Tenney’s percussion pieces could be rearded as a veritable collection of topoi of the American experimental tradition. Central ideas of the U.S. avant-garde-the reduction of complexity, the use of space and room resonance as musical parameters, re-definition of the use of technology, re-integration of the roles of composer and performer, indeterminacy and non-subjectivity, liberation of silence from its traditional subordinate role in music-are adapted and transformed in concise and creative ways. Peter Niklas Wilson JAMES TENNEY (1934)
THE SOLO WORKS FOR PERCUSSION
MATTHIAS KAUL percussion RÜDIGER ORTH tape-delay-system (on 5) 2-5 are first recordings
I Maximusic (1965) 5:40 2 Ergodos II for tape and percussion (1963-64) I 2:10 3 Koan: Having Never Written A Note For Percussion for tam-tam(1971) 17:20 4 For Percussion Perhaps, Or ... (1970-71) 19:05 S Deus Ex Machina for percussion and tape-delay-system (1982) 22:00
Total Time 77:00
DDD 24/BIT
Co-Production: Hessischer Rundfunk, Frankfurt/Hat Hut Records Ldt.,Therwil; Digital recording August, 1997 at Sendesaal Hessischer Rundfunk; Recording supervisor: Christoph Claßen; Sound engineer: Rüdiger Orth; CD-master by Peter Pfister; Liner notes by Peter Niklas Wilson; Photo by Achim Duwentäster; Graphit concept by fuhrer vienna; Produced by Bernd Leukert/Pia & Werner X. Uehlinger.
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1998, Edition of 3000 CDs. Princed by Lüdin AG, 4410 Liestal, Swiczerland www.hathut.corn
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