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The House of Hidden Knowledge
Registrace 22. 07. 2014
Alvin Lucier: I Am Sitting in a Room (1969)
Alvin Augustus Lucier Jr. (May 14, 1931 - December 1, 2021) was an American composer of experimental music and sound installations that explore acoustic phenomena and auditory perception. A long-time music professor at Wesleyan University in Middletown, Connecticut, Lucier was a member of the influential Sonic Arts Union, which included Robert Ashley, David Behrman, and Gordon Mumma. Much of his work is influenced by science and explores the physical properties of sound itself: resonance of spaces, phase interference between closely tuned pitches, and the transmission of sound through physical media.
zhlédnutí: 3 150
Video
#Branca / #Ess / #Hahn: The Static (40:25)
zhlédnutí 834Před 2 lety
Recorded live at Riverside Studios, London, 24 Feb 1979 Glenn Branca: Guitar Barbara Ess: Bass Christine Hahn: Drums NOTES Both recordings are unedited and were made at Riverside Studios on February 24th 1979. From: Audio Arts Supplement C-80 Editor: William Furlong
Vladimir Mayakovsky: Hymn to Judge (1920)
zhlédnutí 1,3KPřed 2 lety
Vladimir Vladimirovich Mayakovsky (b. Bagdalia 1893 - d. Moscow 1930) was a poet, dramatist and painter and the leader of the Russian cubo-futurist group - the equivalent of Marinetti in Italian futurism. At nineteen, he signed the first cubo-futurist manifesto A Slap in the Face of Public Taste (1912) which proclaimed the right of poets "to extend the volume of vocabulary with arbitrary and de...
Walter Ruttmann: Weekend (1930)
zhlédnutí 5KPřed 2 lety
Weekend is a pioneering work from the early days of radio, commissioned in 1928 by Berlin #Radio Hour. In a collage of words, music fragments and sounds, the filmmaker and media artist Walter Ruttmann presented on 13 June 1930 a radically innovative radio piece: an acoustic picture of a Berlin weekend urban landscape. Before making Weekend, Ruttmann had produced the experimental documentary Ber...
Robert DESNOS: Description of a Dream
zhlédnutí 895Před 2 lety
A reading of "Relation d'un Reve" (Description of a Dream) was recorded by #Desnos for radio broadcast in 1938.
Earl BROWN: Folio (1952/53)
zhlédnutí 308Před 3 lety
Program Notes “Time is the actual dimension in which music exists when performed and is by nature an infinitely divisible continuum. No metric system or notation based on metrics is able to indicate all of the possible points in the continuum, yet sound may begin or end anywhere along this dimension.” Similarly, all of the other characteristics of a sound - frequency, intensity, timbre, modes o...
Igor STRAVINSKY: Ragtime for Eleven Instruments
zhlédnutí 409Před 3 lety
Written for 11 instruments (2 violins, viola, double bass, flute, clarinet, horn, cornet, trombone, cimbalom and percussion), its first performance was in a piano reduction played by Stravinsky. The cimbalom was a beloved instrument from Stravinsky’s childhood. Its distinct metallic sound places Stravinsky’s Ragtime very much in Europe, rather than being an American derivative. For Stravinsky, ...
Vasily Kamensky: The Way I Live (1959)
zhlédnutí 359Před 4 lety
The poet Vasily #Kamensky (1884-1961) was one of the founders of the movement that became Russian Futurism, an editor of the 1910 avant-garde miscellany Sadok Sudey, and the first person to publish Velimir Khlebnikov. In 1911 he also became the first ever poet-aviator, but a 1912 crash during a show flight in Poland returned him wholly to literature. In the winter of 1913-14 Kamensky participat...
The World of R. Buckminster Fuller (1974)
zhlédnutí 3,9KPřed 4 lety
Buckminster #Fuller was an architect, engineer, geometrician, philosopher, futurist, inventor of the famous geodesic dome, and one of the most brilliant thinkers of his time. His legacy becomes ever more relevant, providing us a road map to steer our planet away from oblivion and toward a sustainable future for all humanity. This film by Oscar-winning filmmaker Robert Snyder, like his other doc...
