HARLEY GABER The Winds Rise in the North 2 LP

1976 Titanic (Ti 16 17) LP’s/NM Sleeve/VG+ I was born in Chicago in 1943 and lived in a suburb of Chicago — Winnetka — through high school. (The details of my life after high school can be pieced together in the information below.)  I would have to say that my family situation was, on the surface, normal, but I can't truly say the same for myself: being an honorable mention all-state football player, captain of the team; composing 12-tone music, painting in a style similar to Pollock — all at the same time — is typical of how I have lived my life and is reflected in much of my work.   I would characterize my life as I have lived it and my outlook toward life in general as one in which the parameters and boundaries of the culturally mediated terms of life we all come to know as we grow up have, for me personally, not worked too well. While I don't see myself as being outside the culture's clear behavioral and lifestyle categories with which we are all familiar, I have come to understand that I am constantly moving through, and drawing from these various categories without making it clear to others that my m.o. is based on a constant, fluid movement through the categories — not an articulation of any given category — with the end result being that I often find myself between categories, so to speak, which I have chosen to see as valid categories unto themselves. 

For others, my methods might seem confused at times, indeed inappropriate, and perhaps even worse.  I am not one to argue that I am a misunderstood person.  On the contrary, I think I am all to well understood and therein lies the conundrum of my life:  I am like the magician who does his trick, thrills his audience, and then proceeds to explain how the trick was done, thus dispelling the thrill of the magic itself.  In much of my work I do something similar:  I deconstruct and reconstruct things in the same instant.  Like the hapless magician who doesn't get it, I am in effect saying, "Now you see it, now you see it."   The saving grace in all of this for me is that there are those who actually "see it."  On a non-art related note, I had to cut way back on my serious involvement in tennis — both teaching and playing — that I had been doing for almost thirty years. It has been about four years since I took up — after a forty-year hiatus — playing pool again.  This time around it is quite different and actually quite serious: I am finally learning the game properly, in particular, the game of 'nine ball,' a demanding game that combines various aspects of all the other pool games including actual billiards.  I play and/or practice seven days a week. I would like to acknowledge my pool mentors here for the record: Jim Colvin and Paul Yoshiwara.

MUSIC

Composition studies, Horace Reisberg (1958-61) and Darius Milhaud (Aspen Music Festival (1961). Composition studies, Kenneth Gaburo; Electronic Music and Acoustics, Lejaren Hiller; University of Illinois (1961-63). Further studies in Rome (1963-64) with Aldo Clementi, Giulio Rotoli, and Boris Porena. Compositions studies, William Sydeman, Mannes College of Music (1964-66). Awards: Student Composition Awards from Broadcast Music, Inc. (1965 and 68). Creative Associate at the Center of the Creative and Performing Arts, Buffalo, New York (1967). Guest Composer, Center of the Creative and Performing Arts (1975). Fellowship, Bennington Composers' Conference (1968). Residence, The MacDowell Colony (1974, 1975 and 1977). Grants: National Endowment for the Arts (1975, 1977). New York State CAPS Award (1975). Martha Baird Rockefeller Fund for Music, Inc. (1975). Ford Foundation Recording Grant (1976). New York State Meet the Composer program (1974, '75,'76,'77). New York State CAPS Composer Exposure Program (1975). Positions: General Manager, Composers' Forum, New York City (1972-73).  Music Director, Hudson Valley New Music Ensemble (1974-76). Board of Directors, Composers' Forum (1974-75). Board of Governors, American Composers' Alliance (1975-77). Advisory Board, Composers' Recordings Inc. (1977-78). Advisory board, Alternative Center for International Arts (1977-78); Guest Lecturer, Music and Poetry, State University College of New York at New Paltz, (1972). Project Director, American Composers' Alliance Publication Project (1976-77). Professional Music Photoengraving and Graphic Design. Member BMI. Music published by American Composers Edition, Lingua Press and Frogpeak Music.  Recordings: Kata and Ludus Primus on CRI (1972); The Winds Rise in the North on Titanic Records (1976). Re-release on CD, The Winds Rise in the North, Edition RZ, Berlin, Germany (2007). Major performances include: New York Philharmonic Chamber Ensemble, Berlin Festival, Tanglewood, Once Festival, The Kitchen, New York City, and Evenings for New Music, Buffalo and New York City.

