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richard trythall ATP001
Richard Trythall
Parts Unknown 
 
   
  Contents Commentary
 
Prologue 09: 32
  Richard Trythall
  Price Euro 14.99
  Live Recording at Pieve a Sietina
Recording The Lab Studio 
Mastering Roberto Bianchi 
Artistic Director Daniele Lombardi
2004 Fondazione ATOPOS 
Soliloquy 04: 45 
Intermezzo 01: 28 
Toccata 03: 18
Adagio 04: 04 
Allegro 04: 17 
Waltz 02: 50 
Fantasy 03: 22
Étude 03: 40 
Senza tempo 03: 56 
Melodramma  06: 39 
Night rider  07: 30 
  total time 55: 28 
All compositions by Richard Trythall
World premiere recording
  Listen to excerpts from our catalogue and order
complete CD recordings on-line

Trythall, virtuoso pianist, specialist in contemporary piano music and in the music of composers such as Charles Ives and Jelly Roll Morton, presents a work which was composed over the course of several years. His language, characterized by an extremely intense expressivity, fuses aspects of American culture - some of which are connected to Jazz - with elements of heterogeneous character ranging from sounds typical of the timbral research of twentieth century experimental music to backward glances towards melodic schemes rooted in the popular musical tradition. The result of this union is a very personal sound world of extreme fascination.

 
 

Price Euro 14.99
Live Recording at Sogna
Recording and Mastering The Lab Studio 
Artistic Director Daniele Lombardi 
2004 Fondazione ATOPOS 
  ATP002 Olivier Messiaen
Contents Commentary
  Quatuor pour la fin du temps

CD Cover

This large work for clarinet, violin, 'cello and piano testifies to the fact that music's spirituality can offer a ray of hope even in the darkest moments in which an artist, a human being, may find him or herself. In fact, the conception of this work is strongly marked by the fact that Messiaen had experienced the reality of the concentration camp. It is extremely interesting to hear the performance of this work by young yet already important musicians who, fortunately, have never known such a devastating reality, yet have been capable of infusing this music with expressivity - an expressivity which makes every rhythmic pulsation, every harmonic potential, totally effective - and confirms that works such as this, having no borders nor restrictions, can enter into the most varied and distant existential dimensions.

CD Booklet

Liturgie de cristal 02: 46
Vocalise, pour l'Ange qui annonce la fin du Temps  05: 49 
Abîme des oiseaux 06: 23 
Intermède 01: 51
Louange à l'Eternité de Jésus 09: 02 
Danse de la Fureur, pour les sept trompettes 06: 28 
Fouillis d'arc-en-ciel, pour l'Ange qui annonce la fin du Temps 02: 50 
Louange à l'Immortalité de Jésus 06: 42
M. Ravel Pavane pour une Infante défunte (trascrizione di Denis Zardi) 06: 28 
  total time 53: 26  
Roberto NOFERINI Violino Anton DRESSLER Clarinetto 
Andrea NOFERINI Violoncello Denis ZARDI Pianoforte

 
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Roberto FabbricianiRoberto Fabbriciani
Double CD,
Price Euro 24.99
Live Recording at Sogna
Recording The Lab Studio 
Mastering Roberto Bianchi 
Artistic Director Daniele Lombardi 
2004 Fondazione ATOPOS 
  ATP003/04 Roberto Fabbriciani
Contents Commentary
  XX live dream flute

CD Cover

Many important composers have expressed their enthusiastic appreciation of Roberto Fabbriciani - from Cage to Nono.

The recital which Fabbriciani gave in Sogna exploited a variety of performing spaces - indoors and outdoors - within the village and was, in certain aspects, absolutely unrepeatable. A recording can not fully reproduce this effect, but the concert remains vividly impressed in the memories of those who were present.

The lengthy recital program exhibits the flute in a wide variety of roles demonstrating its enormous potential and eliciting marvel for the wealth of the results obtained by this formidable performer during a "live" concert.

