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Gavin Bryais "1, 2, 1-2-3-4" Mike Nicolls

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Gavin Bryais have co nstanl pilches wh ich are departed tolhe extent ol "invenling" an eight-ba EnsembleolTheSan Francisco lrom and retu rned to. As wiih all3pieces, introduclion). l\,4usic Conservatoryof atThe lvluseum of the dynamicsare reslrained and undramalic, ln th is performance, all the players h An on March 23rd 1973. with lhe exceplion of the extramaterial"- identical material on theircassetles, th (U.S.A.): Recording Engineer Alden Jenks. a crjspsnare-drum rollthat both setsthetone each was recorded individuallyand noi and gives a dramatictouch thai is not present copied simultaneously, and thoir SideTwo anywhere else.This is not in thescore. performance ref lects a number of varia Christopher Hobbs 2. Chrislian Zealand Aclivily thal occur: thestartinq poinlolthe mus "MGCBIMMON WLL NEVER RETURN,, The main bodyolthe music consists ola lhe cassetles is not precise {but ihe clic series oflong held notes, very consonant, Gavin Bryars and ChristopherHobbs: lhe machinesswitching on, however, is in4 parls which areoccasionally lhe cassettes may notbeall runningatt synchronisedio give unitied chords.The same speed duelothe uneven qualiry( instruments inlo4 groups Gavin Bryais aredivided ditferent machines, the state oltheirbal accord'ng totheir pitch ranges, with al least and soon, andlhis, in turn, "1, 2, 1-2-3-4" attects both one suslaining inslrument in a group, each duration and key olthe pisce;playersv Gavin Bryars: Double Bass. group having a leaderwho cues movemenl intheirabilityto'shadow material(i.€ ChrislopherHobbs: Piano. from one noleio lhe next. During this piece, sim u llaneously hear and reprod uce); Cornelius Cardew;Cello. the " extra mate rial ' cons ists ot a tape- players, in this recording, vary in their DerekBaileyrGuitar. recording ofa radio talk-show. f amiliarity with lhe material.The naleri Mike Nicolls: Drums. 3. Senlimentals itsell, however, is perlectly homogenec Celia Gollin and Brian Eno: Vo.als This is the most melodic pieceoithe3 and and thedislocationslhatoccurdo not Andy I'Iackay: Oboe. lhe on e whjch involves lhe g reatest range of destroythis.The piece wasoriginallyw SluartDeeks: Violins. variation, quoting extensivelyfrom Duke foraseries of concerlsorganised byJo Trombone- PaulNieman: Ell jngton s "Sophisricated Lady'.The genfl e While and is, amiably, dedicatedto him Engineered by Phil Ault. swing ofthetrap set,lhal is added during the piece, is again not included in thescore, and Produced by Brian Eno ils presence gives thesound a distinclively Californian leel. close lo thatofthe Beach Boys, orHollywood studio bands.Thecurious ending is an ironic altirmation otthe maudtin Aran chromaticism olthe Ellington piece which qeneraiesihe music, ''Aran 'and Mccrimmon WillNever Chrislopher Hobbs Retu rn ' pe dale from the tiod 1970-72, and Mccrlmmon Will Never Return Christopher Hobbs was bon in Uxbtidg werewritien forthe PromenadeTheatre M i dd I e sex, on S e pte m bet gth 1 950. Af tt group "NIcCrimmon Will Never Retrrn ' Orcheslra, a started by While, yearc as aJuniot Exhibitionet atnhlty performers stemsiiom alemporary interest in consisting of4 i White, Hobbs, College of Music,wherc he studied piat HughShrapnelandAlec Piobaireachd (Pibroch), the most highty Hlll. and bassoon, he wenlto the Royal Aca. developed form olScoltish bagpipe music. "Aran" was written at a time when the PTO ol Music.wherc his tutots were Conelit was The melody ofthetille has severat variants, beginningto combinelhesounds ol reed Catdew rconposiliod and Pat ciaBta organs andloy pianos, the original which are played simultaneouslyon 4 reed (petcussion t - t n 1 968 he tounded the group, organs.The tempo js sufticiently slowthat instruments o{the with some newly- Expetimental Music Catalogue, a publi acquired percussjon inslruments.The thecharacterlstic skirls orflourishes in the note- v ent u rc a i n ed at cl i s se n inal,rg scores procedure piece music become audibleas ind ivid ual notes. lo-note otthe was youngconposets, and joinecl AMM mu determined by random means, in the hope an inptovisation grcupwithwhon hep producing genile jnthe ol a unpredictability 1,2,1-2-3-4 fot some 3yeats. He also pa icipatecl h linal result. ltwas hoped thalthe whole ea y days of the scratch orchestq, ana griltily wou ld be reson ant.Thjs recorded The piece islor instrumentalists/vocalists, concetts ol expe mental nusic, in Engt performers, version, {or 12 is generally more each wearing head phones con nected to a and on the continent, wilh catdew, Gav sotl-centredlhanlhe original, portable casselte machine. Each periormer 8ryarc, John Ti Ibury, Christian Wollf an hears onlylhe music in his headphones, others. Since1971 he has played invah American Standard musicwhich conlains parts" forhis West End musicals, and hasgiven manj inslrumentorvoice, and he plays, atong with conce ns w ilh J oh n W h ite as a rercussi( Although the inslrumenlation otthe piece the casselte, hisown instrum enlal part. His (and latte vpiandduo. is notspecilied, an idealgroup would be abilityto reproducethis partdepends