{"title":"Complete Your Order","description":null,"products":[{"product_id":"laurie-speigel-unseen-worlds","title":"Laurie Spiegel - Unseen Worlds","description":"\u003cp\u003eLaurie Spiegel’s second full-length album, \u003cem\u003eUnseen Worlds\u003c\/em\u003e, arrived just over ten years after her debut album. Having realized the pieces found on \u003cem\u003eThe Expanding Universe\u003c\/em\u003e (1980) on an instrument no longer available to her, the GROOVE System at Bell Laboratories, Spiegel moved on to composing and developing for the Alles Machine, alphaSyntauri, McLeyvier and various other instruments before creating an instrument entirely her own. Spiegel created “Music Mouse - An Intelligent Instrument” on a Macintosh 512k so that she could have an instrument that was not general purpose but a small, specialized, and well defined musical instrument for and by her that she did not have to compromise on or risk losing access to it. While it was a very personal instrument for Spiegel, demand among friends and colleagues nevertheless grew until “Music Mouse - An Intelligent Instrument” became a commercial product for the Macintosh, Amiga, and Atari personal computers with a devoted popular following that continues to this day, despite the obsoletion of those platforms. At the time of her \u003cem\u003eUnseen Worlds\u003c\/em\u003e album’s original release in 1991, the issuing record label turned out to be going out of business, dissolved and disappeared, sending the album immediately into obscurity. Outside of a private CD edition issued by Spiegel on her own Aesthetic Engineering label in 1994, this new edition represents the first proper commercial release of \u003cem\u003eUnseen Worlds\u003c\/em\u003e.\u003c\/p\u003e","brand":"UnseenWorlds","offers":[{"title":"2LP","offer_id":13126112641077,"sku":"UW022LP","price":35.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":28603944206389,"sku":"UW022cd","price":14.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":28603944239157,"sku":"UW022DIGITAL","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0064\/1374\/6229\/products\/UW22_Cover_WEB.jpg?v=1558493320"},{"product_id":"daytimeviewing","title":"Jacqueline Humbert \u0026 David Rosenboom - Daytime Viewing","description":"\u003cp\u003e\u003cem\u003eDaytime Viewing\u003c\/em\u003e (1979-80) is an extended narrative song, based on a casual analysis of daytime television drama and the audience phenomena such programming addresses. The piece explores the use of fantasy as a survival mechanism against loneliness, illustrating the human compulsion to inflate the mundane to mythological proportions. A central female character weaves tales, using threads of personal experience and the idea of TV as friend, as mantra, and as transformational window between imagined spectacle and the pedestrian plane.\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp\u003eOriginally released as a private cassette edition [recorded, 1982; Chez Hum-Boom release, 1983] documenting the collaborative performance piece of the same name by Jacqueline Humbert \u0026amp; David Rosenboom, this heady, thoroughly enjoyable work is available for the first time ever on CD and LP. Jacqueline Humbert (aka J. Jasmine) is a songwriter of brains and wit on par with Robert Ashley, with whom she's worked extensively. David Rosenboom's complex, harmonic electronic arrangements are accentuated brilliantly by percussion from William Winant. Daytime Viewing can happily be added to a small but significant group of work that, through lesser-known paths, engaged in an equally revelatory reexamination of the Great American Songbook as Minimalism did with 20th Century composition.\u003c\/p\u003e","brand":"UnseenWorlds","offers":[{"title":"2LP","offer_id":13320915812405,"sku":"UW046LP","price":35.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":28605515595829,"sku":"UW046DIGITAL","price":9.0,"currency_code":"USD","in_stock":true},{"title":"CD (2013 Edition)","offer_id":28603839709237,"sku":"UW010CD","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0064\/1374\/6229\/products\/UW10CoverHiRes.jpg?v=1566370084"},{"product_id":"lubomyr-melnyk-three-solo-pieces-lp","title":"Lubomyr Melnyk - Three Solo Pieces","description":"\u003cp\u003eComprised of three balanced examples of his Continuous Music on solo piano, Three Solo Pieces serves as perhaps the best introduction the Ukrainian-Canadian composer Lubomyr Melnyk yet available. “Marginal Invitation” is a subdued work with a deeply rooted melodic sensibility that is rich in overtones, while “Corrosions on the Surface of Life” exhibits a dissonant fury of patterned note play. The final, side-length meditation “Cloud Passade No. 3” is a chordal work in free-time which functions equally well as furniture music and a meditative exploration of pure light.