Morgan FISHER: ()
zhlédnutí 2KPřed 4 lety
Duration: 20 min. "Fisher's most film, () (2003), succeeds astonishingly where Frampton's parallel effort, Hapax Legomena: Remote Control (1972) failed; it uses aleatory methods to release the narrative unconscious of a set of randomly selected films. () is made up entirely of "inserts" from feature films organized according to Oulipian principles. Inserts were usually shot by assistants when s...
Wolf VOSTELL: Sun In Your Head
zhlédnutí 14KPřed 4 lety
Vostell's large-scale happening '9 Nein Décollagen' ('9 No - Dé-coll/ages) took place on 14 September 1963 in nine different locations in Wuppertal, and was organized by the Galerie Parnass. The audience was ferried by bus from location to location, including a cinema that screened 'Sun in your head' while people lay on the floor. The film transfers to the moving image Vostell’s principle of ‘D...
László Moholy-Nagy: Impressionen vom alten Marseiller Hafen (Vieux Port) (1929)
zhlédnutí 7KPřed 4 lety
"In this first film by Moholo-Nagy, the documentary description of everyday life in Marrseille leads to a study of the famous transporter bridge, which was a symbol of modernism for an entire generation of photographers and filmmakers." "The famous transporter bridge shines in the middle of the landscape. It comes and goes tirelessly from one bank to the other. Foreigners admire its beauty. Thi...
Karlheinz Stockhausen: Michaels Reise um die Erde
zhlédnutí 2,1KPřed 4 lety
This is a live performance of the second act (1978) from Karlheinz Stockhausen's opera "DONNERSTAG aus LICHT", all parts of which can be performed on their own. Entirely instrumental, "Michaels Reise" shows the protagonist Michael (Marco Blaauw, trumpet) travelling around the world in 'seven stations' and finally meeting his female counterpart Eva (Nicola Jürgensen, clarinet). The ensemble musi...
Wallace BERMAN: Aleph (1958-1976)
zhlédnutí 3,3KPřed 5 lety
"Aleph is an artist's meditation on life, death, mysticism, politics, and pop culture. In an eight-minute loop of film, Wallace Berman uses Hebrew letters to frame a hypnotic, rapid-fire montage that captures the go-go energy of the 1960s. Aleph includes stills of collages created using a Verifax machine, Eastman Kodak's precursor to the photocopier. These collages depict a hand-held radio that...
Maya DEREN: A Study In Choreography for Camera (1945)
zhlédnutí 75KPřed 5 lety
Maya DEREN: A Study In Choreography for Camera (1945)
Mario DAVIDOVSKY: In Memoriam Edgar Varèse
zhlédnutí 277Před 5 lety
Mario DAVIDOVSKY: In Memoriam Edgar Varèse
Arrigo Lora TOTINO: L'esperienza (1965)
zhlédnutí 743Před 5 lety
Arrigo Lora TOTINO: L'esperienza (1965)
John CAGE: Winter Music / Variations I (KPFA, 1968)
zhlédnutí 270Před 5 lety
John CAGE: Winter Music / Variations I (KPFA, 1968)
John CAGE: Concerto For Piano And Orchestra/Solo For Voice I/Solo For Voice II
zhlédnutí 257Před 5 lety
John CAGE: Concerto For Piano And Orchestra/Solo For Voice I/Solo For Voice II
MADERNA / BERIO: Ritratto di Città (Portrait of a City), 1954
zhlédnutí 6KPřed 5 lety
MADERNA / BERIO: Ritratto di Città (Portrait of a City), 1954
Theodor W. Adorno: Zwei Stücke Für Streichquartett, op. 2 (1925-1926)
zhlédnutí 975Před 5 lety
Theodor W. Adorno: Zwei Stücke Für Streichquartett, op. 2 (1925-1926)
Llorenç BARBER: Music selection (from AVANT series, #2 review)
zhlédnutí 268Před 5 lety
Llorenç BARBER: Music selection (from AVANT series, #2 review)
Ladislav Novák: From the LP Futura Poesia Sonora (Cramps Records, Milan, 1970)
zhlédnutí 342Před 5 lety
Ladislav Novák: From the LP Futura Poesia Sonora (Cramps Records, Milan, 1970)
Allan Kaprow: How To Make A Happening (1968)
zhlédnutí 34KPřed 5 lety
Allan Kaprow: How To Make A Happening (1968)
I don't understand what I am listening to
Superbe.
