What Avant-garde music or Free Improvisation Are You Currently Listening To?

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Boris Baltschun - sampler
Axel Dörner - computer, trumpet
Kai Fagaschinski - clarinet



Label: Creative Sources
Recorded, mixed and mastered between November 2002 and October 2003 in Berlin

LesterSleepsIn

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I was able to see Air (Threadgill/Hopkins/McCall) several times in the mid-70s. I’ve had a deep appreciation for all things Threadgill ever since.

This is especially good.



LesterSleepsIn

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What fun!

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FURT: Sense
Richard Barrett and Paul Obermayer (electronics)



The duo of Richard Barrett and Paul Obermayer in 12 studio tracks of semi-composed electronics, and a live improvised tribute to Karlheinz Stockhausen.

https://www.youtube.com/watch?v=-5eI9g5jTNg
« Last Edit: 20 Dec 2018, 07:51 am by andolink »

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Mathias Spahlinger: Farben Der Frühe, for seven pianos [2005]
Ensemble SurPlus/James Avery




Recorded live March 20, 2007 in the Carl-Orff-Saal, Gasteig, München

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« Last Edit: 21 Dec 2018, 04:43 pm by andolink »

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John Wall:  computer editing/arrangement and composition.
Mark Durgan:  modular synthesizer and signal processing

This work was compiled from free improvisations recorded in Utterpsalm studios between 2012-15


released August 1, 2017

and

Six untitled pieces compiled from improvisations
recorded 2–3 July 2011 at the Utterpsalm studio.

John Wall:  computer-generated sounds, severe editing

Mark Durgan:  modular and pressure-sensitive synthesizer


Originally released on the Entr'acte label in 2012

LesterSleepsIn

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S Clark

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Is Mathias Spahlinger: Farben Der Frühe atonal throughout?  I  didn't listen to more than a minute. 
What are its characteristics that are appealing?  I realize it's hard to explain why we like a piece, but I'm curious.   
« Last Edit: 25 Dec 2018, 03:46 am by S Clark »

LesterSleepsIn

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I’m no longer certain where the mainstream ends and avant-garde begins.

LesterSleepsIn

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Four for Trane

Reggie Workman Archie Shepp  Format: Audio CD

andolink

Is Mathias Spahlinger: Farben Der Frühe atonal throughout?  I  didn't listen to more than a minute. 
What are its characteristics that are appealing?  I realize it's hard to explain why we like a piece, but I'm curious.   

Yes it's atonal throughout though there are points at which it parodies or alludes to tonal procedures.

I appreciate your curiosity.  This is music that will always appeal to a very limited audience because it's not about tunes that lodge in the memory, the harmonies are frequently harsh sounding and the rhythms, disjunct or aperiodic.

What appeals to me about Farben Der Frühe is the vast range of textures and techniques (both compositional and performamative) employed.  The piece moves through areas of tremendous complexity into other areas of great delicacy and simplicity and it fascinates me to hear the processes involved in arriving at these different musical spaces and how they relate to one another.

Not the least interesting thing about this kind of music is the amazing virtuosity on display by the performers (and the composer).  You might argue that errors in performance would be undetectable but, if you listen carefully, you can hear how exactly coordinated all the various parameters of the music are with each other (rhythms being the easiest of these to perceive) and how precisely interlocked together, through the most forbiddingly intricate structures, the performers are.
« Last Edit: 26 Dec 2018, 11:37 am by andolink »

LesterSleepsIn

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Free improvisation doesn’t have to be hard-edged or stratospheric.

One of my favorites.





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LesterSleepsIn

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