The Squid's Ear Magazine
Squidco's Record Store Day Sales start Friday, April 18th @ 10 AM!

Falzone, J.P.A. / Morgan Evans-Weiler: Chordioid [2 CDs] (Another Timbre)

2 CDs of works for violin, piano & vibraphone, composed and performed by two young American composers and members of the ensemble Ordinary Affects, who have recorded music by the Jurg Frey, Magnus Granberg, Michael Pisaro, Eva Maria Houben, &c.; the 1st disc presents the Feldman-esque work of JPA Falzone, while the 2nd contains an exquisite new work by Morgan Evans-Weiler.

Price: $15.95


In Stock

Quantity in Basket: None

Log In to use our Wish List
Shipping Weight: 3.00 units

Sample The Album:

product information:


Morgan Evans-Weiler-violin

J.P.A. Falzone-piano, fortepiano, vibraphone

Click an artist name above to see in-stock items for that artist.

Label: Another Timbre
Catalog ID: at152x2
Squidco Product Code: 28757

Format: 2 CDs
Condition: New
Released: 2020
Country: UK
Packaging: Cardboard Gatefold 3 Panels
Recorded at Wesleyan University, in Middletown, Connecticut, in January, 2019, by Luke Damrosch.

Descriptions, Reviews, &c.

Another Timbre Interview with J.P.A.Falzone

How did the duo project with Morgan Evans-Weiler come about?

Morgan and I have been performing together in Ordinary Affects since the group's inception in 2016. Playing a great deal of music that is generally minimal in texture, it dawned on me that taking up the unusual doubling of vibraphone and piano would enable me to enrich the sound without necessarily giving the impression of an overall greater density. It is especially practicably suitable for music where both instruments are 'pedal down' -- senza sordina, so to speak. Morgan liked this technique and suggested we write pieces for each other in this arrangement -- sort of trios for duo, to paraphrase Mary Jane Leach. It was initially planned that each piece would be about an hour. The opportunity to include fortepiano arose when we decided to record at Wesleyan University, where I was studying at the time.

The doubling of vibraphone and piano is a really interesting feature of the recordings. It reminds me of some of Feldman's long late pieces, where piano and celesta are doubled.

Those pieces are great inspirations to me - particularly For Philip Guston and For Christian Wolff. In the same breath I would mention Crippled Symmetry and Why Patterns? The vibraphone at least presents the interesting possibility of being bowed, serving as a sustaining or line instrument, versus the celesta. But of course, Feldman would not have asked the pianist to play the vibraphone as well - and, interestingly, to my knowledge, he never made use of bowed vibraphone. So, a principle of economy entered my thinking - could the pitched-percussion/piano be collapsed to one player? Morgan's ability to play in an austere style, senza vibrato, ultimately contributes a great deal to the overall effect of the pieces on these recordings.

Feldman's approach to writing asymmetrical patterns has long fascinated me. He openly embraced intuitive strategies of course, in defiance of formalised systems. His work represents to me in many respects a kind of considered haphazardness. It is at least in part from this line of thinking that I arrived at using the notion of precession time as a principle throughout this piece, taken in relation to the so-called gears problem. Phrases of unequal length across the three voices are repeated until the least common multiple of their respective beat patterns is reached; then a new set of phrases begin, etc.

Could you tell us about your background? How did you get involved with experimental music?

It was my good fortune to be born into a musical family. I was enthralled by classical music at a young age. I grew up playing piano, but most of my training as an instrumentalist has been at the organ.

I have for a long time been drawn towards early music but at the same time have striven to come to an understanding of what it means to be a composer in the present day. This has naturally led me to various forms of experimental music. My inspiration to compose comes from an effort to devise systems with a high degree of internal consistency in terms of formal rigour but which are nevertheless euphonious or otherwise interesting to listen to in some sense. The former aspect is the objective content to a certain extent and the latter the subjective.

Yes, I think that composing experimental music which works structurally but is also pleasing to the ear is important - though as you say, it's irreducibly subjective as to what does or doesn't sound interesting. Do you think there is a particular connection between early music and the kind of experimental music you're drawn to?

