Il Pierrot Lunaire diretto da Schönberg registrato negli anni ‘40, poi riedito nel 1951, è sull’Internet Archive.

Avevo già parlato di questa incisione perché era stata messa su You Tube, con un video fisso, ma ora chi volesse scaricarla in solo audio, può trovarla qui.

Cliccando qui, invece, la ascoltate in streaming audio.

SCHÖNBERG: Pierrot Lunaire.
Arnold Schönberg, conductor.

Erika Stiedry-Wagner, recitation.
Rudolf Kolisch, violin and viola.
Stefan Auber, ‘cello.
Eduard Steurermann, piano.
Leonard Posella, flute and piccolo.
Kalman Bloch, clarinet and bass clarinet.

Columbia 78rpm set MM-461 (XH 23 - XH 30). Recorded in 1940.
Digital transfer by F. Reeder

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John Cage, Freeman Études for solo violin (1977). A piece whose form is due to a set of misunderstanding.

In 1977 Cage was approached by Betty Freeman, who asked him to compose a set of etudes for violinist Paul Zukofsky (who would, at around the same time, also help Cage with work on the violin transcription of Cheap Imitation). Cage decided to model the work on his earlier set of etudes for piano, Études Australes. That work was a set of 32 etudes, 4 books of 8 études each, and composed using controlled chance by means of star charts and, as was usual for Cage, the I Ching. Zukofsky asked Cage for music that would be notated in a conventional manner, which he assumed Cage was returning to in Études Australes, and as precise as possible. Cage understood the request literally and proceeded to create compositions which would have so many details that it would be almost impossible to perform them.

In 1980 Cage abandoned the cycle, partly because Zukofsky attested that the pieces were unplayable. The first seventeen études were completed, though, and Books I and II (Études 1-16) were published and performed (the first performance of Books I and II was done by János Négyesy in 1984 in Turin, Italy). Violinist Irvine Arditti expressed an interest in the work and, by summer 1988, was able to perform it at an even faster tempo than indicated in the score, thus proving that the music was, in fact playable. Arditti continued to practice the études, aiming at an even faster speed, apparently misreading Cage’s indication in the score to play every measure in “as short a time-length as his virtuosity permits”, in which Cage simply meant that the duration is different for each performer. Inspired by the fact that the music was playable, Cage decided to complete the cycle, which he finally did in 1990 with the help of James Pritchett, who assisted the composer in reconstructing the method used to compose the works (which was required, because Cage himself forgot the details after 10 years of not working on the piece). The first complete performance of all Études (1-32) was given by Irvine Arditti in Zurich in June 1991. Négyesy also performed the last two books of the Etudes in the same year in Ferrara, Italy. [wikipedia]

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Some years ago, the japanese Kaguya spacecraft orbited the moon with a HD camera onboard and take this movie.

The colors of the Earth rising above the horizon suggest our planet is a beautiful place to see from far away.

Sorry for the music and the comments.

from: Open Culture

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The Princeton Laptop Orchestra (PLOrk; click image to enlarge) is a visionary new ensemble of laptopists, the first of its size and kind.

Founded in 2005 by Dan Trueman and Perry Cook, PLOrk takes the traditional model of the orchestra and reinvents it for the 21st century; each laptopist performs with a laptop and custom designed hemispherical speaker that emulates the way traditional orchestral instruments cast their sound in space. Wireless networking and video augment the familiar role of the conductor, suggesting unprecedented ways of organizing large ensembles.

In 2008, Trueman and Cook were awarded a major grant from the MacArthur Foundation to support further PLOrk developments. Performers and composers who have worked with PLOrk include Zakir Hussain, Pauline Oliveros, Matmos, So Percussion, the American Composers Orchestra, and others. In its still short lifetime, PLOrk has performed widely (presented by Carnegie Hall, the Northwestern Spring Festival in Chicago, the American Academy of Sciences in DC, the Kitchen (NYC) and others) and has inspired the formation of laptop orchestras across the world, from Oslo to Bangkok.

Excerpt: Autopoetics I by Ted Coffin: listen to or watch a video

Other multimedia materials here.

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Dr. Boulanger has put up a wondeful collection of Csound mp3s at Csounds.com.

Download 4csoundCompositions.zip (99.1 MB)

The pack comes with 20 tracks, with everything from ambient to minimal to cheesy techno to synth-generated halloween sound fx.  All of the original source code is included in case you are curious to see what these compositions look like in their original state.

From The Csound Blog

Excerpts:

• Blue Cube by Kim Cascone
• Cave Water Spirits by Man Kei Lee
• Descent by ??
• Nuclear Energy by Jacob Joaquin (old style analog synth with Csound)

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Ballentine the bird is a digital drawing about 20,000 pixels tall and 30,000 pixels wide (roughly 20×30 feet @72ppi). She was drawn using one-pixel wide scribble lines colored red, yellow, blue, white, and black. Because she is so big, I’ve used the OpenLayers mapping API (similar to Google Maps) to allow zoom and scrolling features.

The concept behind the drawing is based on the idea that digital images can be infinite in size. Drawing her entirely of one-pixel wide lines (labor-intensive) is an attempt on my part to undermine the idea that drawing on the computer is merely a shortcut. She was drawn in Photoshop using a Wacom tablet.

Launch Artwork

From Rhizome Artbase

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Bloom, Trope and Air are three applications developed by Brian Eno and the musician / software designer Peter Chilvers that brings to the iPhone the concept of generative music popularized by Eno.

Part instrument, part composition and part artwork, Bloom’s innovative controls allow anyone to create elaborate patterns and unique melodies by simply tapping the screen. A generative music player takes over when Bloom is left idle, creating an infinite selection of compositions and their accompanying visualisations.

Darker in tone, Trope immerses users in endlessly evolving soundscapes created by tracing abstract shapes onto the screen, varying the tone with each movement.

Air is described as “An endless Music for Airports”. It assembles vocal and piano samples into a beautiful, still and ever changing composition, which is always familiar, but never the same.
Air features four ‘Conduct’ modes, which let the user control the composition by tapping different areas on the display, and three ‘Listen’ modes, which provide a choice of arrangement. For those fortunate enough to have access to multiple iPhones and speakers, an option has been provided to spread the composition over several players.

Buy here.

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Dmitri N. Smirnov: String of Destiny (Piano Sonata No.4) Op.124 (2000). Alissa Firsova - piano

One-movement piano Sonata No. 4 was completed on 15th of April 2000 at St Albans. I played it to my daughter Alissa Firsova whom I dedicated it. Alissa liked the piece but criticised me for the boring title. She suggested immediately “String of Destiny”, explaining that she feels the piece as an expanding string, which leads to some important point. I did not argue and accepted the new title. Alissa played the Sonata publicly for the first time on 10th of February 2001 at The St Albans Music Club.  She also recorded it on CDs (Megadisc MDC-7818, Meladina MRCD-40).

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Se qualcuno ha bisogno di un calendario da appendere e ha una stampante, può scaricare quello del Molecular Lab. a questo link.

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