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2CD
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LCD 1602CD
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2022 restock; 1995 release. Neural Synthesis Nos. 6-9 combines the art of music, the engineering of electronics, and the inspiration of biology. In it, David Tudor orchestrates electronic sound in ways analogous to our biological bodies' orchestration of consciousness. The performance originates from a neural-network synthesizer conceived and built especially for Tudor. He surrounds this synthesizer with his own unique collection of electronic devices, and in the recording on this CD made for headphone playback, he uses a new binaural technique for translating sound into out-of-head localizations in which sound seems to originate from specific, changing points within a space around the listener. Performed by David Tudor; produced and recorded by David Tudor and John D.S. Adams. Binaural and stereo mixes on two CDs.
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CD
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LCD 1601CD
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2022 restock. 1996 release. Originally released on Lovely Music as Pulsers / Untitled in 1984. This re-release includes an additional piece from David Tudor, Phonemes. Pulsers explores the world of rhythms created electronically by analog, rather than digital, circuitry. With analog circuitry, the time-base common to the rhythms can be varied in many different ways by a performer, and can eventually become unstable. Untitled is a part of a series of works composed in the 1970s that were developed through experiments in generating electronic sound without the use of oscillators, tone generators, or recorded natural sound materials. Composed in 1972, it was designed for simultaneous performance with John Cage's vocalization of his Mesostics Re Merce Cunningham. The work was revived in 1982, and performed with improvised vocals by Takehisa Kosugi. Phonemes was commissioned by the Merce Cunningham Dance Company for Cunningham's dance Channels/Inserts (1981), a work made both as a "filmdance" and for the stage. Phonemes employs two discrete processes which provide input source material for an array of sound modifying electronics, thus creating a multitude of outputs. David Tudor, electronics, with Takehisa Kosugi, electronic violin and vocals; produced and recorded by David Tudor, Nicolas Collins, and John D.S. Adams.
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CD
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CRA 154562CD
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2014 digitally remastered reissue; originally released on LP in 1973 as number 16 in the Nova Musicha series. This work is an exploration of space and sound through feedback; the album features two long tracks -- "Mix A" and "Mix B" -- and both appear to involve spare sounds in space, filtered through additional electronics, often with the effect of a microphone feeding back, then suddenly halted. Tudor manipulates the sounds enough to pull out some compelling waveforms, especially on "Mix B" -- and the album offers up a much darker side of his music than one might expect from the early years. Recorded at Center for Contemporary Music, Mills College, Oakland, California. Includes 12-page booklet with photographs, score, and liner notes in Italian.
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3CD
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NW 80762CD
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"In the spring of 1964 Pauline Oliveros organized a festival celebrating the work of pianist David Tudor, which featured compositions by Oliveros, George Brecht, Toshi Ichiyanagi, Alvin Lucier, and John Cage. The Tudorfest was a watershed event in the brief history of the San Francisco Tape Music Center, which not only provided its members with an opportunity to collaborate with Tudor, but also to promote their own work. Co-sponsored by KPFA, the Tudorfest demonstrated the artistic diversity of the avant-garde, from the minimalistic explorations of barely audible piano sounds (played by Oliveros and Tudor) in Ichiyanagi's Music for Piano No. 4 (1960) to the instrumental chaos of Cage's Concert for Piano and Orchestra (1957-58) and Atlas Eclipticalis (1961), the often thunderous electronic outbursts in Tudor's interpretations of Cage's Cartridge Music (1 960) and Variations II (1961). Oliveros's collaboration with Tudor, Duo for Accordion and Bandoneon and Possible Mynah Bird Obbligato (1963-64) combined theatrical elements, improvisation, and a mynah bird named 'Ahmed.' The Tudorfest placed the Tape Music Center at the forefront of developments in new music around the country. Its success owed a great deal to David Tudor's influence. The performances on this 3-CD set have never been previously issued. It is the definitive document of this seminal event and constitutes a major addition to the discography of American experimental music."
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7CD BOX
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NW 80737CD
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"David Tudor's (1926-1996) identity morphed seamlessly from interpreter of mainly acoustic music to composer-performer of predominately electronic music over a period of about ten years, from the mid-1950s to the mid-1960s. This set of seven CDs, the first truly comprehensive survey of Tudor's work as a composer, goes beyond any previous attempt to document that process of transformation. It captures his touch and sensitivity and offers an expansive, previously unavailable view onto more than three decades of Tudor's astonishingly original work as an electronic musician. It neatly describes the arc of his career, from his first composition, 'Bandoneon! (A Combine),' through the fully-realized works of his long collaboration with the Merce Cunningham Dance Company. Six works that were issued in excerpted form in Music for Merce (1952-2009) are issued here complete. Other highlights include the live soundscapes for the Pepsi Pavilion at the 1970 Osaka World Expo, the marvelous simultaneous performance with John Cage of 'Mesostics Re Merce Cunningham/Untitled,' and two extended binaural recordings of 'Rainforest IV' with Composers Inside Electronics, the best recorded documents of this signature work. While Cage has finally more or less received his due, Tudor's own accomplishments have been somewhat overshadowed and are ripe for a proper re-evaluation. It is our hope that the release of this set will prompt a thorough reconsideration of his seminal achievements." Featured works: By David Tudor - "Anima Pepsi," "Bandoneon ! (A Combine)," "Neural Network Plus," "Pepscillator," "Pepsibird," "Phonemes," "Rainforest IV" (Berlin, 1980), "Rainforest IV" (Stockholm, 1980), "Virtual Focus," "Weatherings," "Webwork." By John Cage/David Tudor (Simultaneous Performance) - "Mesostics Re Merce Cunningham/Untitled." By John Cage - "Variations II." By Christian Wolff - "For 1, 2, or 3 People." Performed by David Tudor, Takehisa Kosugi, live electronics; John Cage, voice; Composers Inside Electronics: John Driscoll, Phil Edelstein, Ralph Jones, Martin Kalve, David Tudor, Bill Viola, live electronics.
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2CD
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RZ 1018/19CD
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2007 release. Crucial compilation of David Tudor's most historic performances of avant-garde and minimalist piano compositions, featuring works by these composers: John Cage, Morton Feldman, Christian Wolff, Sylvano Bussotti. Mostly seminal recordings from the mid-'50s, total date range of 1955-1963. Includes "Music For Piano 21-36," "Variations 1," "Variations II," "Winter Music," "Piece For Four Pianos" (including performance by Feldman). "David Tudor, pianist -- a profession, a vocation, a life. From 1950 until around 1965, David Tudor was the epitome of the pianist who could simply play anything. In fact, David Tudor was no longer a name, but an indication for instrumentation as dozens of pieces were written 'for David Tudor.' As early as 1960, after having conquered all of the challenges posed by serial piano music, Tudor began to differentiate between composers who filled him with life and those who left him cold -- the focus of his repertory became crystallized. The main criterion for his choices were shaped by the part he would play as interpreter in the composition. He distinguished carefully between having a free choice among prefabricated parts -- generally called aleatoric, as for example, Stockhausen's 'Klavierstück XI' (dedicated, as his 'Klavierstücke V-VIII', to Tudor) -- and indeterminate actions. In the first case, they have a tendency to 'put me to sleep,' whereby pieces that are less limiting led him to say, 'I feel that I'm alive in every part of my consciousness.' The program of these CDs portrays these distinctions." --Frank Hilberg
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