13 April 2007

anthony braxton-music for four orchestras!!1978, arista ( composition 82 ,dedicated to the historian writer -educator eileen southern)

yes here it is
arista a3l 8900 ,the singular unique genius of anthony braxton, at its most grandiose

this is possibly anthony braxtons most ambitious
recorded work.
some at the time criticised this as a pastiche of shoenberg on a wagnerian scale.
theres no denying, its passion and energy.

its a wonder this has not been picked up by an enterprising lable,that specializes in contemporary orchestral music.

the lack of a cd release has been most dissapointing to braxophiles.
braxton himself does not play on this and rather ,conducts one of the four orchestras.
its surprising just how luminous and delicate the piece is texturaly given the mammoth number of musicians involved.
im not qualified to judge whether this piece is sucsessful.
but it has its own kind of transcendant sprawling beauty.

BE WARNED THIS IS NOT JAZZ, AND MAY NOT BE TO EVERYONES TASTE!!

heres some info from the braxton discog

Anthony BraxtonFor Four Orchestras
Arista A3L 8900 (3-LP, 1978)
1.
{Comp. 82} (dedicated to the historian-writer-educator Eileen Southern)
(Braxton)
[114:30]
1978 – May 18 & 19Hall Auditorium, Oberlin CollegeOberlin, OH (USA)
Anthony Braxton - conductorKenneth Moore, Gene Young, Robert Baustian, Murray Gross - conductors (?? who conducted which orchesta ??)

ORCHESTRA I
ORCHESTRA II
ORCHESTRA III
ORCHESTRA IV
violin I
Francine SwartzentruberShelley FowleLilyn GravesLorraine AdelRobert Scarrow
Barry SargentZabeth OechlinEdward ShlaskoSteven SchuchAudrey Hale
Karin von GierkeStanislav BranovickiSusan DemetrisMonique ReidJudith Bixler
Peter JaffeDiane CooperDavid WilsonPamela StuckeyMary Bolling
violin II
Marriane SmithMarcus WooAmorie RobinsonJennifer SteinerKathy Blackwell
Lori FayAndra MarxAlison FeuerwerkerEllen ZiontzLauri Gutman
Sally BeckerElizabeth WelchSusan BrenneisJulie BadgerJane Moon
Shannon SimonsonLynda MapesMargaret MorganJohnathan DunnJennifer Doctor
viola
Naomi BarlowJames ThomasSarah BloomRachel Yurman
Amy LeventhalJeffery DurachtaKathleen ElliottHelen McDermott
Nanci SeverenceDavid RogersDee OrtelBeth Thorne
Norin SaxeTheodore ChemeyAlex GuroffIgor Polisitsky
cello
Steven HarrisonElizabeth WarrenSuzanne WijsmanElizabeth Knowles
Tom RosenbergSteven DrakeDawn WilderSarah Binford
Carol ElliottAaron HendersonMattew WexlerMichele McTeague
Kathy KellyDaniel KazezCarole StiplemanSteven Wise
bass
Mark ShapireSuzanne TarshisLeon Dorsey
Michael TalbertRobert AdairMikkel Jordahl
Jeffrey HillMatthew McCauleyJeffrey Soule
Arthur KellDavid SeckingerDaniel Savage
flute
Celeste Johnson (+pic)Joel Karr (afl)
Leonard Garrison (+pic)Wendy Tarnoff (afl)
Betsy Adler (+pic)Adam Kuenzel (afl)
Virginia Elliott (+pic)Carol Goodwillow (afl)
clarinet
Michael ZakimJohn Guest (+Eb-cl)Mark Gallagher (bcl)
David HostetlerMarty Rossip (+Eb-cl)Cynthia Douglass (bcl)
Bela SchwartzDavid Bell (+Eb-cl)David Ballon (bcl)
James ColbertMarta Schworm (+Eb-cl)Carol Robinson (bcl)
oboe
Pamela HillCameron McClusky (enhn)
Carolyn HoveGiselle Lautenbach (?enhn)
James HoisBernard Gabis (enhn)
Michael HarrisonClaudia Patton (enhn)
bassoon
Allen Smith
Ann Kosanovic
Deanna Kory
Mark Gross
trumpet
John BourqueDavid Driesen
Alan CampbellThomas Gotwals
Dave RinaldiChris Kerrebrock
James KirchenbauerWilliam Camp
trombone
Robert AsmussenRichard RuotoloMark Kaiser
David FoggAnn MondragonDavid Stocklosa
Bradley CornellKadie NicholsMark Adams
Brian CampbellEileen JonesErik Johnson
tuba
Barry Jenson
Brian Bailey
Steven Box
John Lomonaco
harp
Cynthia Mowery
Naomi Markus
Nancy Lendrim
Susan Kelly
percussion
John GardnerAndrew CollierStephen Pascher
David WilesJohn KennedyPhilip Seeman
Galen WorkGregg LindeVictor Thomas
Andre WhatleyCharles WoodDerek Davidson
from Braxton's notes in the booklet: "Composition {82} is the first completed work in a series of ten compositions that will involve the use of multiple-orchestralism and the dynamics of spacial activity. This work is scored for 160 musicians and has been designed to utilize both individual and collective sound-direction (in live performance). Each orchestra is positioned near the corners of the performing space, and the audience is seated in both the center and sides of the space (around and in between each orchestra). The resulting activity has been constructed to fully utilize every area of the room--which is to say, each section of the performing space will give the listener a very different aspect of the music. The science related to how this multiple use of space is utilized, will also open another chapter in multi-orchestra activity, and hopefully this work will be viewed as a positive contribution to transitional multi-orchestralism--as we move to the next cycle.The nature of how {Comp. 82} extends the dynamic possibilities of multi-orchestra activity has to do with its use of spaciality--involving both the nature of how information is transferred from orchestra to orchestra (where the listener of this record can hear the actual movement of activity change speakers) with the addition of 'trajectoral-activity' (where, in a live performance, the listener can experience the route of a given transfer). More so, this composition has also been constructed to include the actual change of performance direction as well. In other words 'information' in {Comp. 82} would also involve how the rotation of a given ensemble (as that ensemble is playing) changes the actual direction of the group making the music. This has been accomplished by having all of the performers (with the exception of the percussionist and the harpist) in rotating chairs--where even the direction of the music is calculated. Thus, the nature of spaciality in this composition would encompass an additional dynamic inclusion, for the spacial implications of environment would thus take on added dimensions. Because, in fact, to experience the realness of this composition is to experience a living and breathing universe. ***The actual composing of {Comp. 82} took place in July of 1977, lasting until the middle of May, 1978 (with sequence corrections up until August). The piece is scored for 160 musicians and each orchestra is made up with the same individual components. The make-up of each orchestra is as follows: two flues (one doubling on piccolo), oboe, English horn, two clarinets (one doubling on soprano clarinet), bass clarinet, bassoon, two trumpets, two trombones, bass trombone, tuba, harp, five first violins, five second violins, five violas, four cellos, three basses, and three percussion. The original floor plan of the composition was not able to be used for this recording as the space requirement it necessitated exceeded what was possible for us, so an alternate seating arrangement was utilized. The actual recording of {Comp. 82} took place in May, '78, on the campus of Oberlin College and involved four intensive sessions in two days. For this reason, the composition was recorded in sequence-patches, rather than in sectional areas. The total material would also exceed two hours and a half and as such, I have taken out about thirty minutes of the music in order to preserve the sound quality of this record. There have also been other adjustments as well, for the problem of time and economics in a project like this has to be taken into account--but what is documented here is an excellent version of the 'essence' of the piece. The placement of activity in this project has been designed to totally utilize the spacial dynamics of the quadraphonic technology--each orchestra will be heard coming from a separate speaker, and the mixture of events in a given section should give the sense of sound movement through space--and this will also be apparent (though to a somewhat lesser extent) to stereo record players as well."