CD 1 Booklet

 
CD1
C. Debussy Syrinx  02: 37 1912 for flute solo
B. Maderna Cadenza  04: 10 1962 for flute solo 
I. Yun Sori  08: 48 1988 for flute solo
A. Clementi  Passacaglia  12: 04 1989/ 96 for flute and tape
A. Piazzolla 2 Études tanguistiques  05: 44 1987 for flute solo
R. Fabbriciani  Sogna* 13: 53 1999 for flutes and tape
  total time 47: 30  

CD 2 Booklet

 
CD2
G. Kurtág Doloroso  02: 10 1992 for flute solo
S. Davismoon Passed/ passing* 14: 59 1999 for bass flute solo  
S. Sciarrino All'aure in una lontananza  08: 02 1977 for A flute solo
L. Nono Das atmende Klarsein (fragment) 11: 00 1981/ 87 for bass flute and tape
B. Cantarelli encore - Noi liberamente persi  05: 10 1999 for flute and tape
  total time 42: 21
*world premiere recording  

 
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richard trythall ATP005
Jean-Pierre Drouet
Les mains veulent parler aussi 
 
  Contents Commentary
Jean-Pierre

Price Euro 14.99

         
M. Kagel Solo d'Exotica 04: 37 1972
U. Globokar Toucher  07: 37  1973
J.P. Drouet Les confidances d'une table  08: 24  Improvisation 
U. Globokar Ombre  10: 25 1989
J.P. Drouet De 7 à 8 19: 47  Improvisation 
  total time 50: 51  
  Recording world premier 
2005 Fondazione ATOPOS
  Listen to excerpts from our catalogue and order
complete CD recordings on-line


For Drouet, improvisation offers a true scenic space for musical theatre. With a capacity not easily described, he guides us through an itinerary which unites game play with commitment to a research for new sounds creating sonic realities in which the percussive origins give source to unexpected and fascinating sounds. In the CD recorded in Sogna, Drouet proposes compositions, particularly those of his friend Globokar, which have never before been recorded
. 

 
 
 
richard trythall Canino_copertinaPrice Euro 14.99  
  Contents Commentary
 
 
J. Cage da "Etudes Australes" Etude n. 4.  08: 58  
F. Donatoni Rima   11: 59   
N. Castiglioni 5 pezzi da "Come io passo l'estate" 07: 03   
M. Di Bari 2 studi 12: 14 Self-similarity - Rèfraction de Gèometrie
J. Cage da Etudes Australes" Etude n. 8. 07: 27   
M. Cesa Aiserlonenialant 09: 13  -5 Dagherrotipi -Preludio - Ricercare -Toccata
B. Canini 2 Rondo  06: 11   
G. Sollima  In Si (Matteo Yes)  06: 33  
J. Cage da "Etudes Australes" Etude n. 18.   09: 50   
  total time 79: 33
2005 Fondazione ATOPOS
 
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complete CD recordings on-line

ATP006
Bruno Canino Clash

Bruno Canino is the most important Italian pianist of his generation. His tireless activity - as soloist and in the company of internationally famous concert artists - has carried him throughout the world. His repertoire is without limits and unites the traditional pianistic literature with numerous first performances of new works which, in many case, have been dedicated to him. In the concert held in Sogna, in fact, the choice of a program which alternates "classic" music by Cage with young composers such as Sollima and Di Bari is particularly significant. 

 
 
 
Vinko Globokar ATP007
Vinko Globokar
La Tromba è Mobile
 
  Contents Commentary
 
Vinko Globokar

Price Euro 14.99

V. Globokar La tromba è mobile  18: 30 1980 ensemble d'etudiants
V. Globokar Dedoublement    19: 16  1975  pour un clarinettiste et deux timbales clarinettiste Michael Riessler
V. Globokar
J.P. Drouet
Improvvisazione libera 25: 19    tromboniste Vinko Globokar
percussioniste  J.P. Drouet
V. Globokar
J.P. Drouet
Encore 06: 17   tromboniste Vinko Globokar
percussioniste J.P. Drouet
  total time 59: 25
World premiere recording
2005 Fondazione ATOPOS
   
  Listen to excerpts from our catalogue and order
complete CD recordings on-line

A leading member of the avant-garde musical panorama during the 1960's, Globokar unites his role as a world class trombonist with a vast compositional output. In his works, the performing gesture is joined intimately with sonic research - both in the act of improvisation and in the act of composition where his complex sonoral architecture has allowed him to create important symphonic works of vast scope. The original material in this CD, derived from recordings realized in Köln in the late years of the '70's and in Sogna (two improvisation together with Jean-Pierre Drouet), provides a faithful mirror of the artistic climate of those years as well as of the compositional concerns dear to Globokar. 