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThree Solo Pieces\u003c\/em\u003e is the first set of new Lubomyr Melnyk recordings produced by Unseen Worlds and his first release for the label since the 2007 reissue of his debut album \u003cem\u003eKMH: Piano Music in the Continuous Mode\u003c\/em\u003e (1979). Following that reissue, efforts were shifted from record projects to introducing Melnyk’s still-thriving Continuous Music to audiences with a set of memorable and well-received concerts in Seattle and New York in 2009. Since his popular rediscovery through a variety of releases on Unseen Worlds, his own and other labels, as well as being hosted all over the world for concerts, Lubomyr Melnyk has successfully risen from obscurity and emerged as a welcome new entry in the history of contemporary classical music, as well as a vital performer for the 21st Century.\u003c\/p\u003e","brand":"UnseenWorlds","offers":[{"title":"CD","offer_id":28603885289525,"sku":"UW011CD","price":14.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":28603885322293,"sku":"UW011DIGITAL","price":9.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":13321060155445,"sku":"UW011LP","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0064\/1374\/6229\/products\/UW11CoverHiRes.jpg?v=1566370087"},{"product_id":"loveandpeace","title":"Girma Yifrashewa - Love and Peace","description":"\u003cp\u003eUnseen Worlds presents new recordings of solo piano pieces by Ethiopian composer Girma Yifrashewa, the first release of Yifrashewa's music outside of Africa. Born in Addis Ababa in 1967, Girma Yifrashewa is a worthy new torchbearer of African pianism. His highly personalized approach to the piano likens him to Ethiopian composer Emahoy Tsege Mariam, while his use of Ethiopian pentatonic scale within the Western Art Music format places his compositions in conversation with more academically minded work. Traditionally Ethiopian in melody, cinematic in vision, and deep in beauty, his compositions occupy a lyrical middle ground between classical and jazz that is supremely listenable yet defies easy classification.\u003c\/p\u003e\n\u003cp\u003eBeginning his musical life at a young age with the traditional krar (influenced by Ethiopian folk legends like Kassa Tessema) Girma did not discover the piano until he was sixteen years old. He enrolled quickly thereafter in the Yared Music School, eventually earning a scholarship to study at the Sofia Conservatory in Bulgaria. Despite a short period as a refugee in Italy following communism's demise in Bulgaria and the consequent loss of his scholarship, Girma completed his conservatory training in Bulgaria gathered through charitable organizations in direct recognition of his talents. Following the passing of Ethiopian composer Ashenafi Kebede in 1998, Girma moved beyond his conservatory repertoire and began his career as a composer, penning the composition \"The Shepherd With The Flute\" - an homage to Kebede's most famous work, \"The Shepherd Flutist.\" Since then, Yifrashewa has established himself a pre-eminent composer of Ethiopia, touring Africa and Europe extensively on cultural commissions. The emotional directness and unique quality of his work make it destined for wider popularity, still.\u003c\/p\u003e","brand":"UnseenWorlds","offers":[{"title":"LP","offer_id":13321218195509,"sku":"UW013LP","price":25.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":28604084781109,"sku":"UW013CD","price":14.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":28604084813877,"sku":"UW013DIGITAL","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0064\/1374\/6229\/products\/UW13CoverHiRes.jpg?v=1566370083"},{"product_id":"himalaya","title":"Carl Stone - Himalaya","description":"\u003cp\u003eFollowing his critically acclaimed collections \u003cem\u003eElectronic Music from the Seventies and Eighties\u003c\/em\u003e and \u003cem\u003eElectronic Music from the Eighties and Nineties\u003c\/em\u003e, Carl Stone quickly follows-up \u003cem\u003eBaroo\u003c\/em\u003e (March 2019) with a double album of recent works, including the final section of “Fujiken”, his epic journey through southeast Asian field recordings and street cassette culture. On all six tracks, composed between 2013 and 2019, Stone’s pan-global playground of looping synths and Asian pop culture remains as fertile as ever, digitally shattered into unimagined patterns and gestures, either through the MAX programming language or (in the case of “Kikanbou”) by generating live loops within an Elektron Octatrack sampler.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe title track is the first recorded release from Stone’s ongoing collaboration with the Japanese vocalist Akaihirume. Elsewhere new influences come from rock (the slow drum break of “Bia Bia”), disco (the Nile Rodgers-esque guitar riff “Kikanbou”) and hip hop (the frenetic percussion loop of “Han Yan”). 