VISUAL ARTS

Group Show, Music Notation and Graphic Music, Berne Switzerland (1974). Solo Exhibition, Graphics and Graphic Music, Gallery 219, Buffalo, New York (April 1976).  Installation, putting the eternal in its place, Paintings and Tape Music, Hallwalls Gallery, Buffalo, New York (April 1976). Solo Exhibition, Graphics and Graphic Music, Alternative  Center for International Arts, New York City (September 1976). Exhibition, Graphics, Park  South Gallery, New York City (November 1976). Group Show, Graphic Music, P.S.1, New York City (1982). Grant: New York State Committee for the Visual Arts (1976). Solo Exhibition, SX70 Polaroid, Athenaeum, La Jolla, CA. (1983). Group Show, SX70 Polaroid, Photography Gallery, La Jolla, CA. (1983). AMP Juried Show, Photography Gallery, La Jolla, CA. (1984). Group Show, Center for International Arts, New York City (1984). Group Show, 42 San Diego Artists, Photo-Collages, La Jolla Museum of Contemporary Art (1985). Solo Exhibition, Graphic Music, Graphics, Photo-Collages, SX70 Polaroid and 35MM Photography, Photography Gallery, La Jolla, CA. (1985). Group Show, 35MM Photography, Young Gallery, La Jolla, CA. (1985). Group Show, Photo-Collages, Museum of Photographic Arts Permanent Collection Show, San Diego, CA. (1985).   Group Show, Graphic Music, New Music America, Houston, Texas (1986).  Group Show, SX70 Mixed-Media collages, Shoshanna Wayne Gallery, Los Angeles, CA. (1986). Solo Exhibition, Paintings and Mixed-Media Collages, Gwydion Gallery, La Jolla, CA. (1989). Group Show,  Gray Paintings, Rebecca Cabo Gallery, La Jolla, CA. (1989). Group Show, Mixed-Media Collages, Schlosberg Gallery, Los Angles, CA. (1990). Group Show, Wood Construction Pieces, Rebecca Cabo Gallery, La Jolla, CA. (1990).  Group Show, Wood Construction Pieces, Conlon Moreno Gallery, Santa Fe, NM (1990). Solo Exhibition, Paintings, Wood Construction Pieces and Mixed-Media Collages, R.B. Stevenson Gallery, La Jolla, CA. (1990). Solo/Group Exhibition, Black Wood Construction Pieces, Southwestern College, San Diego, CA. (1990). Group Show, Mixed-Media Collages, R.B. Stevenson Gallery, La Jolla, CA. (1991). Group Show, Mixed-Media Collages and Paper Cutouts, Hartman & Company Gallery, La Jolla, CA. (1994). Guest Lecturer, Holocaust Memorial Week, Claremont College, Clare-mont, CA. (1995). DIE PLAGE: Installation, Southwestern College, San Diego, CA. (1995). DIE PLAGE: Anne Frank Installation, Half Moon Bay, CA. (1997). DIE PLAGE:  Anne Frank Installation, Newport, OR. (2000, Grant: Collins Foundation). DIE PLAGE: Installation, The Laboratory, L.A. CA. (2000). Solo Exhibition, Photo-collages, Herr H.: Leben und Zeit and Tod in Venedig, Plush Club, L.A., CA. (2000). Grant: DIE PLAGE Book Project, Peninsula Community Foundation (2003).  Publications: Graphic Music from Beyond the Still Point published in Wallpaper magazine, London, England (1976). Limited edition of graphics from Minion for Arnold Schoenberg published by Lingua Press, (1977). Surfing is Harder Than You  Think  published in Perspectives of New Music (1982). Images from DIE PLAGE in Bittersweet Legacy: Creative Responses to the Holocaust published by University Press of America, (2001). Film work, Weber’s Gambit with Cello accompaniment made for Downtown Ensemble, performed in New York City June 2008….