 
 
 
richard trythall Richard Trythall  
  Contents Commentary
 
D. Moss Wild World (for Atopos) 05: 42 2002 
D. Moss Strange Story #7 03: 53  2001
D. Moss Strange Story #8 03: 32  2001
D. Moss  Planet of Grass  05: 51 2002  
J. Cage Solo for Voice # 67 02: 58 1970
D. Moss Against John Cage #1 05:06 1994
D. Moss For John Cage #1 04:04 1994
D. Moss Diomira  08:57 2002
F. Di Rosa-D. Moss Pantanal  10:56 2002
D. Moss
Sogna Sweet Encore (#1-4, 6-8, 10 are GEMA registered)  02:03 2002
  total time 53:07
World premiere recording

2006 Fondazione ATOPOS
Price Euro 14.99
   
  Listen to excerpts from our catalogue and order
complete CD recordings on-line

ATP008
David Moss Wild world

The case of David Moss is unique. This extraordinary vocalist has a range which goes from bass through high soprano, a powerful voice and a perfectly calibrated intonation. These characteristics make him an exceptional performer who, during his performances, uses extremely advanced computer systems (controlled by his ability as a trained percussionist) to expand his vocal possibilities into a mixed media event (micro-theater) which creates an incredible impression on the audience. Although the visual aspect of this performance is, of necessity, lost on a CD, these are nonetheless compositions of sensational artistic value. All of the pieces are first recordings and "Pantanal" was written expressly for Atopos. 

 
 
 
richard trythall Richard Trythall  
  Contents Commentary
 
D. Lombardi Mitologie 2* 18: 42 1999
G. Cardini Paesaggio marino al tramonto con barca e grande nuvola nera 09: 14  1998
G. Cardini da “Tre Danze” - Bossa Nova* 02: 15  1997
G. Cardini da Cardini da “Tre Danze” - Vecchio Slow* 03: 49 1997 
S. Bussotti Impromptu Cloarec Claviers Poétiques* 28: 35 1999
G. Chiari  Gesti sul piano Solo per la mano destra*   13:04 1963-1999 
 

total time 75:45
* World premiere recording

2006 Fondazione ATOPOS
Price Euro 14.99
 

   
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complete CD recordings on-line

ATP009
S. Bussotti, G. Cardini, G. Chiari, D. Lombardi Suono, segno, gesto visione a Firenze

This valuable recording documents the exceptional meeting of Bussotti, Cardini, Chiari and Lombardi. Together for the first time, these four composer-pianists are the protagonists of "Florentine Art Music" - an important phenomenon in the history of the second half of the 20th century. This live concert recording (made October 26, 1999 in the "Buonumore Hall" of Florence's "L. Cherubini" Conservatory) illustrates their varied approaches towards an experimentation which embodies Sound, Sign, Gesture and Vision in a singular dimension. All of the works were receiving their first performance. 

 
 
 
Price Euro 14.99
2008 Fondazione ATOPOS 
Sponsored by Borgo di Vagli Fractional Ownership - Tuscany 
www.borgodivagli.com
  ATP010 P.Grossi, G.Chiari, G.Cardini, A.Mayr, D.Lombardi, M.Aitiani, S.Maltagliati
Contents Commentary
 Suono Segno Gesto Visione a Firenze 2

CD Cover

More than 50 years of musical culture have taken place in Florence since the end of World War 2. This should be systematically explored.

Besides the celebrations, it is time to acknowledge that, during the 1960’s, Florence produced a “Musica d’Arte” which could retrieve perception, memory, action and performance, through a dramatic meta-language exalting the potential of emotion and atmosphere through the confrontation triggered by individual experiences, opening the way to discoveries of new creative and poetical horizons. The confrontation and dialogue with several of the historical avant-garde’s most profound sources regarding synesthesia - from Kandinsky to futurism, from Scriabin to Schoenberg and the Bauhaus - was to bring the Florentine approach to maturity. In addition to audible forms for listening, the interaction between gesture, sound and vision became sign, making music utopia.

