Formative works include both chamber music, such as the
Concerto da Camera (1965) for 14 instruments,
and musique concrete, such as
In Tune (1967) for amplified brainwaves, heartbeats, breath and synthesizer.
The Concerto Grosso is in three movements. The
Invenzione begins in a mood that is both
discreet and discrete, capable of crafting a nocturnal and jazzy atmosphere out
of sporadic instrumental interaction; but then it plunges into just chaotic
chamber dissonance, with
Anthony Braxton's saxophone and George Lewis' trombone
battling with an avalanche of incoherent keyboard sounds.
The connection between the various instruments is even more haphazard in the
occasionally lively Fantasia.
The Capriccio alternates in an even more schizophrenic manner
between quiet and colvulsion, the it settles for a long time in the most
subdued mood of the concerto, with all the instruments producing only the
most anemic of notes. The finale, finally, is an exuberant fanfare-like allegro.
More duets with Anthony Braxton appeared on Open Aspects (Hat Art, 1982).
Duets with Portuguese violinist Carlos Zingaro appeared on The Sea Between (october 1987 - Victo, 1988).
Other compositions in his classical/jazz/electroacoustic style include:
In Memoriam (1977) for synthesizers, soprano saxophone, piano, trombone and trumpet;
Via Della Luce (1977) for synthesizer, vibraphone, melodica, soprano saxophone, trumpet, trombone and piano;
He then turned to "digital piano music" (for pianos controlled by computers),
as documented on
Run Some By You (Wergo, 1992).
Other major compositions include:
Concerto Grosso No. 2 (1988) for piano, robotic piano, trombone, synthesizers, and interactive computer systems;
the 1989-94 interactive opera Golem (Tzadik, 1995), recorded with Shelley Hirsch on vocals, David Moss on vocals and percussion, Carlos Zingaro on violin, George Lewis on trombone and electronics, and Teitelbaum on keyboards, computer and sampler;
Dal Niente (1997) for piano, sampler and interactive computer system;
Seq Transit Parammers (1998) for two Disklaviers and interactive computer music system;
Jazz-like collaborations include:
Cyberband (Moers, 1994) with Tom Cora, Fred Frith, George Lewis, Otomo Yoshihide, Michel Waisvisz and Carlos Zingaro;
Duet (Music and Arts, 1996) with Anthony Braxton;
Double Clutch (Silkheart, 1997) with Andrew Cyrille;
Shift (For 4 Ears, 1999), a trio with violinist Hans Burgener and Guenter Mueller;
Quintet (Leo, 2000), a jam among Teitelbaum, Zingaro, bassist Joelle Leandre, pianist Marilyn Crispell, drummer Paul Lovens;
11 Ways to Proceed (For 4 Ears, 2000), a quartet with Zingaro, Burgener and Guenter Mueller;
Other collaborations include:
The Rule Of Thumb (january 1993) with George Lewis and reed player Luc Houtkamp;
Duet (april 1994) with Anthony Braxton;
Shift (november 1997) and 11 Ways To Proceed (november , 1998) with violinist Hans Burgener and digital musician Gunter Muller.
Solo Live (2012)
contains Threshold Symphonies (35:30 minutes) for sampler, and TBCi/bRT for piano, bells, slide whistle, and crackle box.
Piano Plus (New World, 2013) collects old piano pieces
Solo for Three Pianos (1982) for "computerized interactive three-piano system",
Intersections (1963), Dal Niente
Seq Transit Parammers (1998).
Symphony No 106 (may 2016) documents a reunion of Musica Elettronica Viva's founders Frederic Rzewski (piano and vocals), Richard Teitelbaum (keyboards and computer) and Alvin Curran (keyboards, computer and shofar).
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