Sealed LP: David Behrman: On The Other Side/Figure In A

$

27

David Behrman: On The Other Side/Figure In A Clearing

FACTORY SEALED LP

• On the Other Ocean
• Figure in a Clearing

• David Behrman: Liner Notes, Electronics
• Dave Gibson: Voices
• David Gibson: Cello, Harmonic Arrangement
• Kimone: Computers, Harmonic Arrangement
• Richard Lainhart: Engineer
• Maggi Payne: Flute
• Ariel Peeri: Illustrations
• Nicholas Prout: Mastering
• Arthur Stidfole: Bassoon, Voices, Vocal Harmony
• Allan Tucker: Mastering
• Blue Gene Tyranny: Engineer

• A welcome CD reissue of the original subtle, sustained, and serene vinyl recording. The beautiful and meditative "On the Other Ocean," a new music classic, is Behrman's first interactive piece in which the musicians played acoustic instruments that triggered the production of harmonies from computer-driven synthesizers, and the musicians were in turn influenced in their spontaneous improvising by what the computer did. This is the basic setup for interactive computer music. The computer in this case was a microcomputer called the KIM-1, a precursor to the Apple II, and one of the first personal computers available. Flutist Maggi Payne and bassoonist Arthur Stidfole improvised around six pitches chosen by Behrman, and when they played one of the six notes activating the pitch-sensing circuits, Behrman's homemade synthesizers would produce harmonic responses. This music is of a holy place, an oasis outside the rush of linear time. "Figure in a Clearing," for computer-controlled synthesizer and improvising musician on cello, was the composer's first piece to employ a computer to make music. The software program varied the time intervals -- "modelled on the motion of a satellite in falling elliptical orbit around a planet" according to Behrman -- between chord changes; the resulting slow deflection and pitch- and/or rhythm-shifting modulation seem to create the type of sound elasticity of interest to Behrman, which he has continued to refine in his works. The cellist was given six pitches with which to spontaneously improvise, and was requested that he not speed up when the computer-controlled rhythm did, maintaining his own personality. The timbre of the synthesizer waveforms and cello are perfectly complementary.

• Holds degrees from Harvard and Columbia. Produced Music of Our Time series for Columbia Records in 1960s. Co-founder Sonic Arts Union. Tours with Merce Cunningham Dance Company in 1970s and 1990s. Co-director Center for Contemporary Music, Mills College (1975-80). Also taught at Ohio State Univ. and CAL Arts, designed children's computer games at Children's Television Workshop. Toured under friendship grants from the Japan-United States Friendship Commission and the DAAD (Berlin). Many sound installations, that can be played by non-professionals at Whitney Museum, Museum of Contemporary Art in Chicago, Für Augen und Ohren (For Eye and Ear) in Berlin, DeCordova Museum in Lincoln, MA, La Villette in Paris, etc.

FINE PRINT

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• This record came from a record store called "Phantasmagoria" which was located in Allentown, Pennsylvania. Phantasmagoria went out of business in 1978. I purchased most of their leftover inventory some years later when I owned a new & used record store in Catasauqua called "Music Madness".
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