CD Booklet

P. Grossi Sound life 4  09:50 1979-1985  
*G. Chiari Intervalli 2 04:20 1950-1956  
*G. Chiari Intervalli 3 06:03 1950-1956 Pianoforte: Daniele Lombardi
G. Cardini Canti segreti (Sonata n. 2)  13:23 1989  Pianoforte: Giancarlo Cardini
*A. Mayr So könnte es geschehen, so oder ähnlich II  07:10 1970  
*D. Lombardi Trasale Sospeso 08:20 1991 Pianoforte a 4 mani: Gabriella Morelli e Giancarlo Simonacci
*M. Aitiani Canto dell’allegrezza II 06:01 1985  
*S. Maltagliati Automated Music 1.02 08:53 2001  
  total time 64: 12
*Recording world premier   

 
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Michael Riessler ATP011
Michael Riessler
Doppelter Boden - Soli
 
  Contents Commentary
 
Richard Trythall

Price Euro 14.99

     
Verwandelte Schleifen Transformed Loops   08:32
Verschwundene Pause Vanished Pauses  06:28 
Entfesseltes Spielwerk Unrestrained Play  10:21 
Lebendige Schachteln Animated Boxes 09:30 
Schwebender Eingeborener Floating Native  09:50 
Tanzender Knoten Dancing Nodes  07:25 
Brennende Ringe Burning Rings   07:28 
  total time 59:36
World premiere recording
2006 Fondazione ATOPOS
 
  Listen to excerpts from our catalogue and order
complete CD recordings on-line

"soli" is  expanding the presumed limits of an instrument with the help of a personal musical language is central to my approach to the instrument. The focal point is the playful method of improvising with this vocabulary. The performing techniques (circular breathing, simultaneous singing and playing, key tapping rhythms, extremely fast passages which evoke a quasi polyphony, enharmonic changes, multiphonics, double tonguing, overblowing...) permit the creation of acoustical phenomena which, as with an illusionist, suggest other levels.... This occurs here without the aid of electronic devices or overdubs. 

 
 
 
richard trythall ATP012/013
John Tilbury - Piano
Triadic Memories - Notti Stellate a Vagli
 
  Contents Commentary
 
John Tilbury

Price Euro 24.99

Triadic Memories ATP012
M. Feldman Triadic Memories Part 1 75:18 1981
  total time 75: 18      
         
Notti Stellate a Vagli ATP013
M. Feldman Triadic Memories Part 2  28:35 1981  
H. Skempton Notti stellate a Vagli 
21:31 2008
  Commissioned by Fondazione ATOPOS
World premiere recording.
total time 50:11
   
  Listen to excerpts from our catalogue and order
complete CD recordings on-line
  REVIEWED by MARK SEALEY
REVIEWED by BRIAN MARLEY 

John Tilbury has given concerts and broadcasts of new music, including first performances, in many countries around the world. His solo recordings include Cage's Sonatas and Interludes for Prepared Piano, from the seventies, and more recently the music of Cornelius Cardew, Howard Skempton, Christian Wolff and the complete solo piano works of Morton Feldman. He is also well known as an improvising musician, through his membership of AMM, one of the most distinguished and influential free improvisation groups to have emerged in the sixties. 

Live Recording in London St. John’s Smith Sq. 10.06.2008
Recording and Mastering Sebastian Lexer
Artistic Director Daniele Lombardi
2008 Fondazione ATOPOS

 
 
 
Price Euro 14.99
Live Recording at Sogna on 29.07.2005
Recording and Mastering: The Lab Studio
Artistic Director: Daniele Lombardi

2008 Fondazione ATOPOS
Sponsored by Borgo di Vagli Fractional Ownership - Tuscany 
  ATP014 Teodoro Anzellotti - Accordion
Contents Commentary
  Recondite Fisarmonie

CD Cover

Teodoro Anzellotti was born at Candela in Puglia, but grew up near Baden-Baden and studied at the conservatories of Karlsruhe and Trossingen under Jürgen Habermann and Hugo Noth. Teodoro Anzellotti is the winner of numerous international accordion competitions. He has performed as a soloist at important festivals (Amsterdam, Hamburg, Berlin, Brussels, Cologne, Donaueschingen, Florence, Milan, Los Angeles, London, Lucerne, New York, Paris, Prague, Rome, Salzburg, Seoul, Venice, Vienna, Tokyo, Toronto, Warsaw, Zurich) and has worked with numerous orchestras (Kölner-Rundfunk-Sinfonieorchester, Konzerthausorchester Berlin, SWR Sinfonieorchester Freiburg, SWR Sinfonieorchester Stuttgart, NDR Orchester Hamburg, Dresdner Philharmonie, Deutsche Radiophilharmonie Saarbrücken, Symphonieorchester des Bayerischen Rundfunk, ORF Orchester Wien, Radio-Symphonie-Orchester Ljublijana). Teodoro Anzellotti is one of the leading accordionists on the international scene. His name is closely linked with the revival of the accordion from the nineteen-eighties on.