The first section of this piece, Y Tŷ Unnos, is, for instance, a prolation canon, and it is impossible to mention prolation canon without thinking of Ockeghem! The sense of harmony and the choice of musical material are otherwise quite different - in this specific instance, using only three pitch-classes - but the organising principle is fundamentally the same.

The notion of allowing (the) music to be itself, music qua music, is something I feel various strands of early music share with aspects of experimental/contemporary composition. This informs a perspective that comes to view Romanticism as actually something of an outlier, almost an aberration. The notion of the rôle of the composer - whether as a visionary, or a medium, or perhaps more humbly as a craftsperson - is tied up in this. For us moderns, the fact that so much of early music is in fact sacred music may present something of a complicating issue.

What does the title Y Tŷ Unnos mean?

Translated from the Welsh, the title means, "The One Night House." It refers to a sort of folk legal tradition, pertaining to squatters' rights. In early modern Wales, it was believed that if a house could be built on common land within the course of a single night, it belonged to the builder as a freehold. There were similar traditions throughout the British Isles.

Tŷ Hyll, The Ugly House, is a particularly famous example in Snowdonia. The series is something of an homage to Klaus Lang, who wrote a suite of five pieces for the harmonium, called The Ugly House. Lang's pieces make use of a kind of dissident counterpoint that could be described as perforated canons. Incidentally, when I asked him about the practice in Wales, he said he had no knowledge of it.

Apart from Y Tŷ Unnos, I don't know your work as a composer at all. What other sorts of things have you composed?

My body of work consists largely of instrumental pieces for small ensembles. Most of everything I have written has been expressly for groups where I have been involved as a performer, whether for Ordinary Affects or for The Providence Research Ensemble, which I founded in 2014. I have also written a number of solo keyboard works, for piano, organ, harpsichord, etc. Some notable exceptions are a piece for orchestra, Zipf's Law IV (2016), which was premièred at Ostrava Days in the Czech Republic; a sort of cantata, The Eek Papers (2018), which takes as a text the Montgomery Furth translation of Aristotle's Metaphysics; and a couple of pieces for string quartet.

When I compose, I generally begin with a given concept or thematic system and then attempt to work out how it may be realised musically. The Method series, for instance, now eleven pieces, is entirely derived from the algorithmic permutations of method ringing.

Can you say a bit about Morgan's piece on the double CD - Locational Variations? How does that work?

In keeping with an approach that Morgan has explored in many of his pieces, Locational Variations involves a set of given material wherein the musicians are allowed a great deal of freedom in navigating their way through it. The fact that the pitch material is essentially predetermined lends the piece a particular harmonic palette and a strong identity, even given the great room for variation involved.

The affinity that exists between my and Morgan's music resides partly in that we are both working towards a similar listening experience, even at times a similar sonic result, albeit by different means. Morgan, I feel, strives towards inhabiting a very particular soundworld, while nevertheless maintaining the conditions for its realisation to be as free and open as possible. My scores tend to be more conventional, although austere in terms of the amount of notational specification. They are texts to be read more or less straightforwardly, with room for interpretation, whereas Morgan's pieces must be read through or around themselves, inviting a sense of reading that is inherently more improvisatory, more extemporaneous.

This album has been reviewed on our magazine:

The Squid
The Squid's Ear!

Artist Biographies

"Morgan Evans-Weiler, violinist, composer, improviser and teacher, is currently living in the Boston area working as a freelance musician and teacher.

He completed his bachelor's degree at Western Michigan University with a double degree in Music Composition and Performance studying with Renata Knific, Richard Adams, and Curtis-Curtis Smith. He studied violin further with Laura Bossert and jazz with Peter Cassino in Cambridge, Massachusetts. Currently he studies composition, theory, musicology, history and just about everything else with Peter Evans.

While in Michigan, he co-founded, performed with, and composed for the Nuevo tango band Barefoot Tango and the songwriting collective Blackwater Valley Songs. He also performed with the Traverse City and Battle Creek Symphony Orchestras, and the annual New Music Project. While in the Boston area, he has performed with the Modern American Music String Quartet, Longitude and various jazz and free-jazz groups. He has played in and composed music for performances at The Regattabar, Lilypad, and Pickman Hall (Longy School of Music) in Cambridge, as well as numerous halls and art spaces throughout Michigan.