go here if you want the precise minutae
http://www.restructures.net/BraxDisco/BraxDisco.htm

PLEASE BRAXOPHILES BE AWARE THAT A SIGNIFICANT NUMBER OF BRAXTONS OOP
ARISTA RECORDINGS HAVE BEEN POSTED ,IN THE COMMENTS SECTION OF CHURCH#9'S BRAXTON(BERLIN ,MONTREUX CONCERTS)POST
THOSE INCLUDING A GREAT BRAX/ABRAHMS DUET ARE ESSENTIAL

BUY ANTHONY BRAXTON RECORDS, THEY ARE VARIED AND WONDERFUL
here are the files ripped to two seperate folders ,though you dont need both to open them

ALSO NOTE ,THE VINYL THIS WAS RIPPED FROM WAS NOT IN GREAT CONDITION
IF ANYONE HAS A BETTER COPY PLEASE UPLOAD EITHER HERE OR ELSEWHERE ID LOVE TO HAVE IT!!

LINKS
part 1 http://rapidshare.com/files/25640146/brax_4_orch_disc_1.zip

part 2 http://rapidshare.com/files/25656078/brax_4_orch_disc_2.zip

well worth hearing
enjoy
cheers
dipmong

3 comments:

lumpenproletariat said...

wow, this is unspected for me, who was only looking for info about the lp edition of the berlin/montreaux concerts. thank you very much!!!

octopus and solar anus said...

awesome. thanks so much!

Anonymous said...

just starting to explore Braxton's music and looking forward to diving into this one. thanks for sharing!