CD Booklet

   
     
 
T. Hosokawa Slow Motion 10:34 2002  
G. Kurtág Játékok* 13:16 1990-1998 trascrizione per fisarmonica di T. Anzellotti e G. Kurtág
N. Gaviola Desde los bordes* 07:20 2003  
L. Berio Duetti* 06:03 1979-1982 trascrizione per fisarmonica di T. Anzellotti
G. Ligeti  Musica ricercata* 09:19 1951-1953  
  total time 46:49
*World Premiere Recording 

 
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Price Euro 14.99
Live Recording at Teatro Pietro Aretino, Arezzo, on 27.09.2009
Recording and Mastering: Mauro Forte, Tommaso Leonetti, Francesco Baldi
Artistic Director: Daniele Lombardi

2009 Fondazione ATOPOS 
  ATP015 - Alvin Curran
Contents Commentary
 Endangered Species

CD Cover

Endangered Species is a space, a container which holds my sound archive in little vials of distilled essences. An archive of distillations culled from years of listening to everything from the mumbled sounds in dreams to threatening roars of nature gone mad, from the near absolute stillness of an Italian Ferragosto to the din accompanying a Balinese funeral, Cicadas having sex to mating Bisons, human howling wolfmen, broken fog-horns, Meuzzin calling from Mosques. Having collected these for over 40 years, they now reappear as elemental bits of digital samples – ordered and layered by the 10’s, 100’s and 1000’s as a giant world-instrument which – mapped to an ordinary 88 key Midi keyboard in numerous groups – enables me, like a living musical instrument, to spontaneously play the entire world from my fingertips, recreating and reconfiguring new worlds from moment to moment, day to day occasion to occasion at each act of performance, each Act of Providence, each act of plowing and turning the soil.

CD Booklet

 
Sample 1 
Sample 2
Sample 3 
Sample 4 
  total time 66:16
World Premiere Recording 
   
  Alvin Curran - live solo performance Endangered Species
REVIEWED by MARK SEALEY
 
 
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Price Euro 14.99
Live Recording at Sala da Ballo del Fiorino, Galleria d’Arte Moderna, Palazzo Pitti, Florence 9 October 2010
Recording and Mastering: Mauro Forte, Tommaso Leonetti, Francesco Baldi
Artistic Director: Daniele Lombardi
2010 Fondazione ATOPOS 
  ATP016 Pietro Grossi
Contents Commentary
  Bit Art

CD Cover

Pietro Grossi was trained as a violoncellist and composer. The present opportunity offers us the chance to listen to his early instrumental works and to consider the exemplary coherence which characterized his development throughout the following years. His interest was in the sound’s vibration in time, a horizontal idea of the use of sound which concentrates our attention at times on simple resonances, at times on sine waves, in the search for sound histograms which, most likely, came from his experience as a violoncellist. In fact, he had a constant tension towards perfect intonation – also in the use of microtones – and a full vibrato in the production of the sound. His rapport with the violoncello tended towards a new objectivity which makes one think of Alfredo Casella, certainly not of the long romantic season during which the instrument was compared to the vox umana.

His encounter with electronic music and, later, with the computer, stimulated an exponential growth of his potential while his confrontation with the evolving technological possibilities constantly enraptured him. This brought him, even, to conceive of a listening library electronically elaborating and archiving masterworks of the past, a music deposit for the successive generations.

CD Booklet - Quartetto 1957 per quartetto d’archi

 

Quartetto Elisa
Duccio Beluffi, 1° violino
Gabriele Bellu, 2° violino
Fabrizio Merlini, viola
Giovanni Lippi, violoncello
 
P. Grossi  Mosso  05:15
P. Grossi  Largo 05:31  
P. Grossi  Mosso  04:21
 

CD Booklet - Composizione n.5 1959 per trè contrabbassi


Marco Martelli
Marco Mazzinghi
Stella Sorgente
I 02:58
II 02:44
III 01:33
 
Composizione n.6 1960 per quartetto d’archi 10:28 Quartetto Elisa
Studio da “Tre pezzi”- 1960 per violoncello solo
02:06 Andrea Nannoni
Composizione n.11- 1961 per voce e pianoforte 07:49 Donatella Debolini
Giancarlo Cardini
Composizione n.12- 1961 per quartetto d’archi 11:53 Quartetto Elisa
Create C 17:21 1972 computer music
  World premiere recordings.
total time 72:30
 