Adorno, großer soziologe und großer komponist.
Thank you for posting. This is a treasure!
Maderna ha sempre pensato la musica come un fatto sociale, che univa i popoli. Questa è la sua storia grandissima.
Theodor Adorno war ein atonaler Naturtalent und sehr begabter atonaler komponist, einzigartig Charakteristisch finde ich ist dass seine Kompositionen sehr autonom sind, zerstreuende Dissonanz, die harmonie ist, man interpretiert nichts hinein was nicht hineingehört weil es nicht geht sondern wird von der musik interpretiert, die musik diktiert vollumfänglich, sinnvoll echt richtig wahrheitsgemäß und sehr schön und sogar perfekt ❤❤❤❤❤ RiP und hoffentlich bist du mit deinen Liebsten wiedergeboren in einer viel besseren welt❤❤, ich würde musikalisch so differenzieren es gibt da alles andere und auf der anderen seite adornos musik und dann noch one more light live von Linkin Park , ❤RiP Chazy ❤ es ist beseelte musik ❤
It's a pity there's no biography of Feldman. Thanks for sharing this, I can smell the sulphur of the matches as he lights another cigarette.
This interview is mind-numbingly devoid of life, Spirit, love, passion, all things worthy of attention. These are two academics, f***** within a tiny chamber inside their Ivory Tower, talking to each other through cipher, signifying nothing. This is not the way. True art or true music is born.
If you read the lectures of Stravinsky he demystifies composing and describes it in very physical terms like the reach of his hands or how long a piece will be before even starting. Feldman here does much the same with practical answers to pretentious questions. Both were against the romantic myths of artistic inspiration and expression. You don't need to agree.
Thanks for the interesting observation. . and for the permission 'not to agree'. . .which I don't, but on several levels rather than just one. As a composer of over 60 years dedicated creative output, and a great student of may if not most of the major and minor composers of the last 4 centuries who, if it can be believed, has gone to the extent of spending hundreds--nay, thousands of hours copying, dissecting and reassembling many masterpieces (& not-so-masterpieces) in order to be skillful in understanding exactly the warp & woof of the respective styles of Ravel, Stravinsky, Barber, Walton, Prokofiev, Respighi - hundreds of indivudals - I know for certain that what a man (or woman) says about their work, their aesthetic, their 'game-plan' has, more often than not, absolutely Nothing to do with the actual essence and origin of what they have created. In other words, even great creators are largely 'out to lunch' about the source and subliminal inspirations of their work. Talentless intellectuals, like Feldman, who was but one of thousands of composer clones in Academia who sacrificed their souls to the reigning Musical Intellectuallism of the first half of the 20th century, first spawned by the Seconde Viennese School and then infecting legions of other artistically bankrupt 'composers,' inspiring them to fill the halls of American learning with the most irrational and chaotic of sounds in the name of profundity. I know, because I was challenged to study and listen and work amidst many of the most prestigious exponents of this Cognitive Nightmare called Dodecaphony or 12-tone music. Rational? Yes. Ordered? Yes. Structured? Yes. Music? No, no and no again. And the more I stuck to my lyrical, tonal guns (which did not mean I used limited means or eschewed dissonances or 'intensities' or 'simultaneities', the more my exalted professors (the dean of 12-tone theory, & a terrible composer, Dr. George Perle and many others) marvelled at the emotional power of my Muses, which never ever came from my cerebrum leading the way. But, like the story of the Emperor's New Clothes, everyone was too intimidated to call this madness out for what it was - the attempt of artistically barren wannabees to justify their impoverishment - for to call out even a single colleague on these naughty behaviors would be to call out all of them, as well as their hallowed paragons - such as the mid to late-life Stravinsky. I truly love Stravinsky, both the music and the man, and no matter what his plan and formula (for he was very depressed & quite convinced that his composing days were over before stumbling upon his new jigsaw toy of dodecaphism). Being an obsessively methodical soul, he seized