Recently, he performed a full concert of music at Outpost 186 in Cambridge, Massachusetts. The concert included performances of several of Morgan's new works as well as performances of the works of Ruth Crawford-Seeger, Steve Reich and Ornette Coleman.

He continues to compose and perform in the Boston area."

-Morgan Evans-Weiler Website (

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"J.P.A. Falzone is a keyboard player and vibraphonist, a composer and song writer. He is the coordinator of Providence Research Ensemble and Providence Keyboard Ensemble."

-Squidco 4/10/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

Track Listing:

1. Y Ty Unnos III - Precession 1 05:54

2. Y Ty Unnos III - Precession 2 05:32

3. Y Ty Unnos III - Precession 3 06:34

4. Y Ty Unnos III - Precession 4 07:27

5. Y Ty Unnos III - Precession 5 02:42

6. Y Ty Unnos III - Precession 6 09:58

7. Y Ty Unnos III - Precession 7 07:24

8. Locational Variations I 08:08

9. Locational Variations II 16:13

10. Locational Variations III 07:09

11. Locational Variations IV 07:17

12. Locational Variations V 16:07

13. Locational Variations VI 06:10

Related Categories of Interest:

Compositional Forms
Stringed Instruments
Piano & Keyboards
Piano & Keyboards
Duo Recordings
Ambient & Minimal Music
NY Downtown & Metropolitan Jazz/Improv
New in Compositional Music

Search for other titles on the label:
Another Timbre.

