Subject: New CDCM release
From: Larry Austin (firstname.lastname@example.org)
Date: Thu Mar 11 1999 - 07:55:07 EST
M A R C H N E W S F R O M C D C M
Consortium to Distribute Computer Music
CDCM Computer Music Series on Centaur Records
Thursday, March 11, 1999
C D C M R E L E A S E S V O L U M E 2 8 ! !
A N E W L A R R Y A U S T I N S O L O C D ! !
CDCM COMPUTER MUSIC SERIES, VOLUME 28
CENTAUR RECORDS CRC 2428
Composers in the Computer Age--VIII
"Larry Austin: SoundPlays, Cityscapes, SoundPortraits--1993-96"
V O L U M E 2 8 C D P R O G R A M
"Variations...beyond Pierrot" (1993-95), a sound-play in three parts
for soprano, five instruments, and computer music recitation;
performed by the Canadian new music ensemble, "Thira": Therese
Costes, soprano; Laurel Ridd, flute/piccolo; Lori Freedman, soprano &
bass clarinets; Paule Prefontaine, violin; Arkadiusz Tesarczyk, cello;
Mary Jo Carrabre, piano; and Michael Matthews, electronics.
"Therese Costes's remarkable singing showed an
inexhaustible fund of gesture and expression.
In Kabuki makeup as mad Pierrot in the Austin,
she was like a coiled victim in a demented Punch
and Judy show."
James Manishan, Winnipeg Free Press
"Shin-Edo: CityscapeSet" (1994-96), computer music in five
movements: Ikebukuro/Sunshine City; Rikugien Garden; Kunitachi
morning; "Tamagawa-josui desu."; Shinjuku/Ginza.
"'BluesAx,' by Larry Austin, is a great piece."
Mara Helmuth, Array
"BluesAx" (1995), for saxophonist and computer music, in seven
continuous movements: I. BluesInCameroon; II. Sidney; III. Trane;
IV. BluesLude; V. Hodges; VI. Cadenza; and VII. BluesOutParker;
performed by Stephen Duke, soprano & alto saxophones.
"Stephen Duke played the music with a gorgeous
tone and moved easily between, say, the Coltranesque
leaps and the supple fluidity of the Hodges pastiche."
Allan Kozinn, New York Times
* * *
"Larry Austin: SoundPlays, Cityscapes, SoundPortraits"
An Introduction by Thomas Clark
Larry Austin is a Texas original. Having grown up musically in Texas
and established himself professionally in California, he is the
personification of the Western pioneer. Larry is always seeking the
adventure of a new artistic path, and where none is to be found, he
blazes one himself.
The tools of his trailblazing include the ingenuity of innovative
performers, incredible artists such as Steve Duke, Therese Costes,
and the other members of the new music ensemble, "Thira", on this
recording. Larry also has worked consistently with various visual
and theatrical media, with machines to record, synthesize, and
manipulate sound, and--since the late 'sixties--computers. Though
the sonic products forged with these tools are fresh and elegant,
the real pioneering has come in the arena of form. A true
experimentalist, Larry has discovered and tested bold new ways to
assemble sound events into profoundly provocative artistic experiences.
Each Larry Austin piece is unique in substance and form, branded
with its own style. Some common ground found in this sampling of
recent pieces exemplifies the major thrusts of his past creative work.
All three works on this disc remind us of Larry's penchant for
continuous sound textures, rich contrapuntal layerings floating
through an expansive time realm. Echoes of "Canadian Coastlines"
(1981, CDCM, Vol. 19) can be heard, wandering sensual searches of
dense sonic landscapes. Here, in "BluesAx," we hear echoes of the
thrilling, sweeping, swooping, roller coaster rides of his "Quadrants"
series (1972-77, CDCM, Vols. 19 and 27). The dreamlike collages of
"Variations . . . beyond Pierrot" hearken back to Austin pieces such
as "Beachcombers" (1983, CDCM, Vol. 9), "Montage" (1985, CDCM,
Vol. 10) and "La Barbara" (1991, CDCM, Vol. 13). The fascination in
"Variations . . . beyond Pierrot" with spoken words connects with his
"Sinfonia Concertante: A Mozartean Episode" (1986, CDCM Vol. 1),
"Transmission Two"(1990, CDCM, Vol. 15) and "SoundPoemSet" (1991,
CDCM Vol. 16), in which other composers' voices and thoughts are part
of the musical fabric.
"Variations . . . beyond Pierrot" directly reflects and incorporates an
important piece of Schoenberg's musical heritage. This is
reminiscent of "Sinfonia Concertante," which delved into Mozart, and
several Austin works which explored Ives' legacy, culminating in his
complete realization of Ives' unfinished work, the transcendental
"Universe Symphony" (1911-93, CRC 2205). Likewise, "BluesAx"
pays homage to giant jazz artists, while the city sound collages of
"Shin-Edo" continue the tradition of sound-mix pieces originated by
Larry's friend and mentor, John Cage.
Sounds of nature add a breath of realism to "BluesAx" (tree frogs,
birds), "Shin-Edo" (rain), and "Variations" (crows, rippling water),
seasoning with serenity these restlessly urban soundscapes.
Although the graceful contours of "Canadian Coastlines" seemed
natural, in fact they were entirely abstract. The literal use of
natural sounds represents a new trail of exploration in Larry's work.
Don't think, however, that after his recent retirement from his
university teaching career, Larry Austin is ready to ride off into the
sunset. There is surely more to come of the formidable challenges to
listening and imagination as you'll discover in "Variations . . .
beyond Pierrot," "Shin-Edo: CityscapeSet," and "BluesAx." Enjoy!
C D C M A N N O U N C E S N E W L O W E R P R I C E S !
$ 1 5 U S D P E R C D ! !
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