A double CD release of works from Italian composer Franco Evangelisti, who was specifically interested in scientific theories behind sound; recordings include work with David Tudor and Eberhard Blum.
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8 page booklet with text in German and English.
Label: Edition Rz
Catalog ID: Ed. RZ 1011-12
Squidco Product Code: 14757
Format: 2 CDs
Packaging: 2 CDs in cardstock foldover
Various recordings 1955-1993
Gabriele Ferro-conductor-Orchestra Sinfonica Siciliana
Giampiero Taverna-conductor-Orchestra Della Vl Settimana Di Palermo
James Demby-conductor-Ensemble Strumentale Da Camera
Luca Pfaff-conductor-Gruppo Spettro Sonoro
Eberhard Schoener-conductor-Solistenensemble Des Orchesters Der Mčnchener Kammeroper
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1. Proieziono Sonore, Strutte Per Pioano Solo 3:40
2. Inconti Di Fasce Sonore, Composizione Elettronica 3:27
3. Aleatorio, Per Quartetto Per Flauto Solo, 1958 2:50
4. Spazio A 5, Per Quattro Di Percussioni, Voci E Accorgimenti Elettronici 13:07
5. Random Or Not Random, Per Orchestra 8:18
6. Cinque Strutture, Per Piccola Orchestra E Nastro Magnetico Dalla >>Die Schachtel<< 16:59
7. Proiezioni Sonore, Strutture Per Piano Solo 4:35
1. Proiezioni Sonore, Strutture Per Piano Solo 4:46
2. Proporzioni, Strutture Per Flauto Solo 1958 5:51
3. Aleatorio, Per Quartetto D'archi, 1959 3:50
4. Quattro Fattoriale (4!), Piccoli Pezzi Per Pianoforte E Violino 1954 3:53
5. Ordini, Strutture Variate Per Sedici Strumenti 1959 6:59
6. Campi Integrati N.2, Giuoco Per Nove Strumenti 1959-79 6:41
7. Die Schachtel, Azione Mimoscenica Per Mimi, Proiezioni, Orchestera Da Camera Su Soggetto Di Franco Nonnis 1962-63 31:39
Related Categories of Interest:
Organized Sound and Sample Based Music
sample the album:
"Born in Rome, Evangelisti abandoned engineering studies in order to dedicate himself to musical composition. In 1948 he became a student of Daniel Paris in Rome and Harald Genzmer at the Hochschule für Musik Freiburg, where he pursued a course in advanced composition. From 1952 to 1960 he took part in the Darmstädter Ferienkurse für Neuen Musik, where he had the opportunity of meeting Werner Meyer-Eppler of the University of Bonn, thanks to which he began to be interested in electronic music. At the invitation of Herbert Eimert, in 1956 he worked in the electronic studio of the Westdeutscher Rundfunk in Cologne.
In 1957, the orchestral conductor Hermann Scherchen invited him to work in the Studio of Experimental Electroacoustics of UNESCO in Gravesano, where he became involved with biophysics and explored the possibility of directly translating brain impulses into sonic vibrations.
In 1958, together with Karlheinz Stockhausen and Luigi Nono, he inaugurated the Experimental Studio of the Polish Radio in Warsaw, where in the following year he was invited to hold some seminars on electronic music. In 1959 he was brought by the promoters, to the International Week of New Music in Palermo. The following year, together with other musicians such as Francisco Pennisi and Aldo Clementi, he founded the Nuova Consonanza association and, later, the improvisation group of the same name.
In the early 1960s he famously attacked the lesser followers of the Darmstadt School of composers, of which he was generally reckoned to be a member, accusing them of being merely dodecaphonic police. He moved to Berlin for two years (1966-68), hosted by the Deutscher Akademischer Austauschdienst and the Ford Foundation. On returning to Rome, he held a course in experimental electronic composition at the National Academy of Santa Cecilia. In 1972 the obtained an assignment of leading the course in electronic music at the Alfredo Casella Conservatory in Aquila. In 1974 he was appointed professor of electronic music at the Conservatory of Santa Cecilia in Rome, a post which he held until his death. In those years he gave concerts with the Gruppo di Improvvisazione di Nuova Consonanza, in Italy as well as in foreign countries, and continued with conferences and seminars on the "new music". Compositional activity became less therefore, in order to leave space mostly for research and for theoretical development. At the end of 1979, after nearly twenty years' work, he finished his book Dal silenzio a un nuovo mondo sonoro (From Silence to a New Sonorous World). He died in Rome on 28 January 1980."-Wikipedia
8 page booklet with text in German and English.
• Show Bio for David Tudor
"David Tudor was born in Philadelphia, PA, in 1926. He studied with H. William Hawke (organ, theory), Irma Wolpe Rademacher (piano) and Stephan Wolpe (composition and analysis).His first professional activity was as an organist, and he subsequently became known as one of the leading avante-garde pianists of our time. Tudor gave highly acclaimed first or early performances of worksby contemporary composers Earle Brown, Sylvano Bussotti, Morton Feldman, Karlheinz Stockhausen, Christian Wolff, Stephan Wolpe, and La Monte Young, among others.
Tudor began working with John Cage in the early fifties, as a member of the Merce Cunningham Dance Company and with Cage's Project of Music for Electronic Tape. Tudor gradually ended his active career as a pianist, turning exclusively to the composition of live electronic music.
As a composer, Tudor chose specific electronic components and their interconnections to define both composition and performance drawing upon resources that were both flexible and complex. Tudor was one of four Core Artists who collaborated on the design of the Pepsi Pavilion for Expo '70, Osaka, Japan, a project of Experiments in Art and Technology, Inc. Many of Tudor's compositions have involved collaborative visual forces: light systems, laser projections, dance, theater, television, film. Tudor's last project, Toneburst: Maps and Fragments, was a collaboration with visual artist Sophia Ogielska. Tudor's several collaborations with visual artist Jacqueline Monnier included the development of a kite environment installed at the Whitney Museum (Philip Morris, NYC) in 1986, at the exhibition "Klangraume" in Dusseldorf in 1988, and at the Jack Tilton Gallery in New York City in 1990. Other collaborators have included Lowell Cross, Molly Davies, Viola Farber, Anthony Martin, and Robert Rauschenberg.
Tudor had been affiliated with the Merce Cunningham Dance Company (MCDC) since its inception in the summer of 1953. In 1992, after CageÕs death, Tudor took over as Music Director of MCDC. Merce Cunningham has commissioned numerous works from Tudor, including Rainforest I (1968); Toneburst (1974); Weatherings (1978); Phonemes (1981); Sextet for Seven (1982); Fragments (1984); Webwork (1987), Five Stone Wind (1988), Virtual Focus (1990); Neural Network Plus (1992); and most recently Soundings: Ocean Diary (1994) for what was John Cage's last conception, Ocean.
David Tudor passed away on August 13, 1996 at his home in Tomkins Cove, NY."-David Tudor Website (http://davidtudor.org/Life/biography.html)
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