_ CD_1 CD_2 MINIMALIST DREAM HOUSE_ Katia & Marielle Labèqu MINIMALIST DREAM HOUSE_ Katia & Marielle Labèque 1-4 Philip Glass 1 David Chalmin _ Four Movements for Two Pianos _ Gameland 5 Cage 2-3 William Duckworth _ Experiences, I. _The Time Curve Preludes _ VII _ XII 6 Arvo Part 4 Radiohead _ Hymn to a Great City _ Pyramid Song 7 Philip Glass 5 Brian Eno _ The Poet Acts _ In Dark Trees 8-10 William Duckworth 6 Aphex Twin _The Time Curve Preludes _ I _ II _ XVII _ Avril 14th 11-12 Michael Nyman 7-8 Michael Nyman _ Water Dances _ I.Dipping _ II.Stroking _ Water Dances _ IV.Gliding _ V.Synchronising 13-17 Howard Skempton 9 Terry Riley _ Images _ Interlude 4 _ Prelude 5 _ In C _ Interlude 5 _ Prelude 7 _ Postlude 10 Raphaël Séguinier _ Free to X Featuring: DAVID CHALMIN _______vocals, guitars, bass & electronics(on CD2 tracks #1, 4, 5, 9 & 10) RAPHAËL SÉGUINIER _______drums, percussion & electronics (on CD2 tracks #1, 5, 9 & 10) NICOLA TESCARI _______keyboards, electronics (on CD2 tracks #1, 5, 9 & 10) Recorded, mixed and mastered byDavid ChalmininStudio KML Produced byKatia Labèque&David Chalmin 4814468. LC 00173 e 4814468 4814468 062894814468 VOL_1 Philip Glass Michael Nyman two pianos / 2008 two pianos / 1985-2011 _ Four Movements for Two Pianos _ Water Dances 1_ I 05:59 Katia & Marielle Labèque 11_ I.Dipping 04:48 Katia & Marielle Labèque 2_ II 05:38 Katia & Marielle Labèque 12_ II.Stroking 06:35 Katia & Marielle Labèque 3_ III 06:48 Katia & Marielle Labèque 4_ IV 05:16 Katia & Marielle Labèque Howard Skempton piano solo / 1989 John Cage _ Images two pianos / 1945 13_ Interlude 4 01:21 Marielle Labèque 5_ _ Experiences, I. 02:19 Katia & Marielle Labèque 14_ Prelude 5 03:03 Marielle Labèque 15_ Interlude 5 00:52 Marielle Labèque Arvo Pärt 16_ Prelude 7 02:32 Marielle Labèque two pianos / 1984-2004 6_ _ Hymn to a Great City 03:18 Katia & Marielle Labèque Howard Skempton piano solo / 1978 Philip Glass 17_ _ Postlude 01:48 Marielle Labèque piano solo / 2002-2003 7_ _ The Poet Acts 03:42 Katia Labèque (Music from the Hours for piano transcribed by Michael Riesman and Nico Muhly) •Total vol_1 01:01:06 William Duckworth piano solo / 1977-1978 _The Time Curve Preludes 8_ I 02:27 Marielle Labèque 9_ II 02:08 Katia Labèque 10_ XVII 02:32 Marielle Labèque VOL_2 David Chalmin Terry Riley 2011 two pianos+band / 1964 1_ _Gameland 06:06 Katia & Marielle Labèque 9_ _ In C 28:58 Katia & Marielle Labèque David Chalmin, Raphaël Séguinier David Chalmin, Raphaël Séguinier Nicola Tescari Nicola Tescari William Duckworth Raphaël Séguinier piano solo / 1977-1978 2011 _The Time Curve Preludes 10_ _ Free to X 05:03 Katia Labèque, David Chalmin 2_ VII 03:18 Katia Labèque Raphaël Séguinier, Nicola Tescari 3_ XII 02:56 Katia Labèque Radiohead •Total vol_2 01:08:09 piano and vocals 4_ _ Pyramid Song 05:10 Katia Labèque, David Chalmin Brian Eno 1975 5_ _ In Dark Trees 03:49 Katia Labèque, David Chalmin Raphaël Séguinier, Nicola Tescari Aphex Twin piano 4 hands / 2001 6_ _ Avril 14th 02:11 Katia & Marielle Labèque Michael Nyman two pianos / 1985-2011 _ Water Dances 7_ IV.Gliding 04:43 Katia & Marielle Labèque 8_ V.Synchronising 05:55 Katia & Marielle Labèque Minimalism: an introduction in 1968. Riley had in fact been looping aleatorically, creating time showcase minimalist works from each of the past five decades. lagged phases and flavouring them with Oriental melodic patterning for Raphaël Séguinier To be musically avant-garde in the 1950s meant to be difficult. Not by • Free to X (2011) (world premiere recording) twothe orend three of theyears. 1960s. But theThat transfer decade of saw these a groupideas toof liveAmerican instrumentation beatniks In the spirit of La Monte Young's 1960s loft experiments (which became _ band andoverthrow the positive the musical reaction givens to the of resultspostwar was Europe. a momentous In a series of event disobedi- for the known as the Dream House concerts), we also present new post-mini- new movement. The piece came to Riley one night on the bus. He heard malist works by musician-composers, David Chalmin and Raphaël ently straightforward compositions, La Monte Young, Terry Jennings, Free to X starts with the additive rhythmic principle of Philip Glass and "the whole first line of In C. It just sort of came into my ear". Steve Reich Séguinier, members of Triple Sun.. Terry Riley, Steve Reich and Philip Glass declared that music could be combines it with the drones of La Monte Young. Both grow and build (a neighbour of Riley's in San Fransisco) premiered the work at the San clear, honest, pretty and experimental. Turning their backs on the until complication pushes them into a less controllable realm. Here the Fransiscoconventional Tape centres Music of musicalCenter inpower, 1964 the and earliest added minimalist the all-important works got drone ceases to (b.be 1937)so friendly and