  Listen to excerpts from our catalogue and order complete CD recordings on-line

Price Euro 14.99
Live Recording Galleria dell'Accademia Firenze 12.11.2011
Recording and Mastering Mauro Forte, Tommaso Leonetti, Francesco Baldi
Artistic Director Daniele Lombardi
2011 Fondazione ATOPOS 
  ATP018 Lucia Bova
Contents Commentary
  Still Harping on Music

CD Cover

“Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating. The sound of a truck at 50 m.p.h. Static between the stations. Rain. We want to capture and control these sounds, to use them, not as sound effects, but as musical instruments. [... ] Whereas, in the past, the point of disagreement has been between dissonance and consonance, it will be, in the immediate future, between noise and socalled musical sounds.” On the double anniversary in 2012 of the centenary of the birth and the twentieth anniversary of the death of John Cage, the quote from Silence is a stimulus for the reinterpretation of some of his famous works, and the most suitable introduction for the journey to the centre of the harp’s sound, from the sweetest and most traditional to the most unusual, unbelievable and unpredictable.

In this journey, Sequenza II by Luciano Berio is a true milestone. It is part of a larger project by the composer (fourteen Sequenze), who wanted to explore and investigate “the measures beyond the measures” in each instrument, in an instrumental theater where one must “renounce the ambiguous category of ‘poetics’,” as well as the expectation of that “ language of other old emotions that time has linked to poetry.” Each Sequenza represents a sort of “witness” to historical virtuosity and at the same time a stimulus for progress towards a new form of virtuosity through extreme exploration and experimentation of the technical possibilities of the individual instruments. In Sequenza for harp, traditional sound idioms are juxtaposed with more exasperated sounds involving desecrating “gestures” that require “tearing “ at the strings, using the wooden parts and tail piece for percussion, the paroxysmal use of pedals and making noises by banging the metal strings.

CD Booklet

L. Berio Sequenza II 06:59 1963  
J. Cage In a Landscape  09:50  1948  
J. Cage Dream 09:28  1948  
J. Cage Postcard from Heaven
12:14 1982 per arpa e suoni-pre-registrati
(versione del 2011 di Lucia Bova)
F. Mencherini Un giardino a mente vuota*
08:54  1996 per arpa e suoni elettronici
K. Saariaho Fall
06:07  1991 per arpa amplificata e live electronics
J. Dashow Reconstructions
13:37  1992 per arpa e suoni elettronici
M. Giri Quaderni 6*
10:26 2006 per arpa e suoni elettronici
  total time 77:37  
*world premiere recording
 
  Listen to excerpts from our catalogue and order complete CD recordings on-line
 
richard trythall ATP 019-20
Karlheinz Stockhausen Kalvierstücke I-XI
Bernhard Wambach-Havemann
 
  Contents Commentary
 
John Tilbury

Price Euro 24.99

CD 1
Karlheinz Stockhausen Kalvierstück I  3:47 1952/53  
Karlheinz Stockhausen Kalvierstück II  1:43 1952/53  
Karlheinz Stockhausen Kalvierstück III  0:32 1952/53  
Karlheinz Stockhausen Kalvierstück IV  3:33 1952/53  
Karlheinz Stockhausen Kalvierstück V  5:33 1954  
Karlheinz Stockhausen Kalvierstück VII  6:16 1954  
Karlheinz Stockhausen Kalvierstück VIII  2:04 1954  
Karlheinz Stockhausen Kalvierstück VI  29:52 1954/61  
  2012 Fondazione ATOPOS
Total Time: 53:42
CD 2
Karlheinz Stockhausen Kalvierstück IX  11:11 1954/61  
Karlheinz Stockhausen Kalvierstück X  27:41 1954/61  
Karlheinz Stockhausen Kalvierstück XI Version 1  7:36 1956  
Karlheinz Stockhausen Kalvierstück XI Version 2  1:43 1956  
  2012 Fondazione ATOPOS
Total Time: 53:16
   

