Browse by Label: DOG W/A BONE

Artist:	DUCHAMP, MARCEL
Title:	The Entire Musical Work
Label:	DOG W/A BONE
Format:	CD
Price:	$16.50
Catalog #:	DWAB 001CD

Originally issued in 2000, this is the first release from this 20th century composer's label, based out of the Paula Cooper Gallery in NYC; performed by Petr Kotik's S.E.M. Ensemble, with John Cage on one piece. This CD was recorded in 1987 by S.E.M. (including Ben Neill on trumpet) and was originally released in 2000; the Ampersand version was recorded in 1976. Duchamp's often overlooked musical work was composed for the most part between 1912 and 1921. His method was based on chance and represented a radical departure from the way music was done at the time. The Entire Musical Work includes the artist's complete oeuvre, namely "Erratum Musical" (For Three Voices), "La Mariée mise à nu par ses célibataires même," "Erratum Musical" (in two different versions for player piano and chamber ensemble), and the conceptual piece "Sculpture Musicale" (with a special version performed by John Cage). The liner notes contain reproductions of Duchamp's handwritten scores, as well as photographs of the instrumental "apparatus" used to create the second version of "La Mariée mise à nu par ses célibataires même (a funnel, seven open top cars and six sets of balls)." Also included is a mesostic (a poem legible both horizontally and vertically) by John Cage.

Artist:	FELDMAN, MORTON
Title:	For Philip Guston
Label:	DOG W/A BONE
Format:	4CD
Price:	$39.00
Catalog #:	DWAB 002CD

Originally released in 2000. Looking for just one Morton Feldman CD to give to someone that you like more than yourself? There's more than one correct answer to this elusive question, but this overwhelming set (closing in on 300 total minutes) is an utter classic, with paralyzing sonic power. Feldman is recognized as one of the 20th century's most influential composers. Feldman's artistic principles were shaped in the early 1950s by his association with composers John Cage, Earle Brown and David Tudor, and painters Philip Guston, Mark Rothko, Jackson Pollock and Robert Rauschenberg, to name a few. In keeping with Feldman's aesthetic privileges of scale over form, For Philip Guston, composed in memory of his late friend, expands to a monumental five hours. On the front cover of the comprehensive 4CD set is a reproduction of Feldman's portrait by Philip Guston. The 16-page liner notes include a conversation between composers Walter Zimmerman and Petr Kotik, exploring the many facets of Feldman's music. Recorded in 1995 and performed by S.E.M. Ensemble (Petr Kotik, flute, alto flute, piccolo; Joseph Kubera, piano, celeste; Chris Nappi, vibraphone, marimbaphone, glockenspiel, chimes).

Artist:	KOTIK, PETR
Title:	Many Many Women
Label:	DOG W/A BONE
Format:	3CD
Price:	$24.00
Catalog #:	DWAB 003CD

Digitally remastered from the original 1981 Labor Record release, and originally released by Dog W/A Bone in 2000, Czech composer/conductor/flutist Petr Kotik's Many Many Women has long been considered a masterpiece of underground music. The polyphonic composition sets Gertrude Stein's entire novella Many Many Women to music and marks the crystallization of Kotik's musical aesthetic. Described by Richard Kostelanetz as "continually austere and yet engaging, realizing a musical reinterpretation of Stein's text," Many Many Women highlights both the musicality of Stein's poetry and Kotik's distinctly personal treatment of melody. The 12-page liner notes include excerpts from the original text, plus essays by Kostelanetz and Village Voice critic Kyle Gann. 3 hours 35 minute excerpt on a 3CD set, performed by the S.E.M. Ensemble.