upon it and it provided an exuse, a flimsy one - upon which to craft some new sounds and structures. Good enough - let him have his little cake and eat it - for he more than did his true and eternal creating long before, perhaps culminating most profoundly in his Symphony of Psalms. But, you know, Stravinsky was melodically wheel-chair-bound; the poor man simply could not come up with a truly artful melody. His entire art is pastiche - pasting one element against another, against a third, fourth, etc., even in such works as 'The Rite of Spring' 'The Firebird' or 'Petrouchka' - each of which still has enough kinetic energy and orchestral brilliance to qualify as mountain peaks in the repertoire. But no real melody. In fact, a friend deeply researched Igor and his methods, and discovered from a multi-volume biography of the man that, throughout his life, he kept a personal 'diary' of traditional Russian folk melodies, from which he would repeatedly draw any themes that he did finally seize upon for his works, which is why, in all of them, if you strip away the brilliant sonics & tectures and orchestrational wizardry, you can hear 'tunes' or 'motifs which any Russian peasant of the 19th century would sound natural singing. This holds true even in the most granular 12-tone pieces he wrote. . .IT's impossible to hear them, good bad or indifferent without knowing we're hearing Stravinsky. . .and for that reason they have more integrity than your run-of-the-mill Academic composer's 12 tone mimicry, or even Schoenberg's for that matter, for as Ravel rightly said after hearing SChoenberg's attempt at music, 'That's not music, that was born in a Laboratory!' Look - or rather listen - again, my friend, that rascal Emperor really doesn't have any clothes on! .@@user-gk5wo4ns1d
@@josephmarcello7481 the Rite is far from pastiche, it has no precedent. His most accurate description of it was 'architectonic', the orchestra as raw sound material and the writing as raw building blocks. Melody is everywhere in Stravinsky, he just throws them away as soon as they are born. Same with harmony which he reduces to structural material. Plenty of modern composers like Schwantner, Barber, Ginastera are more traditionally melodic so what's the problem. As Milhaud said 'we write music about the music we love'. Much of your complaint is most valid against the 12 tone school and the generations of composers who chained themselves to that failed experiment. I've met Perle, being from NYC, argh.
Iddius ma che roba celestiale
Ho scoperto per caso sia quest'opera, che i compositori. Faccio pubblica ammenda, colpa della mia monotematica cultura musicale
morton feldman i love you
Appapro to the title The House of Hidden Knowledge, Milton Babbitt said that at one time the mainstream press would write about us, but now they only write about big label music.
Fine piece. This stereo file is merely a shadow of what the piece sounds like, with the eight-channel fixed media, and more importantly with the 'phase-aligned version of this fixed media. When S. composed the tape part in Paris, the IRCAM computer was not powerful enough to realize the electronic part as conceived by Stockhausen. He needed to record the 'tones', synchronized, onto 8-channel tape. They couldn't be synchronized, often displaced by 50-100ms. This produces a 'nice' "tone", but is not accurate, and not what S. composed. In the memorial concerts in Montreal, Toronto and Halifax in the SMCQ concerts of 2008, 'corrected' - ie, phase aligned versions of the eight channels was employed. In eight-channels, the 'tones' are hyper-immersive in the presentation with eight speakers. The listener is transported to being 'inside' the sound. The piece also requires a hyper-virtuoso flute player who is able to perform what may sound like repeated notes, however throughout most of the piece, the individual notes have 'phonetic' embouchure spectral shaping of the wind noise. The three Canadian performances of Marie-Hélène Brault were immersively beautiful and faithful to the conception of the piece.
Thanks for this insightful information!
Thanks for this insightful information!
Why is this not better known? It's very effective.
Many decades ahead of it's time...
This wouldn't sound out of place on a Squarepusher album, which is pretty remarkable given that this was created pre-1960.
Capolavoro
Very creepy but fantastic. Messianen was an idol
this sucks!