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This dual quality of sound comes to mind when listening to Moments by New York-based composer Michael Vincent Waller. Performed by pianist R. Andrew Lee and vibraphonist William Winant, Moments − his third album, following \u003cem\u003eTrajectories \u003c\/em\u003e(Recital, 2017) and \u003cem\u003eThe South Shore\u003c\/em\u003e (XI, 2015) − draws on Western classical music tradition in its most archetypal forms through its use of modal melodies, triadic harmonies and metered rhythms. Yet the emotional heart of the music is not in attack, but resonance. The afterlife of sounds. Those elements that can’t be grasped and placed into easy historical categories. Behind his surface attacks Waller finds hazy, edgeless zones that draw us downwards, into introspection – an “inward gaze.” Waller’s music is often compared to that of Erik Satie, and there is certainly something Satie-like in its concision, its subtle asymmetries and its lack of ornament. But where Satie’s Gnossiennes, Nocturnes and Gymnopédies were blank canvases, deliberately signifying nothing, Waller’s pieces are vessels to be filled. That is partly an effect of titles: Waller’s pieces on this disc are all ‘moments’ of autobiographical poignancy – memorials, birthdays, homecomings; friends, teachers, family members. We are clearly invited to invest certain emotional expectations into these sounds.\u003cbr\u003e\u003cbr\u003eLiner notes by Tim Rutherford-Johnson and “Blue” Gene Tyranny. Mastered by Denis Blackham for digital and compact disc. Mastered and cut for vinyl by Rashad Becker. Cover art by Phill Niblock with graphic design by Robert Beatty.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Unseen Worlds","offers":[{"title":"2LP","offer_id":29278936891445,"sku":"UW027LP","price":35.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":29278936924213,"sku":"UW027CD","price":14.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":29278936956981,"sku":"UW027DIGITAL","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0064\/1374\/6229\/products\/UW027LP-Hi-Res3.jpg?v=1566320499"},{"product_id":"robert-haigh-black-sarabande","title":"Robert Haigh - Black Sarabande","description":"\u003cp\u003e\u003cem\u003eBlack Sarabande\u003c\/em\u003e expands upon pianist-composer Robert Haigh’s beguiling debut for Unseen Worlds with a collection of intimate and evocative piano-led compositions. Haigh was born and raised in the ‘pit village’ of Worsbrough in South Yorkshire, England. His father, as most of his friends’ fathers, was a miner, who worked at the local colliery. Etched into Haigh’s work are formative memories of the early morning sounds of coal wagons being shunted on the tracks, distant trains passing, and walking rural paths skirting the barren industrial landscape\u003c\/p\u003e\n\u003cp\u003eThe album opens with the title track — a spacious, plaintive piano motif develops through a series of discordant variations before resolving. On ‘Stranger On The Lake,’ sweeping textures and found sounds lay the foundation for a two chord piano phrase evoking a sense of elegy. ‘Wire Horses’ is an atmospheric audio painting of open spaces and distant lights. ’Air Madeleine’ uses variations in tempo and dynamics to craft the most seductively melodic track on the album. ‘Arc Of Crows’ improvises on a single major seventh chord, splintering droplets of notes as ghostly wisps of melodic sound slowly glide into view. ‘Ghosts Of Blacker Dyke’ is a melancholic evocation of Haigh’s roots in England’s industrial north — intermingling dissonant sounds of industry within a set of languid piano variations. ‘Progressive Music’ is constructed around a series of lightly dissonant arpeggiated piano chords which modulate through major and minor key changes before resolving at a wistful and enigmatic refrain. In ‘The Secret Life of Air’, a nocturnal, low piano line slowly weaves its way through the close-miked ambience of the room, nearly halting as each note is allowed to form and reverberate into a blur with the next. The ambitious ‘Painted Serpent’ calmly begins with drone-like pads and builds with the introduction of counterpoint piano lines and an orchestral collage of sound underpinned by a deliberate bass motif. ’Broken Symmetry’ and ‘Lady Lazarus’ highlight Haigh’s gift for blurring the line between dissonance and harmony - opaque piano portraits of moonlight and shadows glancingly evoke the impressionistic palettes of Harold Budd, Debussy and Satie.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"UnseenWorlds","offers":[{"title":"LP","offer_id":31397316263989,"sku":"UW029LP","price":25.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":31397316198453,"sku":"UW029CD","price":14.