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2LP
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SV 174LP
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"Ellen Fullman began developing The Long String Instrument in her St. Paul, Minnesota studio in 1980 and moved to Brooklyn the following year. Inspired by composer and instrument builder Harry Partch, Fullman's large-scale work creates droning, organ-like overtones that are as unique in the world of sound as her vision of the instrument itself. Along with her 1985 debut album -- appropriately titled The Long String Instrument -- Fullman's only output in the 1980s would be two self-released cassettes, In The Sea and Work For Four Players And 90 Strings, recorded in 1987 at an unfinished office tower in Austin, Texas. This double LP collection features music from both cassettes as well as a previously unreleased piece from 1988 at De Fabriek in Den Bosch, Holland. Ethereal and exquisitely paced, these rare recordings capture minimalism's quiet radiance. Within a musical landscape that has seen the rise of contemporary drone practitioners like Ellen Arkbro and Kali Malone, Fullman is sure to find a legion of fans. Superior Viaduct is honored to present this long overdue archival release that marks a particularly vibrant period of Fullman's pioneering and timeless work."
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LP
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SV 085LP
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"Ellen Fullman began developing her installation The Long String Instrument in 1981, in search of tonalities that could not be achieved with traditional instruments. This largescale work consists of 70-foot-long metallic wires, anchored by a wooden resonator, across which the performer moves backwards and forwards with rosin-covered fingers. The overall effect has been rightfully compared to the experience of standing inside an enormous grand piano. Recorded during Fullman's 1985 residency at Het Apollohuis in Eindhoven, Holland, The Long String Instrument album is the first document of her acoustic explorations. 'Woven Processional,' which features Fullman alongside artist Arnold Dreyblatt, conjures an enchanting drone from the elongated strings and dissolves into organ-like overtones and otherworldly textures. Several tracks bring to life another Fullman invention, The Water Drip Drum, constructed from water dripping into an amplified aluminum pan and manipulated by foot pedal. Thirty years since its initial release, Ellen Fullman's debut LP remains a major contribution to the histories of sound sculpture and minimalist composition. This firsttime reissue is mastered from the original analog tapes and recommended for fans of Pauline Oliveros, Charlemagne Palestine and Harry Bertoia."
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CD
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XI 109CD
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1993 release. Body Music is music for Ellen Fullman's unique Long String Instrument, an 80-foot long instrument with approximately 80 strings. Fullman has long been developing this instrument for longitudinally vibrating long strings. Having received a BFA in sculpture, her interest in music began with the resonance of materials used in making sculpture. When she started making the Long String Instrument, she saw it as "sculpture as music"; now she has come full circle in conceiving "music as sculpture." For the most part, the music in Body Music relies harmonically on the diatonic scale. Because of the prominence of overtone content, more complex harmony is suggested. Through her studies of extended harmony, Fullman has come to realize that harmony is "dimensional."
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CD
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IMPREC 336CD
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"In 1981 Ellen Fullman began developing the Long String Instrument, an installation of dozens of wires fifty feet or more in length, tuned in Just Intonation and 'bowed' with rosin coated fingers. Fullman has developed a unique notation system to choreograph the performer's movements, exploring sonic events that occur at specific nodal point locations along the string-length of the instrument."
"In composing 'Event Locations No. 2,' I set out to focus more strictly than I ever had on detail in the choreography of my notation. Through writing the piece I designed ways to add more specific information in the score. The tuning uses a set of pitches based in the key of A, in combination with Arnold Dreyblatt's tuning system based on F. These two roots generate tones in common but also complex or 'dissonant' tones. I wanted to find a way to incorporate more dissonance into my sound and intentionally worked with beating frequencies in this piece. 'Never Gets Out of Me,' a duet with cellist Theresa Wong, and 'Flowers', a trio recorded with Travis Weller and Henna Cho, are adaptations from 'Stratified Bands: Last Kind Words', originally composed for the Kronos Quartet in the Other Minds Festival. The composition is based on 'Last Kind Words Blues,' a haunting song by Geeshie Wiley recorded in 1930." -- Ellen Fullman.
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