"Music ... throughout history it's always going to have a great past, never a future." ~ 43:30 OMG
Correction: ... it's only going to have ...
A glib mindless statement.
4:20 ai che dolor
is this Eleanor Rigby?
Le poème d'Henri Michaux : Poussant la porte en toi, je suis entré Agir, je viens Je suis là Je te soutiens Tu n'es plus à l'abandon Tu n'es plus en difficulté Ficelles déliées, tes difficultés tombent Le cauchemar d'où tu revins hagarde n'est plus Je t'épaule Tu poses avec moi Le pied sur le premier degré de l'escalier sans fin Qui te porte Qui te monte Qui t'accomplit Je t'apaise Je fais des nappes de paix en toi Je fais du bien à l'enfant de ton rêve Afflux Afflux en palmes sur le cercle des images de l'apeurée Afflux sur les neiges de sa pâleur Afflux sur son âtre.... et le feu s'y ranime Agir, je viens Tes pensées d'élan sont soutenues Tes pensées d'échec sont affaiblies J'ai ma force dans ton corps, insinuée ...et ton visage, perdant ses rides, est rafraîchi La maladie ne trouve plus son trajet en toi La fièvre t'abandonne La paix des voûtes La paix des prairies refleurissantes La paix rentre en toi Au nom du nombre le plus élevé, je t'aide Comme une fumerolle S'envole tout le pesant de dessus tes épaules accablées Les têtes méchantes d'autour de toi Observatrices vipérines des misères des faibles Ne te voient plus Ne sont plus Equipage de renfort En mystère et en ligne profonde Comme un sillage sous-marin Comme un chant grave Je viens Ce chant te prend Ce chant te soulève Ce chant est animé de beaucoup de ruisseaux Ce chant est nourri par un Niagara calmé Ce chant est tout entier pour toi Plus de tenailles Plus d'ombres noires Plus de craintes Il n'y en a plus trace Il n'y a plus à en avoir Où était peine, est ouate Où était éparpillement, est soudure Où était infection, est sang nouveau Où étaient les verrous est l'océan ouvert L'océan porteur et la plénitude de toi Intacte, comme un oeuf d'ivoire. J'ai lavé le visage de ton avenir. Henri MICHAUX, "Poésie pour pouvoir", in Face aux verrous, éd. Gallimard, 1967
This is amazing! I'd love to know his process, and what he may have built to make this work so well. Vocoding and maybe a ribbon controller for PB? In any case there are some amazing and surprising harmonies found in this piece - worth the listen for sure. I love the transition into 2:45.
I'm gaining deep insights! Despite the age of this interview, the most fundamental perspectives on music and art are still the same or even repressed in the meanwhile!
Morton Feldman is my hero!!!
I really like this melody
Poétique, d une beauté incroyable et passionnant du debut à la fin ! ✨
Крипатура:)))
Größter Müll
L'étrangeté des modulations et des fréquences donne quelque chose de terrifiant
this is really cool,,
Is this interview available to be purchased as an MP3?
It's good enough to write down in words at least in part. I've found that approach useful for fuller interiorisation of very full and rich texts, which I think this is.
the transcript is here www.cnvill.net/mfshere.pdf
👏🏽👏🏽👏🏽
Che mostri!
Thanks for the Upload, Jesus loves you guys
...and nice photo!
L' estremo saluto degli amanti...
Butterflyeeee! Papion.. Or tell yor .. ( Othello) Cheers for this! 😆
Merci, pour cette pièce unique et si difficile à trouver. Peut-être parce que Boulez lui-même ne l'a pas mis au catalogue.
great interview. thanks much for sharing!
On several occasions, this composer has claimed to be from a planet in the Sirius system.
that’s because he was
Interesting...
I have this along with a Boulez conducting the LSO with Peter Serkin.Two different dynamic interpretations with one conductor in common. The difference is the immediacy of Uchida's energy and attack versus the more laid back approach by Serkin. Good music to listen and differentiate between during lockdown!
cool
waw merveilleux
SOMEBODY MAKE A SCP OUT OF THIS
Remarkable. Entity music!
Helicopters be like
What
¡Wow!