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Shipping & packaging:

I package your records with the highest level of professionalism, using the best packing materials available.  All shipping rates, including combined shipping is listed below.  I will ship via priority or registered mail on request.  Insurance is optional.   Sorry, but I can't be held responsible for items lost or damaged in the mail.

 United States:

7" records and CD’s: $3.50 - .50 each additional.

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International:

7" records: $7.00- $1.50 each additional.

LPs & 10":  $14 - $2.50 each additional

Double LPs, 180 & 220 gram records:  $17.50 - $3.00 each additional

Triple LPs, 2x 180 & 2x 220 gram records:  $18.50 - $3.50 each additional.

PACKAGING: I pack and mail items with care, but cannot be held responsible for lost or damaged items that are not insured (available USA only) I ship all LP’s in a new rigid custom LP mailer and filler pads with the disc, in the inner sleeve, placed behind cover to prevent seam splitting. I DO NOT use flimsy "freebie" post office priority mailers!

GRADING

(M) Mint : Absolutely perfect in every way - certainly never played, possibly even still sealed. (More on still sealed below). Should be used sparingly as a grade, if at all.

(NM or M-) Near Mint : A nearly perfect record. Many dealers won't give a grade higher than this implying (perhaps correctly) that no record is ever truly perfect. The record shows no obvious sign of wear. A 45-rpm sleeve has no more than the most minor defects, such as almost invisible ring wear or other signs of slight handling. An LP jacket has no creases, folds, seam splits or any other noticeable similar defect. No cutout holes, either. And of course, the same is true of any other inserts, such as posters, lyric sleeves, and the like. Basically, Near Mint looks as if you just got it home from a new record store and removed the shrink-wrap.

(VG+) Very Good Plus: Shows some signs that it was played and otherwise handled by a previous owner who took good care of it. Record surfaces may show some slight signs of wear and may have slight scuffs or very light scratches that don't affect one's listening experience. Slight warps that do not affect the sound are OK. The label may have some ring wear or discoloration, but is should be barely noticeable. The center hole is not misshapen by repeated play. Picture sleeves and LP inner sleeves will have some slight wear, lightly turn-up corners, or a slight seam-split. An LP jacket my have slight signs of wear also and may be marred by a cut-out hole, indentation or corner indicating it was taken out of print and sold at a discount. In general, if not for a couple of minor things wrong with it, this would be Near Mint. All but the most mint-crazy collectors will find a Very Good Plus record highly acceptable.

(VG) Very Good : Many of the defects found in a VG+ record are more pronounced in a VG disc. Surface noise is evident upon playing, especially in soft passages and during the song's intro and fade, but will not overpower the music otherwise. Groove wear will start to be noticeable, as will light scratches (deep enough to feel with a fingernail) that will affect the sound. Writing may mar labels, or have tape or stickers (or their residue) attached. The same will be true of picture sleeves or LP covers. However, it will not have all of these problems at the same time, only two or three of them.

(G) Good, (G+) Good Plus: Good does not mean bad! A record in Good or Good Plus condition can be put onto a turntable and will play through without skipping. But it will have significant surface noise and scratches and visible groove wear. A jacket or sleeve has seem splits, especially at the bottom or on the spine. Tape, writing, ring wear or other defects will start to overwhelm the object. If it's a common item, you'll probably find another copy in better shape eventually. Pass it up. But if it's something you have been seeking for years, and the price is right, get it.

(P) Poor , (F) Fair: The record is cracked, badly warped, and won't play through without skipping or repeating. The picture sleeve is water damaged, split on all three seams and heavily marred by wear and/or writing. The LP jacket barely keeps the LP inside it. Inner sleeves are fully seam split, and written upon. Except for impossibly rare records otherwise unattainable, records in this condition should be bought or sold for no more than a few cents each.

ABBREVIATIONS: WOC- writing on cover, WOL-writing on label, DH-drillhole/punchhole, PRST-promo stamp or sticker, RSST-radio station stamp, TSM-taped seam, SPSM-split seam, TOC-tear on cover, SMW-seamwear/scuffed seams (not split), STKRES-sticker residue/glue, RW-ringwear, CC-cut corner