Richard Teitelbaum
(Copyright © 1999 Piero Scaruffi | Legal restrictions - Termini d'uso )
Time Zones (june 1976 - Arista, 1977), 6/10
Homage to Charles Parker (Black Saint, 1979), 5/10
Open Aspects (Hat Art, 1982), 6/10
Blends/ The Digital Pianos (july 1982 - Lumina, 1984), 6/10
Concerto Grosso (Hat Hut, 1986), 7/10
The Sea Between (Victo, 1988), 6/10
Blends (Blends, 2002), 6/10
Run Some By You (Wergo, 1992), 6/10
Golem (Tzadik, 1995), 6.5/10
Shift (For 4 Ears, 1999), 5/10
11 Ways to Proceed (For 4 Ears, 2000), 5/10
Quintet (Leo, 2000), 6/10
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Richard Teitelbaum, who introduced the synthesizer in Europe while playing in Musica Elettronica Viva with Alvin Curran, and partnered with jazz improvisors such as Anthony Braxton, George Lewis and Leroy Jenkins, found his mission at the intersection between chamber music, free jazz and electronic/digital music through works such as Blends (1977) for synthesizer, shakuhachi flute, tablas and percussion, Concerto Grosso (may 1985) for saxophone, trombone, electronics and robotic orchestra (computer-controlled pianos), Concerto Grosso 2 (1988) for piano, robotic piano, trombone, synthesizers and interactive computer systems, the interactive opera Golem (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.
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Attivo fin dagli anni Sessanta, quando (a seguito di una borsa di studio per studiare in Italia) fece parte di Musica Elettronica Viva (con i quali introdusse il sintetizzatore in Europa), Richard Teitelbaum (1939) e' un musicista elettronico che si e' progressivamente avvicinato all'avanguardia jazz, a quella musica creativa che, esaltando la casualita' dell'improvvisazione, puo' essere considerata come la versione Afro-americana dell'indeterminatezza Cage-ana.
Teitelbaum ha cosi` partecipato a New York FALL (Arista, 1974) di Anthony Braxton, Trio And Duet (Sackville, 1975) di Anthony Braxton e Leo Smith, e alla Creative Orchestra Music (1976), ed e' stato co-protagonista con Anthony Braxton e George Lewis (Homage to Charles Parker) di duetti improvvisati per strumento a fiato jazz e sintetizzatore (soprattutto i surreali Behemoth Dreams del 1976 con il primo), nonche' collaboratore di Hiuchi Ishi (september 1977 - Columbia, 1979) con il pianista Takashi Kako e di Space Minds New Worlds (september 1978 - Tomato, 1979) con Leroy Jenkins. Ma (dopo la borsa di studio che lo porto` in Giappone nel 1977) il suo genere piu' tipico e' rappresentato da lavori come Blends (1977) per synth, flauto shakuhachi, tabla e percussioni, e Digital Piano per tre pianoforti computerizzati, oppure il barocco Concerto Grosso (1985) in tre movimenti per un concertino composto da sax (Braxton), trombone (Lewis) e tastiere (Teitenbaum stesso) e un'orchestra robotica (due pianoforti controllati via computer).
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; etc.

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; etc.

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 (1963-1998), including Solo for Three Pianos (1982) for "computerized interactive three-piano system", Intersections (1963), Dal Niente (1997), 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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