John McGuire - Pulse Music - VINYL LP
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Presented together for the first time, American composer John McGuire's Pulse Music series (1975-1979) blurs the popular narrative that Minimalism was a reaction against Europe's angular, intellectual, inscrutable high-modernism. McGuire, born in California, studied at Occidental College in Los Angeles and UC Berkeley before going to Europe to study with Karlheinz Stockhausen, Krzysztof Penderecki, and Gottfried Michael Koenig. His compositions lock serialism's warped geometries onto an evenly spaced grid, perfectly preserving serial music's multi-dimensionality while smoothing it's wildest disjunctures and sharpest angles. If serialism is Montreal's Habitat 67 modular housing complex, McGuire's Pulse Music compositions are the primary-colored grids of Le Corbusier's L'Habitation apartment complex - an exuberant expression of the same materials and principles. Every layer of pulses is made distinct through it's timbre, register, and tempo. We hear them as a plurality, organized like stars in the sky. Every so often the sky rotates and the stars appear in a different arrangement. Our ear naturally starts to draw connections and, as it sweeps between one layer and another, what was discrete becomes continuous. Pulses become flows; quantitative reality becomes qualitative experience. McGuire's pulse pieces were realized electronically, in the newly built Studio for Electronic Music at the State University of Cologne and WDR, but Pulse Music II adapted his ideas to an orchestral canvas. Commissioned retrospectively by the composer and radio producer Hans Otte for his Pro Musica Nova festival at Radio Bremen. Alongside the Bremen orchestra, conducted by Klaus Bernbacher, were four pianists-Christoph Delz, Herbert Henck, Deborah Richards, Doris Thomsen-and McGuire himself playing a series of twelve drone-like chords on the organ. The techniques of the electronic Pulse Music
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- GenreClassicalDescriptionPresented together for the first time, American composer John McGuire's Pulse Music series (1975-1979) blurs the popular narrative that Minimalism was a reaction against Europe's angular, intellectual, inscrutable high-modernism. McGuire, born in California, studied at Occidental College in Los Angeles and UC Berkeley before going to Europe to study with Karlheinz Stockhausen, Krzysztof Penderecki, and Gottfried Michael Koenig. His compositions lock serialism's warped geometries onto an evenly spaced grid, perfectly preserving serial music's multi-dimensionality while smoothing it's wildest disjunctures and sharpest angles. If serialism is Montreal's Habitat 67 modular housing complex, McGuire's Pulse Music compositions are the primary-colored grids of Le Corbusier's L'Habitation apartment complex - an exuberant expression of the same materials and principles. Every layer of pulses is made distinct through it's timbre, register, and tempo. We hear them as a plurality, organized like stars in the sky. Every so often the sky rotates and the stars appear in a different arrangement. Our ear naturally starts to draw connections and, as it sweeps between one layer and another, what was discrete becomes continuous. Pulses become flows; quantitative reality becomes qualitative experience. McGuire's pulse pieces were realized electronically, in the newly built Studio for Electronic Music at the State University of Cologne and WDR, but Pulse Music II adapted his ideas to an orchestral canvas. Commissioned retrospectively by the composer and radio producer Hans Otte for his Pro Musica Nova festival at Radio Bremen. Alongside the Bremen orchestra, conducted by Klaus Bernbacher, were four pianists-Christoph Delz, Herbert Henck, Deborah Richards, Doris Thomsen-and McGuire himself playing a series of twelve drone-like chords on the organ. The techniques of the electronic Pulse MusicArtistJohn McGuireTitlePulse MusicFormatVINYLLabelUnseen Worlds
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Presented together for the first time, American composer John McGuire's Pulse Music series (1975-1979) blurs the popular narrative that Minimalism was a reaction against Europe's angular, intellectual, inscrutable high-modernism. McGuire, born in California, studied at Occidental College in Los Angeles and UC Berkeley before going to Europe to study with Karlheinz Stockhausen, Krzysztof Penderecki, and Gottfried Michael Koenig. His compositions lock serialism's warped geometries onto an evenly spaced grid, perfectly preserving serial music's multi-dimensionality while smoothing it's wildest disjunctures and sharpest angles. If serialism is Montreal's Habitat 67 modular housing complex, McGuire's Pulse Music compositions are the primary-colored grids of Le Corbusier's L'Habitation apartment complex - an exuberant