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":31397316231221,"sku":"UW029DIGITAL","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0064\/1374\/6229\/products\/UW029_Hi_Res.jpg?v=1575495884"},{"product_id":"musicacallada","title":"James Rushford - Federico Mompou: Música Callada; James Rushford: See the Welter","description":"\u003cp\u003e\u003cspan\u003eThe imagery of musical forms emptied of earthly meaning, of solitude, and of a connection to the divine were irresistible to Federico Mompou. A desire to be alone had shaped Mompou’s early musical direction: as natural shyness ended his ambitions to be piano virtuoso, after studies at the Paris Conservatoire he turned to composition instead. His approach remained introspective – far removed from the overt and public expressions of the avant-garde, both before and after the Second World War – and pursued a line inwards, towards Catalan traditional music, idiosyncratic technique, and a spiritually clarified instinctivism inspired particularly by Erik Satie. The four books of pieces are considered by some to be Mompou’s masterpiece. \u003cem\u003eMúsica Callada\u003c\/em\u003e creates a sort of musical negative space, in which presence (of external references) creates lightness, and absence (of formal complexity, of counterpoint, of thematic or harmonic development) creates weight and substance.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMetaphors such as these also lie behind James Rushford’s \u003cem\u003eSee the Welter\u003c\/em\u003e, composed as a companion piece to \u003cem\u003eMúsica Callada\u003c\/em\u003e in 2016. In \u003cem\u003eSee the Welter\u003c\/em\u003e, Rushford introduces a concept of ‘musical shadows’. The aim is not a recognizable transcription or recomposition of Mompou’s twenty-eight pieces, but a sort of Proustian\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003e‘sieving’, in which memories and sensations – such as finger pressures, resonances and harmonic rhythm – are projected across a new surface, in new forms, and as new memories. Just as a shadow both intensifies and diffuses the form of the object by which it is cast, so Rushford’s piece transforms and scatters the details of Mompou’s collection while intensifying its essence. Compositionally, the piece is the inverse of Mompou’s: a single block in place of a multitude of fleeting impressions; its long shadow. Expressively, however, See the Welter explores the same territory, if seen through the other side of the glass: resonances and absences, silences within sounds, luminosity and intensity, bodies within spaces.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"UnseenWorlds","offers":[{"title":"2CD","offer_id":32881829118005,"sku":"UW034CD","price":14.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":32881829150773,"sku":"UW034DIGITAL","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0064\/1374\/6229\/products\/UW034cover.jpg?v=1660153260"},{"product_id":"petr-kotik-the-plains-at-gordium-performed-by-talujon","title":"Petr Kotik - The Plains at Gordium","description":"\u003cp\u003e\u003cem\u003eThe Plains at Gordium\u003c\/em\u003e is a work by Petr Kotik, whose pioneering work as founder and leader of the S.E.M. Ensemble has been a stalwart champion of the Avant-Garde from its inception, at the Center of the Creative and Performing Arts, SUNY\/Buffalo, in 1970 to present day.\u003cbr\u003e\u003cspan\u003e\u003cbr data-mce-fragment=\"1\"\u003eWell-loved recordings by the S.E.M. Ensemble (Julius Eastman: \u003cem\u003eFemenine\u003c\/em\u003e, \u003cem\u003eThe Entire Musical Work of Marcel Duchamp\u003c\/em\u003e, Morton Feldman: \u003cem\u003eFor Philip Guston\u003c\/em\u003e) are easy to find. That has not been the case for Kotik's own music. This beautiful recording of a relatively recent work by Kotik provides a beguiling, labyrinthian entry into Kotik's own musical vision.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"press\"\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"UnseenWorlds","offers":[{"title":"LP","offer_id":39985675272245,"sku":"UW039LP","price":25.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":39985675305013,"sku":"UW039CD","price":14.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":39985675337781,"sku":"UW039DIGITAL","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0064\/1374\/6229\/products\/UW039_Hi_Res.jpg?v=1660153345"},{"product_id":"pulse-music","title":"John McGuire - Pulse Music","description":"\u003cp\u003ePresented together for the first time, American composer John McGuire’s Pulse Music series (1975-1979) blurs the popular narrative that Minimalism was a reaction against Europe’s angular, intellectual, inscrutable high-modernism. McGuire, born in California, studied at Occidental College in Los Angeles and UC Berkeley before going to Europe to study with Karlheinz Stockhausen, Krzysztof Penderecki, and Gottfried Michael Koenig. His compositions lock serialism’s warped geometries onto an evenly spaced grid, perfectly preserving serial music’s multi-dimensionality while smoothing its wildest disjunctures and sharpest angles. If serialism is Montreal’s Habitat 67 modular housing complex, McGuire’s Pulse Music compositions are the primary-colored grids of Le Corbusier’s L’Habitation apartment complex — an exuberant expression of the same materials and principles. