Notes on Katrina Krimsky’s 1980 by David Rosenboom
(1) The artist may construct the piece.(2) The piece may be fabricated.(3) The piece need not be built. Each being equal and content with the intent of artist, the decision...
At some point he was working on A First Quarter and wanted me to do the music. I said ‘I already have the music.’ He said ‘what do you mean?’...
On February 19, 1972, a crew of mostly Louisiana-raised musicians came together at the Leo Castelli Gallery on West Broadway in Soho to perform a wholly improvised concert.
Silvia Tarozzi and Deborah Walker share context and translations for lyrics.
Tim Rutherford-Johnson interviews John McGuire about his Pulse Music series and Paul V. Miller discusses its unique place in musical history.
"In the summer of 2004, many issues I was facing seemed mysterious and unsolvable."
"This box set is dedicated to my friend, Jonathan Doff, who has kept me thoughtful and light–hearted all these years."
The seven pages of See The Welter in score form, with notes by the composer.
"Music is written for the inexpressible, it should seem to come out of the shadow in order to move back into the shadow." - Federico Mompou
Silvia Tarozzi reveals the history of her breakthrough solo album, Mi specchio e rifletto, and provides lyrics and English translations.
Leo Takami discusses his musical roots with Yuzo Sakuramoto.
Drawing by Irene Kopelman In essence, the sound of the piano comes in two parts: its attack and its decay. The striking of a hammer is followed by the resonance...
42 years after Trust in Rock, we got together in February 2018 to talk about it.
how to begin? no beginning: in-ing, being with-in, be(come)ing, coming to be, to be(g)in, to enter a world of infinitives, of infinite, never ending reverberation: verb-ing again, ever dissolving what...
"Do you know there’s an American composer who lives here in Reggio Emilia? He knew John Cage. His name is Philip Corner."
The four pieces by Carl Stone on this recording span a remarkable period in the history of music technology.
One might ask of J Jasmine: My New Music: what are you? Actually, not what—which? Which style? Which format? Which history? Which narrative? Which music?
Marcus Schmickler recalls his history producing 10. Hose Horn with C-Schulz and the Cologne scene from which it sprung.
Jonathan Gold, Richard Gehr, and Marc Weidenbaum weigh in alongside Carl Stone on the history behind Stone's 1970s and 80s.
Information made explicit (words) must be checked against the scores, revealing formal essences.
Girma Yifrashewa offers notes on the pieces he performs on "Love & Peace" in both Amharic and English.
Marginal Invitation solo piano, created in New York, October 2012 This is an essay into the essential character of piano playing, with a deeply rooted melodic sense, albeit somewhat subdued...
Laurie Spiegel adds historical context and detailed notes for all pieces. Also includes full text the Laurie Spiegel self-interview featured on the original cover.
Andrea Cernotto provides transcriptions and translations of the lyrics by Aldo Braibanti.
"Blue" Gene Tyranny describes the inner-life and backgrounds behind the pieces on "Detours".
Clifford Allen connects the dots between Dickie Landry's fusion of high art and sound.
WNYC's New Sounds host, John Schaefer, revisits his relationship to the piano music of Elodie Lauten, and Elodie Lauten provides her own extensive notes.
Kyle Gann discusses his revelatory discovery of The Death of Don Juan, from 1986 to present.
Phill Niblock and Alan Rich explore Stone's first record, Woo Lae Oak.
Lyrics, Liner Notes, and Reminiscences by Patrice Manget, "Blue" Gene Tyranny, Peter Gordon, Kathy Morton Austin