Recommended & Related Releases:
Evans-Weiler, Morgan
(Editions Verde)
The third release in Editions Verde's series "Seeing the Forest in a Tree" are three iterations of interpretations realized by Joseph Clayton Mills, Fraufraulein, and the duo Sarah Hughes and Patrick Farmer, who were invited to interact with Morgan Evans-Weiler's score intended to be interpreted as both sound and sculpture, presented in three unique sets of recordings.
Other Recommended Releases:
Evans-Weiler, Morgan
(Editions Verde)
The third release in Editions Verde's series "Seeing the Forest in a Tree" are three iterations of interpretations realized by Joseph Clayton Mills, Fraufraulein, and the duo Sarah Hughes and Patrick Farmer, who were invited to interact with Morgan Evans-Weiler's score intended to be interpreted as both sound and sculpture, presented in three unique sets of recordings.
Dykstra, Jordan
Globes (Original Soundtrack Album)
(Editions Verde)
The original score composed by Brooklyn violist and multi-instrumental Jordan Dykstra for the documentary movie Globes directed by Nina de Vroome, exploring the relationship between bees and humans through their history and affect on the global economy and our cultures, realized in a diverse set of contemporary musical forms from orchestral to electronica.
Ogawa, Michiko / Lucy Railton
Fragments Of Reincarnation
(Another Timbre)
A single-movement work for sho, Hammond organ and cello, jointly realized by Berlin-based collaborators, Tokyo contemporary and experimental musician & composer Michiko Ogawa, and British cellist & composer Lucy Railton, whose work bridges experimental electronic and electroacoustic practice, here exploring the combinations of different tuning systems inherent in their instruments.
Eastman, Julius
Femenine [VINYL 2 LPs]
(Frozen Reeds)
The premiere of late composer Julius Eastman's work for an eclectically orchestrated chamber ensemble, presented in 1974 at Composers Forum in Albany, NY, a uniquely joyful and absorbing work rendered in this original inspired performance that continues to bring interest to Eastman's work, now remastered by Jim O'Rourke and released in a deluxe double LP gatefold edition.
Stiebler, Ernstalbrecht / Tilman Kanitz
The Pankow-Park Sessions, Vol.1
(Another Timbre)
Six potent duo improvisations for cello and piano by composer & pianist Ernstalbrecht Stiebler and fellow-Berlin resident Tilman Kanitz, who have been developing their dialog together for several years in studio, focusing much of their momentum on pitch and harmony, their work all the more remarkable for Stiebler only having begun improvising in his mid-80s.
Dingman, Chris
The Peace Project [5-CD BOX]
(Inner Arts Initiative)
Vibraphonist Chris Dingman set up his vibraphones next to the bedroom where his father was under hospice care from a rare heart ailment, setting an atmosphere of calm and compassion to help soothe, heal, and carry him through his final challenges, released here as a 5-CD set of 5 hours of ethereal sounds through poignant melodies, swirling textures, and undulating pedal tones.
Cabado, Tomas / Christoph Schiller
Unconscious Collections
(Another Timbre)
Swiss prepared spinet player Christoph Schiller and Argentine guitarist-composer Tomás Cabado, whose work is found on the Wandelweiser label, met in Schiller's studio in Basel to perform compositions from both and to improvise, recording this wonderfully relaxed but compelling music that exists in the fertile grey area between composition and improvisation.
Frey, Jurg
Fields, Traces, Clouds
(Edition Wandelweiser Records)
Three compositions from clarinetist and Wandelweiser peer Jurg Frey, performed by Luke Martin on electric guitar, Laura Cetilia on cello, J.P.A. Falzone on piano & vibraphone, Morgan Evans-Weiler on violin, and Jurg Frey himself on clarinet; beautifully reflective music indicating Frey's working method and his relationship with wide, quiet sound spaces.
Denyer, Frank
The Boundaries of Intimacy
(Another Timbre)
A set of varied compositions from Frank Denyer, most of them of a delicate acoustic intimacy, with works for female singers & flute, two works for koto, a string quartet, one for flute and electronics and the two-part "Frog" for a bowed stringed instrument of Denyer design, the "sneh"; uncategorizable music of sublime imagination and unusual approaches.
Duplant, Bruno
Deux Songes (Les Jours Sont Faits Pour Expliquer Les Nuits)
Two beautifully subtle works for an ensemble of strings and electric piano from French composer Bruno Duplant, realized by the Boston-based Ordinary Affects ensemble or Jordan Dykstra, Morgan Evans-Weiler, JPA Falzone, Luke Martin and Ashley Frith, the first a quintet and the second a string quartet, creating illusory affects of motion and space through abstraction.
Houben, Eva-Maria
Ensemble Works [2 CDS]
(Edition Wandelweiser Records)
Three detailed and fragile compositions from German minimalist composer Eva-Maria Houben reveal themselves over two CDs, performed by the Boston-based experimental music ensemble, Ensemble Ordinary Affects, with Houben herself on organ recording at Memorial Chapel, in Wesleyan University, CT: three movements from "echo fantasy"; "gesang XI"; and "unter anderen".
Smith, Linda Catlin
(Another Timbre)
Eight sophisticated chamber pieces composed by Linda Catlin Smith and realized by the Canadian Apartment House ensemble, including a solo piano performed by Philip Thomas, a piano duo with Thomas and Mark Knoop, and works for percussion & cello, 2 quintet pieces for strings, percussion and winds, and two 7-piece conducted works with two percussionists, strings and brass.
Smith, Linda Catlin
Dirt Road
(Another Timbre)
Canadian composer Linda Catlin Smith's extended composition for violin and percussion in 15 parts, performed by percussionist Simon Limbrick and violinist Mira Benjamin, a unique orchestration that reveals a journey of steady pace, tension and beauty.