My first encounter with Stockhausen’s music was through a record I heard during the sixties. The pieces that so completely enmeshed me were entitled "Refrain" and "Kontakte". This was music the likes of which I had never heard before. Shortly after this, a record was released with the piece "Klavierstück X" (piece for piano), played by Frederic Rzewski in a way that was unrivaled. Once I had heard this piece as well, I wanted to play the "Klavierstück X". In the seventies, when I felt that I was ready, thanks to having studied Schönberg’s works, I began to work on "Klavierstücke" by Stockhausen. First I studied the IX, then the X and XI - and also "Kontakte" for electronic sound, piano and drums. But I was already so eager to play all the works by this composer, works that use my instrument in solo pieces or in an ensemble. So in the early eighties, I added "Klavierstücke I - VIII" to my repertoire. I began to study and explore them more deeply by collaborating with Stockhausen in a number of rehearsals and concerts. Shortly after this, I began to study the pieces in the opera cycle "Licht (Light)" (XII, XIII, XIV). The concerts I was giving at the time were often dominated by the music of Stockhausen. 

Variations IV is a tribute to Cage, to remember the hours we spent together in Florence, a month before his death.

 
 
 
richard trythall ATP021
Daniel Lombardi
Cage Age
 
  Contents Commentary
 
John Tilbury

Price Euro 14.99

John Cage Suite for Toy Piano 7:35 1948
John Cage In the name of the holocaust 9:18 1942
Two pieces
John Cage Two pieces Part 1  3.51 1946  
John Cage Two pieces Part 2 
4:57 1946
John Cage A room 
3:24 1943
John Cage Music for piano 69-84 
14:02 1956
Henry Cowell Dynamic motion 
3:38 1914
John Cage 4'33" 
4:33 1952
John Cage Variation IV 
22:54 1963
  2012 Fondazione ATOPOS
World premiere recording.
total time 1:14:12
   

A fundamental aspect of Cage’s concept of music, from the form to the event, was randomness, improvisation, movable structure, impromptu choices by the performer, more or less guided by schemes that often are only indications of time segments, an extreme act of interactive decision-making between composer and performer. Variations IV, the last composition on the programme, is an example of this practice, and in this case the "happening" is guided by various instructions. The version presented in this concert uses piano, a female vocalist, a percussionist and a young improviser at the toy piano, all of whom interact with ambient sounds recorded in Florence. 

Variations IV is a tribute to Cage, to remember the hours we spent together in Florence, a month before his death.

 
 
 
richard trythall ATP 022-1-2-3-4
Morton Feldman
For Philip Guston
John Tilbury Piano
Carla Rees Flute
Simon Allen Percussions
 
  Contents Commentary
 
John Tilbury

Price Euro 34.99

CD 1
M. Feldman For Philip Guston Part 1  78:29 1984  
CD 2
M. Feldman For Philip Guston Part 2  75:20 1984  
CD 3
M. Feldman For Philip Guston Part 3  70:40 1984  
CD 4
M. Feldman For Philip Guston Part 4  64:37 1984  
  2012 Fondazione ATOPOS
Total time: 4:49:86
   

Appreciating For Philip Guston requires a totally different idea of the passing of time. It is a lengthy piece and calls for an approach to the listening experience which is quite diverse from that of a more conventional piece of music. It immediately recalls lengthier works composed in the 1930s - such as Kaikhosru Shapuri Sorabji’s Opus Clavicembalisticum or his Symphonic Variations for Piano (nine hours listening time …) for instance - or the more recent Road by Frederic Rzewski. Beyond a certain point – as in Bach’s The Goldberg Variations or The Art of Fugue, Beethoven’s Sonata op.106, the Symphonies of Mahler and Bruckner, etc – form and emotion-inspiring sound imply a sense of syntactic consequentiality. This is at times perceptible at various levels only with a great deal of concentration when listening, due to the length of the work. Here, the enchantment of sound does not imply previous knowledge - a view that Cage also shared, when he urged us to fling open our windows and listen to the sound of life. So, we must ask ourselves whether or not listening to what happens implies a new esthetic-anesthetic concept: accepting what reaches our ears and for however long. For Philip Guston, however, does not present us with the casual sound of life. It unfurls delightful, delicate filigrees that waft in and fade: sustained seduction, quivers of emotion that may recall Schubert’s “heavenly length” with regard to the need for detailed yet patient listening. 

Variations IV is a tribute to Cage, to remember the hours we spent together in Florence, a month before his death.

 
 
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