expression of the same materials and principles. Every layer of pulses is made distinct through it's timbre, register, and tempo. We hear them as a plurality, organized like stars in the sky. Every so often the sky rotates and the stars appear in a different arrangement. Our ear naturally starts to draw connections and, as it sweeps between one layer and another, what was discrete becomes continuous. Pulses become flows; quantitative reality becomes qualitative experience. McGuire's pulse pieces were realized electronically, in the newly built Studio for Electronic Music at the State University of Cologne and WDR, but Pulse Music II adapted his ideas to an orchestral canvas. Commissioned retrospectively by the composer and radio producer Hans Otte for his Pro Musica Nova festival at Radio Bremen. Alongside the Bremen orchestra, conducted by Klaus Bernbacher, were four pianists-Christoph Delz, Herbert Henck, Deborah Richards, Doris Thomsen-and McGuire himself playing a series of twelve drone-like chords on the organ. The techniques of the electronic Pulse Music
In his InchPulse MusicInch compositions of the mid-1970s, composer John McGuire forged a unique interpretation of European serialism. A student of Karlheinz Stockhausen, Krzysztof Penderecki and Gottfried Michael Koenig, McGuire moved to Cologne, Germany in 1970, where he become associated with the world-leading Studio for Electronic Music at Westdeutscher Rundfunk (WDR) in Cologne. Like Stockhausen, McGuire found his musical imagination both constrained and inspired by the technology that was available to him.A conversation with sculptor Hans Karl Burgeff led McGuire to think beyond the horizon and into limitless space. For InchVanishing PointsInch (1985-1988), McGuire used an entirely digital set-up for the first time a digital sequencer, eight Yamaha DX-7 synthesizers and a Studer 24-track digital tape recorder. The piece was conceived as a InchsequelInch to the Pulse Music series, but also a step forward from it. Whereas the Pulse Music pieces had employed steady streams of pulses, with Vanishing Points McGuire employed pulse layers that accelerate or decelerate against one another, vastly increasing the resulting rhythmic complexity.McGuire's exploration of music technology continued in InchA CappellaInch (1990-1997), written for his wife, the soprano Beth Griffith, known for her recording of Morton Feldman's InchThree VoicesInch made in 1983. Using samples, he created a four-voice choir of voice samples and arranged them into interacting parts. The composition faced challenges due to the organic nature of the human voice compared to the precision of synthesized sounds. This process involved extensive editing and a negotiation between the InchmaterialInch and the Inchoriginal conceptionInch. This sort of negotiation applies as much to the composition of a single piece as it does to the work of two decades. Album Tracks 1. Vanishing Points 2. A Cappella
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During the past 28 years of collaboration with Channel Classics, Ashley Solomon's main inspiration for recording has always been repertoire. This recording, however, came about through a chance encounter with a remarkable private collection of historical ?utes held in Frankfurt. Many are baroque and other one-keyed ?utes, and most of them have not been used in recordings as they are too precious to play for more than 10-15 minutes at any one time. Thanks to the remarkable generosity of the collector, Solomon is able to present this unique recording, featuring works by Bach, Telemann and Locatelli, on nine original ?utes, backed by his colleagues from Florilegium. Album Tracks 1. Morel Chaconne en Trio 2. Bach Organ Trio Sonata BWV525 in G Major - Untitled 3. Bach Organ Trio Sonata BWV525 in G Major - Adagio 4. Bach Organ Trio Sonata BWV525 in G Major - Allegro 5. Leclair Sonata No.V in G Major Op.1 - Andante 6. Leclair Sonata No.V in G Major Op.1 - Allegro Ma Poco 7. Leclair Sonata No.V in G Major Op.1 - Gavotta-Gratioso 8. Leclair Sonata No.V in G Major Op.1 - Allegro Assai 9. Hotteterre Le Romain Ornamented Airs and Brunettes - Prelude - Pourquoy, Doux Rossignol 10. Hotteterre Le Romain Ornamented Airs and Brunettes - Prelude - L'autre Jour Ma Cloris' 11. Barrière Sonata a Tre No.2 in D minor - Adagio 12. Barrière Sonata a Tre No.2 in D minor - Allegro 13. Barrière Sonata a Tre No.2 in D minor - Aria-Largo 14. Barrière Sonata a Tre No.2 in D minor - Giga 15. Telemann Fantasia No.8 in E minor TWV 40 9 - Largo-Spirituoso-Allegro 16. Telemann Methodical Sonata No.3 in E minor TWV 41 E2 - Grave 17. Telemann Methodical Sonata No.3 in E minor TWV 41 E2 - Vivace 18. Telemann Methodical Sonata No.3 in E minor TWV 41 E2 - Cunando 19. Telemann Methodical Sonata No.3 in E minor TWV 41 E2 - Vivace 20. Locatelli Son
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