Label: Noise Maker

一柳慧とリュック・フェラーリの激渋リアライズ!!約7年越しとなる待望の3タイトル目がリリース!!コーネリアス・カーデューの193ページに渡る図形楽譜大作 "論文" [Treatise]の全スコア録音、ジョン・ケージの[Branches]や[Cartridge music]、[龍安寺]など著名作の演奏を纏めた5枚組ボックスを出版して来た、Stuart Riddle率いるイギリスの激ヤバ・アンサンブルGerauschherstellerの第三弾作!!今回は1962年のジョン・ケージ初来日時に札幌で初演された一柳慧のグラフィックスコア作[札幌]と、リュック・フェラーリの特定の種類の繰り返しを行うテキスト楽譜作[Tautologos III]を実演。毎度の如く超濃密な演奏内容に唯々脱帽。





This project began under the title "messy minimalism" - a shorthand that was the beginning of our thoughts about how to approach these two very different pieces by Ichiyanagi Toshi and Luc Ferrari.

Both are indeterminate. Sapporo was published by Ichiyangi in 1963. The graphic score uses a restricted gamut of long tones, glissandi and short sounds. Ichiyanagi was strongly influenced by John Cage and David Tudor, and participated in events in New York in the early sixties that were part of the birth of Fluxus.

Tautologos III, ou Vous plairit-il de tautolguer avec moi by Ferrari uses a specific type of repetition with no restriction on the type of activity or material used. The text score is discursive and reflective in a way that sets it apart from many other text scores, which often seek to make a virtue of brevity.. Although dated 1969, the piece tries to capture an idea which Ferrari used, revisited and revised over a number of years. The Complete Works, edited by Ferrari's widow Brunhild, and published by Ecstatic Peace Library is an invaluable source.

Both composers elude easy categorisation, and are most certainly not minimalists. What brings these two pieces together is our interest in them, and our determination to respect the scores and follow the paths they opened.

At the risk of stating the obvious, these recordings capture a specific approach to these pieces at a point in time and space. We make no claims to authority, or the creation of definitive performances.