxton himself when he demonstrated a thunderous keyboard technique with his Piano Quartet, recorded live at Yoshi's Nitespot in Oakland, CA in June of 1994. "Composition No. 31 (1974)" comes from an 85-page score dedicated to Iannis Xenakis. Here we encounter the most charming surprise of all, as Braxton is said to have cited Thomas "Fats" Waller as a major early influence -- right up there with Schoenberg and Stockhausen -- as both composer and improviser. Art Lange contributes wonderful insights as he identifies substantial parallels between Waller and Braxton, including "Collage Logic," "Language Forms, and "Shifting Points of Emphasis." Precious evidence that all music is relative; that the imagination is a non-linear, living organism that cannot be confined by critically cramped pigeon-holing, by historical delineation,or by market-based categorization; and that the ritual and spiritual functions, as the composer puts it, are of paramount importance. Composer Anthony Braxton and his interpreter Hildegard Kleeb have given the world nine piano rituals that can and will transform anyone who enters with an open mind. arwulf arwulf  
Piano Music (I)
1-1 No. 1 (1968) 10:09
1-2 No. 5 (1968) 8:07
1-3 No. 10 (1969) 5:59
1-4 No. 16 (1971) 23:49
2-1 No. 33 (1974) 21:17
2-2 No. 30 (1973) 42:23
Piano Music (II)
3-1 No. 139 (1988) 14:39
3-2 No. 32 (1974) 34:56
4-1 No. 31 (1974) Part 1 29:05
4-2 No. 31 (1974) Part 2 23:25
Credits
Composed By – Anthony Braxton
Piano – Hildegard Kleeb
Producer – Anthony Braxton, Werner X. Uehlinger

2.1.23

ANTHONY BRAXTON + DUKE ELLINGTON : Concept Of Freedom (2005) FLAC (tracks+.cue), lossless

Recorded at the Institut fur Elektronische Musik und Akustik in Graz, Austria during the first week of August 2003, Anthony Braxton's (+ Duke Ellington) Concept of Freedom is a dazzling exercise in collective creativity. Braxton does not perform on this recording. Neither does Ellington, for that matter. Both men and their substantial accomplishments are honored and invoked by a quartet of skilled improvisers. These are trombonist Roland Dahinden, pianist Hildegard Kleeb, violinist Dimitris Polisoidis, and electronics artist Robert Holdrich. Kleeb, like her life partner Dahinden, has worked with Braxton's music in other contexts, most importantly perhaps her four-CD set devoted to 20 years' worth of his notated piano music which was released on the hatNOW series in 1996. The Braxtonian ingredients for the Concept of Freedom album combine his Ghost Trance Music Composition No. 257 with elements from Compositions 30, 31, 46, 69, 90 and 136. The Ellingtonian aspects were inspired by three different segments of "Freedom" from Duke's Second Concert of Sacred Music, which was presented in 1968 and posthumously released by Fantasy Records as a gatefold double LP. The bracing combination of minds and influences, patterns and evocations on this recording resulted in music of exceptionally inventive complexity and multi-dimensionality, as the full measure of perpetually evolving tradition was taken and expanded into precisely the kind of ritual function that Braxton has extolled and celebrated during virtually every day of his adult life. Finally, let's not overlook the other piece from Ellington's Second Sacred Concert that inspired an impassioned and creative instrumental: "Something ‘Bout Believing," done up joyously by Rahsaan Roland Kirk on his 1972 Atlantic album A Meeting of the Times. arwulf arwulf  
Tracklist :
1     Comp. No. 257 (+30, 31, 46, 69, 90 and 136)/Freedom No. 1, 4, And ... 9:58
Anthony Braxton / Duke Ellington
2     Comp. No. 257 (+30, 31, 46, 69, 90 and 136)/Freedom No. 1, 4, And ... 8:14
Anthony Braxton / Duke Ellington
3     Comp. No. 257 (+30, 31, 46, 69, 90 and 136)/Freedom No. 1, 4, And ... 8:27
Anthony Braxton / Duke Ellington
4     Comp. No. 257 (+30, 31, 46, 69, 90 and 136)/Freedom No. 1, 4, And ...
Anthony Braxton / Duke Ellington
5     Comp. No. 257 (+30, 31, 46, 69, 90 and 136)/Freedom No. 1, 4, And ... 4:10
Anthony Braxton / Duke Ellington
6     Comp. No. 257 (+30, 31, 46, 69, 90 and 136)/Freedom No. 1, 4, And ... 10:49
Anthony Braxton / Duke Ellington
7     Comp. No. 257 (+30, 31, 46, 69, 90 and 136)/Freedom No. 1, 4, And ... 11:04
Anthony Braxton / Duke Ellington
Credits :
Electronics – Robert Höldrich
Piano – Hildegard Kleeb
Trombone – Roland Dahinden
Violin – Dimitris Polisoidis

EDDIE HARRIS — The Last Concert (1997) FLAC (tracks+.cue), lossless

Unless something unauthorized turns up, this appears to be Eddie Harris' last recording. The concert was taped in Europe -- where Harris...