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Most of the pieces collected for this portrait of Christian Wolff document the composer’s early activity and were mainly recorded around the time of their composition. Each recording exemplifies the sound gestures from their time.
"Finally I realized that the kind of sound made in an indeterminate situation includes what could result in no other way; for example, the sound of a player making up his mind, or having to change it. In fact, the indeterminate notation I've used is, as far as I know, the only possible one for the kind of sound I should like. And don't forget, we also like to be surprised.
...and the rhythm produced by that situation is like no other rhythm."
Most of the pieces collected for this portrait of Christian Wolff document the composer's early activity and were mainly recorded around the time of their composition. Each recording exemplifies the sound gestures from their time.
January 2012
“Encouraging musicians to be socially responsible for their sounds by listening is Wolff's key concern. Negyesy and Cardew navigate without structural props and recurring landmarks. Passing time is suspended; space opens in which to place each sound carefully...When Wolff's concerns are transferred to a larger group, the results accumulate.”
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