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eEvery layer of pulses is made distinct through its timbre, register, and tempo. We hear them as a plurality, organized like stars in the sky. Every so often the sky rotates and the stars appear in a different arrangement. Our ear naturally starts to draw connections and, as it sweeps between one layer and another, what was discrete becomes continuous. Pulses become flows; quantitative\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e reality becomes qualitative experience. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMcGuire’s pulse pieces were realized electronically, in the newly built Studio for Electronic Music at the State University of Cologne and WDR, but Pulse Music II adapted his ideas to an orchestral canvas. Commissioned retrospectively by the composer and radio producer Hans Otte for his Pro Musica Nova festival at Radio Bremen. Alongside the Bremen orchestra, conducted by Klaus Bernbacher, were four pianists—Christoph Delz, Herbert Henck, Deborah Richards, Doris Thomsen—and McGuire himself playing a series of twelve drone-like chords on the organ. The techniques of the electronic Pulse Music pieces required a speed and precision too great for live musicians, so for Pulse Music II McGuire adapted his method to an expanding progression of durations; this had the advantage of being much slower and requiring none of the carefully calibrated tempo changes of Pulse Music I or III. It was still based, says the composer, “on what seemed to me an interesting foray into a completely different kind of time structure. Complex time structures had, by 1975, become a condition for me in two senses: a compositional requirement and maybe an illness.” The present recording was made by Radio Bremen at the work’s first and only performance, and has been held in their archive until now. “108 Pulses” – originally composed a proof-of-concept piece and realized as a single, repeating loop in a 20 minute tableau – is also presented here for the first time.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"UnseenWorlds","offers":[{"title":"2LP","offer_id":40557447151669,"sku":"UW036LP","price":35.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40557447184437,"sku":"UW036CD","price":14.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40557447118901,"sku":"UW036DIGITAL","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0064\/1374\/6229\/products\/UW036DIGITAL_HIRES_copy.png?v=1660153267"},{"product_id":"katrina-krimsky-1980","title":"Katrina Krimsky - 1980","description":"\u003cp\u003eStarting at a very young age, Katrina Krimsky developed her musical self along a pathway of strong classical, pianistic training. Highlights of her playing on the classical side include her wonderful recording of Samuel Barber’s monumental Sonata for Piano, Op. 26, (Transonic Records 3008, 1975), a composition that is a virtual dictionary of early and mid-Twentieth Century composition techniques, first performed by Vladimir Horowitz in 1949 and 1950. Another example is her equally wonderful recording of A próle do bébé (The Baby’s Family) by Heitor Villa-Lobos, (1750 Arch Records, S-1789, 1982). After studying at the Eastman School of Music, Krimsky toured with the Ars Nova Trio and soon found herself becoming immersed in the European contemporary classical scene and with composers like Karlheinz Stockhausen, Luc Ferrari, and many others. The later 1960s brought collaborative performances and recordings with gradual-process innovators, like Terry Riley and La Monte Young, and beyond that, great jazz musicians like Woody Shaw and others. Her musical world was opening even wider. Still, in all this, her advanced technical and interpretive skills were always evident, and her sense of lyricism in all music, quite profound.\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003e1980 was a turning point for Katrina Krimsky. It was the\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eyear in which she burst out from the restrictions of her established career in classical and contemporary traditions into free expression through improvisation. Her individual style began to reflect a wide range of sources: jazz, non-Euro-American music, the new minimalism, and more experimental forms. In 1980, she was invited to do a workshop and give a concert at the legendary Creative Music Studio in Woodstock, NY. (CMS was founded originally in 1971 by Karl Berger and developed in its Woodstock home by Karl with Ingrid Sertso starting in 1973.) Katrina traveled from where she was living in Zürich at the time and found an open environment at CMS in which to create anew. The tracks we hear on 1980 were all recorded live in a concert at the CMS in June of that year. 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