Browse by Label: DOG W/A BONE

Artist:	DUCHAMP, MARCEL
Title:	The Entire Musical Work
Label:	DOG W/A BONE
Format:	CD
Price:	$17.00
Catalog #:	DWAB 001CD

Available again: the brief/entire catalog of this 20th century composer's label, based out of the Paula Cooper Gallery in NYC, in association with Petr Kotik's S.E.M. Ensemble. This Duchamp CD is a similar release to the now-deleted CD on the Ampersand label (same title, same general selection of Duchamp's major musical pieces); the main difference is that this DWAB version features one additional piece, "Sculpture Musicale" (a mesostic performed by John Cage) & features improved sound/performance according to Kotik. This CD was recorded in 1987 by S.E.M. (including Ben Neill on trumpet) & originally released in 2000; the Amperand 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. Music by Marcel Duchamp includes the artist's complete ouvre, 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:	$46.00
Catalog #:	DWAB 002CD

Originally released in 2000. Looking for just one 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 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 liner notes include a conversation between composers Walter Zimmerman and 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:	$36.00
Catalog #:	DWAB 003CD

"Digitally remastered from the original 1981 Labor Record release, Kotik's Many Many Women has long been considered a masterpiece of 1970s 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 liner notes include essays by Kostelanetz and Village Voice critic Kyle Gann."

Artist:	FELDMAN, MORTON
Title:	Turfan Fragments
Label:	DOG W/A BONE
Format:	CD
Price:	$16.00
Catalog #:	DWAB 004CD

Features these 2 long pieces: "For Samuel Beckett" & "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 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 ninth 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 [the 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.'"

Artist:	S.E.M. ENSEMBLE
Title:	Spoken Music Concert at Paula Cooper Gallery
Label:	DOG W/A BONE
Format:	CD
Price:	$16.00
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, then on Wooster Street in Soho. It was performed by members of the S.E.M. Ensemble: Petr Kotik (Director), Chris Nappi, and Joseph Kubera, and Den Neill (sound mix); and four guests: John Cage, Dick Higgins, Jackson Mac Low, and Anne Tardos... 'Empty Words', written in 1973-74, is arguably the most musical of John Cage's texts. 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."

Previous Page Index of Labels Next Page