Alvin Curran - For Cornelius / Era Ora

As a consolation for taking down the earlier Alvin Curran LP I posted, here's another Curran LP, though a very, very different one. For Cornelius / Era Ora has two pieces for piano, written in 1981 and 1986, respectively. It was Curran's first release of fully composed music performed by other people, his earlier LPs containing semi-improvised solo electroacoustic works performed by Curran himself.

"For Cornelius" is performed here by the great Ursula Oppens. It's been recorded several other times, by Yvar Mikhashoff, Eve Egoyan and others, but this recording is the first time it appeared, and it's a beautiful version of the piece. It was written shortly after the death of Cornelius Cardew, the great british composer and political firebrand. Curran has some additional notes about the piece at his website here.

"For Cornelius" is in three contrasting sections. The first one is a simple, pretty, Satie-esque little lyrical part, only a few minutes long. The meat of the piece is in the second part, a long droney work, reminiscent of Charlemagne Palestine's Strumming Music, with very gradual harmonic motion, moving towards increased dissonance over the whole section. The third section is a short little afterthought, similar to the first part, and makes something of an ABA structure, contrasting these very different sonic worlds.

"Era Ora", unlike "For Cornelius", has only ever been released on this LP. It's performed by Ursula Oppens again, with composer and fellow MEV member Frederic Rzewski on a second piano.

"Era Ora" belongs to a relatively small set of pieces written for multiple pianos, here only two, but writing for multiple pianos seems to create some significant logistical problems. Pianos are big and difficult to move, so just getting two of them together on a stage or in a studio can be pretty hard to do. It creates a very unique sound, though, and allows for an extremely rich texture - just one piano can make a lot of noise on its own.

The piece begins with a jazzy little intro section on one piano, while the second piano plays tense pulses in the background. Slowly the pulses take over, and the jazzy element disappears. One piano keeps pulsing, sometimes using the sustain, and the second piano adds some higher pulsing occasionally as an accentuation.

It quickly becomes difficult to distinguish one piano from another in a textural piece like this. Like the second section of For Cornelius, there are some nice contrasts between sustained and non-sustained sections, particularly around the mid point of the piece, where the pianos are playing staccato chords which get beautifully washed out with the sustain pedal, then come back into sharp focus when it's released. Eventually the texture thins out somewhat, ending on a melodic, slower section somewhat reminiscent of the beginning of the piece.

Brian Olewnick, who often writes for AllMusic.com, among other places, has a good review of the LP here on his blog.

This LP was released in 1986 on the great New Albion records. Unlike most of New Albion's releases, it has never been released on CD and is long out of print, and New Albion seems to have wound down operations - doesn't look like they've put anything out in about two years - so a re-release looks pretty unlikely.

Loren Rush - The Contemporary Piano Project Volume 2

There's not a whole lot of info out there on the interwebs about Loren Rush. He came out of the same San Francisco scene in the early 60s as Terry Riley et al., and had a very early free-improvisation group with Riley and Pauline Oliveros in the late 1950s (by the way, if anyone out there has the recordings of this group, I would really really love to hear it). There's a fairly detailed biography, written in 1973, excerpted from Third Ear magazine, over here http://www.o-art.org/history/70%27s/Composers/L.Rush.html, and a couple of radio programs from the 1960s with his music over at archive.org

http://www.archive.org/details/C_1963_02_22
http://www.archive.org/details/C_1967_11_21

Otherwise, not much to be found about his work since the release of this here LP, "The Contemporary Piano Project Volume 2". There seems to be a Volume 1 and Volume 3 of this series in existence, featuring works from various composers, but I can't find any real info on those. This LP was released on Serenus Records in 1977.

The four pieces here are quite varied and nifty. Each one is a little over 10 minutes long. First up is "Oh, Susanna", which is built around a quotation from Mozart's "The Marriage of Figaro", featuring some atonal, but still rather pretty, variations on that theme. Interesting structure, the theme is quite recognizable and pops up periodically, then slowly moves to being unrecognizable.

Next is "A Little Travelling Music," a really fantastic piece for piano with some computer-synthesized tape. This piece is from 1973, and must be among the first instances of FM synthesis, an early technique which enabled fairly complex sounds to be generated through a relatively simple process. The piano plays a drone in the lower register with some more complex repeated material in the upper parts, and the tape part responds and interacts with the piano very nicely, often melding almost completely.

Side B of the LP is taken up by "soft music, HARD MUSIC," ostensibly one piece but the two movements are about as different as they could possibly be. Both are for three pianos, here all played by Dwight Peltzer and overdubbed.

True to the title, "soft music" is rather gentle, quiet, slow and textural. It's sort of ethereal and meandering as well, in a good way, with no clear themes, and a rather elastic sense of rhythm. Reminds me somewhat of some Morton Feldman stuff, but a good deal more dense than Feldman tends to be.

"HARD MUSIC," on the other hand, is a 12 minute long piano drone in the vein of contemporary works by Charlemagne Palestine and LaMonte Young. The pianist hammers continuously on the same notes throughout the duration of the piece, creating immense clouds of overtones and a really thick drone. Since "HARD MUSIC" is played on three pianos, it's even more intense and heavy than Palestine's Strumming pieces. Amazing, and my personal favorite piece on the LP though really it's all great stuff.

The only other recordings of Rush's work that I've managed to find are a piece from the 1960s, "Nexus 16," on an old Wergo LP with works by John Cage, Robert Moran and Anestis Logothetis, which I might post some time in the future, and a CD called "The Digital Domain: A Demonstration" from 1983, which has the distinction of being the first album ever released solely on CD. "The Digital Domain" has some interesting pieces from a bunch of composers, was compiled and produced by Rush, and has a short droney piece of his for computer-processed trombone and voice. Might post that CD up some time too.. We shall see.

Ingram Marshall - The Fragility Cycles

Ingram Marshall has been active since the mid 70s, and this here is his first album. He's one of the earlier second-generation minimalists, along with John Adams, and studied under early electronic music greats Vladimir Ussachevsky and Morton Subotnick.

This LP was recorded in 1977 (at Charlemagne Palestine's New York City loft!), and released on Marshall's own IBU records.

The Fragility Cycles was a semi-improvised piece for live performance, performed solo by Marshall. It's played on gambuh (a balinese bamboo flute), Tcherepnin synthesizer, tape, voice, a delay system, and some percussion instruments. The end result is a beautiful, droning swirl of sound. The piece is very textural and slow, with sounds meshing with one another beautifully.

Marshall has continued to explore fairly similar sounds, his relatively well-known piece "Fog Tropes" for brass sextet is a beautiful, droning classic. I've got a couple of more recent CDs of his, and it's all excellent, definitely worth checking out.

I believe some of the music from this LP has been rereleased on CD on IKON and Other Early Works on New World records, but I don't think it has the entire Fragility cycles album, which is a shame because the whole thing flows beautifully as one piece of music.