swallows the rhythmic pulse in a requirementtheir first public to sustain audience an eighth in the note La pulseMonte throughout. Young 1960-61 Chamber Philip Glass •cacophony Four Movements of electronic (2008) noise. Street Series that took place in Yoko Ono's New York loft. The work is of indeterminate length and indeterminate instrumentation. It _ two pianos consistsThrough of the 53 1960s,numbered the melodicminimalists phrases, slowly mostlydemystified, short, eachdemocratised of which Like so much of the later output of the minimalist pioneers, Philip Glass's areand repeated Americanised at liberty. European Musicians modernism. must play "I don'tthe phrases know any in sequencesecrets of more recent music is best described as post-minimal rather than purely butstructure may drop that out you and can't rejoin hear," at declaredany time. SteveShapes Reich appear in his 1968 and disappear. minimal- minimal. Four Movements uses the grammar of 1960s and 1970s to Theist manifesto,acoustic affect Music is asnot a dissimilarGradual Process.to the shape-shifting Minimalism claimedof flocks that of create a musical landscape that is much more vertically dense, structur- birds.there Somewas enough of these interest figures incan the be sounding curiously processfamiliar. Someitself tohave sustain heard a ally zigzaggy and atmospherically romantic. Narrative is back, as are Brucknerwork. If one materialise removed thein thecomplications triadic repetitions that were obscuring of the 29th the phrase. natural themes. Repetition and rhythm still form a substantial part of the struc- Elsewherebeauties of Indonesian rhythm and and sound, Indian what musical would be phrases discovered waft couldinto earshot. happily tural dynamic of this work. But it no longer dominates. The piece starts Everyoccupy musical composers idea, however, for the next is soon fifty years.dashed They against were the right. aleator Minimalism ic rocks. in mid-melodic flight. A dense web of cross-rhythms ensnares the open- was the last great musical movement of the 20th century. And it became ing phrase. Beefy octaves stride around cutting through the textures. Thethe simplicitymost influential of the work,and successful the looseness ism of thethem rules, all. the joys of the close collaborative listening that the work demands have made it one of the There are two clearings, in which Glass sets out one maudlin thought and one more furtive one. The second movement is slow. It alternates mostThese popular two CDs minimalist offer highlights works ever from written. the 50 Years of Minimalism festival. between two moods: one downcast and harmonically uneasy and a We look back to those classical composers who influenced the school. second dominated by a tender ballad that soars over a glinting treble We explore minimalism's influence on the experimental rock scene and PAGE 20 PAGE 29 PAGE 8 PAGE 21 Minimalism: an introduction music of Bernard Herrmann. ricochets and atmospheric guitar lines reminiscent of Baroque grounds. music of Bernard Herrmann. ricochets and atmospheric guitar lines reminiscent of Baroque grounds. clef ostinato. The third is the longest movement and the most complicat- monastery. The act of stripping sound down to its bare essentials was the piano suite. The Twelfth is both the most straightforward and the most rhythmically written for a 1984 documentary film by Peter Greenaway about kink in the surface patterning. The interludes are more contemplative. showcase minimalist works from each of the past five decades. clef ostinato. The third is the longest movement and the most complicat- monastery. The act of stripping sound down to its bare essentials was the piano suite. The Twelfth is both the most straightforward and the most rhythmically written for a 1984 documentary film by Peter Greenaway about kink in the surface patterning. The interludes are more contemplative. Raphaël Séguinier To be musically avant-garde in the 1950s meant to be difficult. Not by ed rhythmically and harmonically. There is even the sense of a good old from the beginning of the movement associated with spiritual ways of complex of all the Duckworth here. The pulse constantly changes, synchronised swimming, Making a Splash, (Nyman's 13th collaboration Four betrays Skempton's love of The Beatles in its syncopative direct- (England, 1985) (b. 1971) Riley and the American minimalists when it was recorded by Columbia • Free to X (2011) (world premiere recording) ed rhythmically and harmonically. There is even the sense of a good old from the beginning of the movement associated with spiritual ways of complex of all the Duckworth here. The pulse constantly changes, synchronised swimming, Making a Splash, (Nyman's 13th collaboration Four betrays Skempton's love of The Beatles in its syncopative direct- Radiohead (England, 1985) Aphex Twin (b.