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Tenney, James

Forms 1-4 - In Memoriam Edgar Varese, John Cage, Stefan Wolpe, Morton Feldman [2 CDs]

Tenney, James: Forms 1-4 - In Memoriam Edgar Varese, John Cage, Stefan Wolpe, Morton Feldman [2 CDs] (Hat [now] ART)


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product information:

UPC: 752156012726

Label: Hat [now] ART
Catalog ID: 127-2
Squidco Product Code: 9855

Format: 2 CDs
Condition: New
Released: 2002
Country: Switzerland
Packaging: 2 CDs in gatefold cardstock foldover
All recorded at WDR Koln, Funkhaus I; Tenney pieces recorded on 1-2 October 1997; the Wolpe on 17 November 1997; the Varese and Cage on 11-21 December 1997; and the Feldman on 2 February 1998.



Paulo Alvares-celeste-piano

Marina Ascherson-viola

Jan Babinec-horn

Marc Blaauw-trumpet

Helen Bledsoe-alto and piccolo flute

Bruce Collings-trombone

John Corbett-clarinet-bass clarinet

Nándor Gotz-clarinet

Gregory Johns-cello

Seth Josel-guitar

Tomoko Kiba-violin

Ulrich Loffler-organ

Sarah O'Brien-harp

Thomas Oesterdiekhoff-percussion

Melvyn Poore-tuba

Ellen Ruth Rose-viola

Alexander Scheirle-cello

Heinrich Schkrobol-double bass

Peter Veale-english horn-oboe-musette

Alban Wesley-bassoon-contra bassoon

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track listing:

CD 1

1. James Tenney: Form 1 In memoriam Edgar Varèse 18:44

2. Edgar Varèse: Octandre 7:09

3. James Tenney: Form 2 In memoriam John Cage 16:44

4. John Cage: Seven 20:00

CD 2

1. James Tenney: Form 3 In memoriam Stefan Wolpe 14:00

2. Stefan Wolpe: Piece 7:42

3. James Tenney: Form 4 In memoriam Morton Feldman 16:38

4. Morton Feldman: Numbers 12:08

Related Categories of Interest:

Hat Art
Compositional Forms

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descriptions, reviews, &c.

"What James Tenney does have in common with the composers to whom he has dedicated his FORMs, however, is not a specific approach to dynamics, but to sound. And precisely this inquiring interest in sound, both as a physical phenomenon and as regards its perception, was a constant leitmotif that pervaded the whole American avant-garde in the 20th century. To a certain extent, it could even be seen as a decisive characteristic distinguishing the American avant-garde from its European counterpart, which was more structurally and historically oriented."-Raoul Mörchen

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