Johnny Reinhard, Terry Riley, Philip Corner, John Cage | Ear Gardens

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Ear Gardens

by Johnny Reinhard, Terry Riley, Philip Corner, John Cage

Classic, landscapes, instrumental, weird, unusal
Genre: Classical: Contemporary
Release Date: 

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1. Cosmic Rays FLUX String Quartet
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7:49 $0.99
2. In C In Just Intonation American Festival of Microtonal Music Ensemble
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23:11 $0.99
3. Microtonal Melodies -1 Johnny Reinhard and Peter Zummo
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4:39 $0.99
4. Microtonal Melodies -2 Johnny Reinhard and Peter Zummo
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4:41 $0.99
5. Ten American Festival of Microtonal Music Ensemble
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30:05 $0.99
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ABOUT THIS ALBUM


Album Notes
1. Johnny Reinhard COSMIC RAYS Tom Chiu and Corinne Stillwell, violins
Tanya Halko, viola
Dave Eggar, cello

2. Terry Riley IN C IN JUST INTONATION
John Schneider and Wim Hoogewerf,
Just-fretted guitars
Anastasia Solberg, viola
Rebecca Pechefsky, harpsichord
Skip La Plante, kanon
Steven Antonelli, guitar pulse

Philip Corner (two) MICROTONAL MELODIES
3. polymelody
4. harmonic stasis
Peter Zummo, trombone
Johnny Reinhard, theremin

5. John Cage TEN
Andrew Bolotowsky, flute
Ron Kozak, oboe
Chris Soder, Bb clarinet
Chris Washburne, trombone
Joshua Pierce, piano
Annemarie Wiesner and Gabriela Klassen,
violin
Martha Mooke, viola
Jodi Beder, cello
Skip La Plante, percussion


Cosmic Rays for string quartet by Johnny Reinhard was premiered in 1995 by the Flux Quartet. It is a one-movement composition based on the principle of the sun's cosmic rays as “reflected” through intonational genuflecting. The work is polymicrotonal, having sections in Ptolemey's Lydian, Quadratic Prime Just Intonation, 11-tone equal temperament, as well as the photographing of an actual cosmic ray splitting into its different subdivisions (up to 16). There are also sections for improvisation, a combination chance use of serialism, and pitch characterization (utilizing Marvel's comic book Fantastic Four as models).


Terry Riley’s In C in Just Intonation was commissioned by the American Festival of Microtonal Music in 1988. The instruments chosen all have plucking potential, following the success of John Schneider with his group Just Strings. As per the classic 12–tone equal temperament minimalist classic, musicians play along side a pulse that is unconducted, but connects sequentially through 53 repeating patters. The kanon, played by its builder Skip La Plante, serves as a modern “clavichord” to its partnered harpsichord.


Philip Corner’s composition (two) Microtonal Melodies (1998) was written from the composer’s home in Italy for the AFMM. It has two distinct movements, the first called “polymelody” and the second “harmonic stasis.” The composer writes “….that Harmony understood in the largest sense—as additional sound which blends with well.” In a personal note the composer described the work as a “Structure and an Idea” for which he had been verbally formulating for the previous twenty years. Besides incisive visual graphics to be interpreted musically, the score offers the following thoughtful designs by the composer:

…they move through glissandi
chasing each other at different speeds.
a play of approaching a unison and hovering on the microtones
teasing by being pushed apart again one leading and the other
following then a change of who chases who sometimes
actually coming completely in tune though never persisting there
staying around as if glued to each other maintaining out-of-
tuneness the smallest ones audible to the ears
often their course slow as to be painfully so but also playful
at times sweeping far away with fast movement.

Trombonist Peter Zummo was personally requested as a featured performer for this premiere by the composer. Johnny Reinhard played a Moog Theremin in response to the composer’s wish for “simplewave generators.”


John Cage’s Ten is for ten musicians and is 30 minutes long. Though recognized internationally for numerous innovations, John Cage (1912-1992) focused on tuning during the last years of his composing, especially using the original arrangement of seven divisions to the semitone, or 84-tone equal temperament. In addition to Ten (1991), several other recent works (e.g., Fourteen), each deploy a carefully planned out original notation of arrows placed before note heads. There are no explicit rhythms, only flexible time brackets. Performers are free to improvise phrasing and all nuances of dynamics and articulation within set time frames. The composer wrote, “phrasing, use of silence, articulation is free. But only play the tones that are written once. Search with them for mellisma, florid song.” Percussion received the following instructions: “instruments are numbered but not specified. In choosing an instrument try it both for short and for long sounds (within which long sounds individual attacks are not heard).” Cages’s eight distinct pitches of a 100-cents semitone, between two half steps six degrees are notated, are calculated as follows: 0 14 28 42 57 71 85 100

Produced by Johnny Reinhard, Director, American Festival of Microtonal Music
Recording Engineer: Norman Greenspan, All recordings “live” from AFMM concerts
Mastered by James Rosenthal
CD Cover Artist: Orlanda Brugnola
Designed by Dolores Cotton, V9 Digital

www.afmm.org ALL RIGHTS RESERVED
AMERICAN FESTIVAL OF MICROTONAL MUSIC © 2006

Johnny Reinhard, Director, AFMM
318 East 70th Street, Suite #5-FW
New York, New York 10021 USA

212-517-3550


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