on how jch performed similarlolhatwh this version, lamiliar he is with what he hears, and this John Adams record€d atlhe lirst pedormance oflhe piece can rangefrom careful practice overa period jn lVarch 1973.lt is played bylhe New I\,{ usic olweeks with hiscassetlelo an immediate Bon Febtuary 15th1947, U.S.A. Aradvs i Ensemble oltheSan Francisco Conservatory responsefrom alirstor second hearing.Th€ E ast Co ncorcl, New H an psh i rc, U. S. A. by present ot[,{usic,directed John Adams, the iecordino, tosome exlent, contains Cu ff e ntly te ac hes c om po s it io n a nd d i rc comopser, and the in stru ments used h ere are: elemenls of thesetwo extremes: afew theNew Music Ensemble atthe San Flule, clarinet, clarinet idoubting bass- players had played lhe piece on other F nnc i sc o Con setv atoty of M u si c. clarinet), clarinel {doublinq bass-drum), occasions (at leasl one ofwhich used the luba, percussion (lrap set), violin,2violas, same material as is used on this recording), Desisn by John BonisotCCS have co nstanl pilches wh ich are departed tolhe extent ol "invenling" an eight-ba EnsembleolTheSan Francisco lrom and retu rned to. As wiih all3pieces, introduclion). l\,4usic Conservatoryof atThe lvluseum of the dynamicsare reslrained and undramalic, ln th is performance, all the players h An on March 23rd 1973. with lhe exceplion of the extramaterial"- identical material on theircassetles, th (U.S.A.): Recording Engineer Alden Jenks. a crjspsnare-drum rollthat both setsthetone each was recorded individuallyand noi and gives a dramatictouch thai is not present copied simultaneously, and thoir SideTwo anywhere else.This is not in thescore. performance ref lects a number of varia Christopher Hobbs 2. Chrislian Zealand Aclivily thal occur: thestartinq poinlolthe mus "MGCBIMMON WLL NEVER RETURN,, The main bodyolthe music consists ola lhe cassetles is not precise {but ihe clic series oflong held notes, very consonant, Gavin Bryars and ChristopherHobbs: lhe machinesswitching on, however, is in4 parls which areoccasionally lhe cassettes may notbeall runningatt synchronisedio give unitied chords.The same speed duelothe uneven qualiry( instruments inlo4 groups Gavin Bryais aredivided ditferent machines, the state oltheirbal accord'ng totheir pitch ranges, with al least and soon, andlhis, in turn, "1, 2, 1-2-3-4" attects both one suslaining inslrument in a group, each duration and key olthe pisce;playersv Gavin Bryars: Double Bass. group having a leaderwho cues movemenl intheirabilityto'shadow material(i.€ ChrislopherHobbs: Piano. from one noleio lhe next. During this piece, sim u llaneously hear and reprod uce); Cornelius Cardew;Cello. the " extra mate rial ' cons ists ot a tape- players, in this recording, vary in their DerekBaileyrGuitar. recording ofa radio talk-show. f amiliarity with lhe material.The naleri Mike Nicolls: Drums. 3. Senlimentals itsell, however, is perlectly homogenec Celia Gollin and Brian Eno: Vo.als This is the most melodic pieceoithe3 and and thedislocationslhatoccurdo not Andy I'Iackay: Oboe. lhe on e whjch involves lhe g reatest range of destroythis.The piece wasoriginallyw SluartDeeks: Violins. variation, quoting extensivelyfrom Duke foraseries of concerlsorganised byJo Trombone- PaulNieman: Ell jngton s "Sophisricated Lady'.The genfl e While and is, amiably, dedicatedto him Engineered by Phil Ault. swing ofthetrap set,lhal is added during the piece, is again not included in thescore, and Produced by Brian Eno ils presence gives thesound a distinclively Californian leel. close lo thatofthe Beach Boys, orHollywood studio bands.Thecurious ending is an ironic altirmation otthe maudtin Aran chromaticism olthe Ellington piece which qeneraiesihe music, ''Aran 'and Mccrimmon WillNever Chrislopher Hobbs Retu rn ' pe dale from the tiod 1970-72, and Mccrlmmon Will Never Return Christopher Hobbs was bon in Uxbtidg werewritien forthe PromenadeTheatre M i dd I e sex, on S e pte m bet gth 1 950. Af tt group "NIcCrimmon Will Never Retrrn ' Orcheslra, a started by While, yearc as aJuniot Exhibitionet atnhlty performers stemsiiom alemporary interest in consisting of4 i White, Hobbs, College of Music,wherc he studied piat HughShrapnelandAlec Piobaireachd (Pibroch), the most highty Hlll. and bassoon, he wenlto the Royal Aca. developed form olScoltish bagpipe music. "Aran" was written at a time when the PTO ol Music.wherc his tutots were Conelit was The melody ofthetille has severat variants, beginningto combinelhesounds ol reed Catdew rconposiliod and Pat ciaBta organs andloy pianos, the original which are played simultaneouslyon 4 reed (petcussion t - t n 1 968 he tounded the group, organs.The tempo js sufticiently slowthat instruments o{the with some newly- Expetimental Music Catalogue, a publi acquired percussjon inslruments.The thecharacterlstic skirls orflourishes in the note- v ent u rc a i n ed at cl i s se n inal,rg scores procedure piece music become audibleas ind ivid ual notes. lo-note otthe was youngconposets, and joinecl AMM mu determined by random means, in the hope an inptovisation grcupwithwhon hep producing genile jnthe ol a unpredictability 1,2,1-2-3-4 fot some 3yeats.
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