Modern vocal works
View record and artist detailsRecord and Artist Details
Composer or Director: William Billings, Luciano Berio, John Cage
Label: HMV
Magazine Review Date: 9/1986
Media Format: Vinyl
Media Runtime: 0
Mastering:
Stereo
Catalogue Number: EL270452-1
Tracks:
| Composition | Artist Credit |
|---|---|
| A-Ronne |
Luciano Berio, Composer
Electric Phoenix Luciano Berio, Composer |
| Heath |
William Billings, Composer
Electric Phoenix William Billings, Composer |
| Old North |
William Billings, Composer
Electric Phoenix William Billings, Composer |
| Hymns and Variations |
John Cage, Composer
Electric Phoenix John Cage, Composer |
Composer or Director: William Billings, Luciano Berio, John Cage
Label: HMV
Magazine Review Date: 9/1986
Media Format: Cassette
Media Runtime: 0
Mastering:
Stereo
Catalogue Number: EL270452-4
Tracks:
| Composition | Artist Credit |
|---|---|
| A-Ronne |
Luciano Berio, Composer
Electric Phoenix Luciano Berio, Composer |
| Heath |
William Billings, Composer
Electric Phoenix William Billings, Composer |
| Old North |
William Billings, Composer
Electric Phoenix William Billings, Composer |
| Hymns and Variations |
John Cage, Composer
Electric Phoenix John Cage, Composer |
Author:
The previous recording of A-Ronne was of an expanded version for the eight voices of Swingle II (Decca HEAD15, 1/77—nla), whereas Electric Phoenix revert to the original five-voice specification. The differences are not all that great, however, and the basic outlines of Sanguineti's macaronic poem (about beginnings, middles and ends) survive unchanged. The burpings and vomitings do not sound quite so graphic and there is less evidence of acoustic manipulation, but the various text-dismemberings are done with tremendous virtuosity and, where appropriate, a sense of fun. Even so, this vocal trickery was already old hat when the piece appeared (in 1974, 12 years after Ligeti's Aventures), and anybody who rates avantgarde music no higher than pretentious undergraduate cabaret could justifiably cite A-Ronne in evidence.
Berio would undoubtedly be insulted at the suggestion that anyone could have composedA-Ronne; but John Cage might well be delighted if his music gave that impression. For Hymns and variations (composed in 1979) he selected the two Billings hymns performed on this record, then worked through each part separately, eliminating or lengthening nots, stripping away consonants, and adding discreet dynamic shadings. The effect is out of all proportion to this apparently naive, experimental procedure—its haunting tranquillity should be sampled by anyone who has ever mocked Cage for his ideas. No doubt the fact that the piece holds the attention is partly a tribute to the sensitivity of Electric Phoenix's performance; but it also suggests that Cage's instinct for the sense of startling release is as strong in his recent pieces as it was in the String Quartet of 1950. The second side of this record is amazing, and worth every penny of the price.'
Berio would undoubtedly be insulted at the suggestion that anyone could have composed
Modern vocal works
Modern vocal works
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