Artist:	FELDMAN, MORTON
Title:	Turfan Fragments
Label:	DOG W/A BONE
Format:	CD
Price:	$15.00
Catalog #:	DWAB 004CD

Originally released in 2001 by the Dog W/A Bone label, this release features these 2 long pieces: For Samuel Beckett and The Turfan Fragments. Performed by: The Orchestra of the S.E.M. Ensemble, with Petr Kotik, conductor. For Samuel Beckett and The Turfan Fragments are Morton Feldman's only chamber orchestra compositions. Both were commissions: The Turfan Fragments by the Swiss-Italian Radio Orchestra in 1980, For Samuel Beckett by the Schönberg Ensemble, Amsterdam, in 1987. Both titles are descriptive and suggest how Feldman arrived at a particular concept for each piece. The Turfan Fragments is a succession of short sections, which could indeed be described as fragments. The title relates the composition to manuscripts from Turfan (the southwest region of present-day China), which are in the collection of the Preussischer Kulturbesitz in Berlin. These calligraphic remnants, going back to the 9th century, were brought to Germany before World War I and Feldman must have seen them while living in Berlin in 1971. In contrast, For Samuel Beckett is based on a single idea of several chord progressions unfolding continuously for almost an hour. In 1977, Beckett wrote a text for Feldman, to be used as the libretto for his opera Neither. Feldman's description of Beckett's writing most eloquently suggests what was on his mind when composing For Samuel Beckett: "here's something peculiar about it [Beckett's text]. I can't catch it. Finally I see that every line is really the same thought said in another way. And yet the continuity acts as if something else is happening. Nothing else is happening. What you're doing, in an almost Proustian way, is getting deeper and deeper saturated into the thought." Includes an 8-page booklet with liner notes from Petr Kotik and an extract from Morton Feldman from Give My Regards To Eighth Street (Exact Change). The Orchestra of the S.E.M. Ensemble; Petr Kotik, conductor.

Artist:	S.E.M. ENSEMBLE
Title:	Spoken Music Concert At Paula Cooper Gallery
Label:	DOG W/A BONE
Format:	CD
Price:	$15.00
Catalog #:	DWAB 005CD

The S.E.M. Ensemble's Spoken Music Concert took place on Tuesday, February 6, 1990, at the Paula Cooper Gallery in New York. The S.E.M. Ensemble (director Petr Kotik, Joseph Kubera, Chris Nappi, and Ben Neill) performed a series of text works with a number of guest performers, including John Cage, Dick Higgens, Jackson Mac Low, and Anne Tardos. John Cage's "Empty Words," written in 1973-1974, is arguably the most musical of his texts, and a rare recording of John Cage performing his own text pieces. Made up of fragments from the journals of Henry David Thoreau, it consists of four parts. The first is a chance-derived mix of phrases, words, syllables, and single letters; subsequent parts each eliminate one of these textual elements from the mix. By the fourth part (performed here), there is nothing left but single letters. As the text becomes simpler and simpler, silences become more and more prominent. Includes a 12-page booklet with texts by Jackson Mac Low and James Pritchett, and originally issued in 2002 on Dog w/a Bone.

Artist:	MARCLAY, CHRISTIAN
Title:	Graffiti Composition
Label:	DOG W/A BONE
Format:	CD
Price:	$15.00
Catalog #:	DWAB 006CD

Dog W/A Bone, the recording label established by the Paula Cooper Gallery, is pleased to announce the CD release of Graffiti Composition by American visual artist and composer Christian Marclay. In 1996, Marclay plastered more than 5,000 posters of blank sheet music in public places throughout Berlin during a month-long sound festival. The posters functioned as an open invitation to the public to scribble musical notes, or any other type of graffiti. Marclay photographed the graffitied sheets, selected 150 from the group, and compiled them into a portfolio intended to be interpreted and performed by musicians. Graffiti Composition is the live recording of a one-time performance at the Museum of Modern Art, New York in 2006. Led by Elliott Sharp, it features five world-renowned guitar players: Melvin Gibbs, Mary Halvorson, Lee Ranaldo, Vernon Reid, and Elliot Sharp. The release of Graffiti Composition coincides with the opening of Christian Marclay: Festival at the Whitney Museum of Art, a groundbreaking exhibition highlighting the interplay between the visible, audible and performance that is the hallmark of Marclay's work. The show will focus on the artist's graphic scores: art works with visual cues to be interpreted by musicians in performance. The exhibition will feature select musicians' daily live performances of Marclay's scores and runs from July 1st through September 26th, 2010.

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