Customers Who Bought This Item Also Bought:
Morris, Joe
Instantiation: Versioning
(Glacial Erratic)
The 2nd album in guitarist Joe Morris' "Instantiation" series, where each part is composed with specific notated and operational components such that it is impossible to perform any part the same way twice, performed with the quintet of Daniel Klingsberg on bass, Alex Quinn on trumpet, Michael Sabin on trombone, Raef Sengupta on saxophone.
Mattrey, Joanna
(Relative Pitch)
The first solo record for NY violist Joanna Mattrey, performing also on the Stroh violin, in a deep exploration of the sound possibilities for both instruments, using preparations to alter the resonance of the viola, masking its overtly singing and beautiful nature and allowing for unexpected and unusual textures which weave around melodic lines; unique and fascinating.
Denley, Jim / Eric Normand
Plant 3 [VINYL]
(Tour de Bras)
The collaboration of Quebec bassist Eric Normand and Australian saxophonist Jim Denley, both dedicated experimenters, in their third duo album under the Plant name, here recording live at the 2019 Syndey, Australia NowNow Festival, with Denley also playing bass flute, fruits and objects, and Normand using objects and playing the bass amp itself.
Meyer, Bedrnhard / John Hollenbeck
Bringing together NY drummer/percussionist John Hollenbeck, also on prepared piano, with Berlin bassist Bernhard Meyer for an album that blends textural rock, electronic and jazz approaches in 9 elusively calm yet structurally turbulent pieces, using complex systems of cross rhythms against atmospheric immersion, occasionally disruptive but generally eccentrically controlled and exploratory.
Toned (Corder / Suarez / Weeks)
The Private Sector
Schizophrenically skronky improv of ea-cutups and semi-maniacal segments that resolve to near-stillness from the West Coast TONED trio of Nathan Corder on electronics, Leo Suarez on drums, and Tom Weeks on sax, using a nonlinear and nonhierarchical organizational process and multiple layers of compositional feedback loops to create unpredictably bizarre and overtly fun music.
Lopes, Luis Humanization 4Tet (w/ Amado / Gonzalez / Gonzalez)
Believe, Believe
(Clean Feed)
Energetic and assertive jazzcore improv from Portuguese guitarist Luis Lopes' long-running Humanization 4Tet with saxophonist Rodrigo Amado and the near-telepathic rhythm section of Aaron Gonzalez on double bass and Stefan Gonzalez on drums, in an album recorded in the studio in front of an audience in New Orleans during their 2018 tour, finding the band in formidable form.
Testa, Carl
Sway Prototypes - Volume 3
The third volume of NY bassist, composer, and electronic/computer musician Carl Testa's amazing Sway project, giving an interactive electronic processor its own voice interfacing with any size ensemble, here with two new works--one for quintet among a set of Chicago improvisers, the other in Portland, Maine with a sextet--each uniquely voiced and excitingly unpredictable.
Schneider, Urs Peter
Klavierwerke 1971 - 2015 [2 CDs]
(Edition Wandelweiser Records)
Four compositions for solo piano from Swiss composer Urs Peter Schneider, founder of Ensemble Neue Horizonte Bern, with four accompanying prose pieces with text in German from Schneider himself, Martin Luther, and Ita Wegman; unusual words to accompany Schneider's minimalist works of clear progressions, thoughtful direction and interesting concepts.
Cabado, Tomas
Historia De La Luz: Cuaderno De Guitarra
(Edition Wandelweiser Records)
An harmonically rich album of spacious guitar interaction from two Argentinian guitarists and composers--Catriel Nievas and Tomas Cabado--who also work in the trio Merce / Cabado / Nievas, a minimal yet satisfying set of 8 pieces that interact through stereo positioning, harmonic disturbance and long decay, the effect mesmerizing and beautifully peaceful.
Hannesson, Mark / Dante Boon / Anastassis Philippakopoulos
hannesson . boon . philippakopoulos
(Edition Wandelweiser Records)
Three solo piano works from three composers--Mark Hannesson, Dante Boon, and Anastassis Philippakopoulos--are performed by Dante Boon in this studio album recorded in Berlin; three extremely compatible works that prove to be quintessential examples of Wandelweiser minimalism finding melody, progression and abstraction in subtle and elusive ways; sublime.
Hannesson, Mark
(Edition Wandelweiser Records)
"Undeclared" refers to a 2006 drone attack in Pakistan that struck a school, killing more than 80 civilians including 70 children, which took place on a day that was intended for a peace agreement; Hanneson pays homage to the victims by finding a sound for each of them, rendering the piece 3 times by himself via electronics, by Rene Holtkamp on guitar, and by Antoine Beuger on children's glockenspiel.
Singh, Rishin
Out From The Blinding White
(Edition Wandelweiser Records)
Two understated compositions for solo piano from Kuala Lumpur composer living in Berlin, Rishin Singh, both performed by pianist Dante Boon, with the first piece written for Boon himself, a minimal work of slowly rising and descending progressions; the other piece "For Eva-Maria Houben" dedicated to the Wandelweiser composer, using recurring yet distinctly varying patterns.

The Squid's Ear Magazine

The Squid's Ear Magazine

© 2002-, Squidco LLC