ANTHONY BRAXTON 3 Record Set NM/VG+, 1978 Quadraphonic

$

21

Anthony Braxton ?– For Four Orchestras

Label:

Arista ?– A3L 8900

Format:

3 × Vinyl, LP, Album, Stereo, Quadraphonic 

Box Set 

Country:

US

Released:

1978

Genre:

Classical

Style:

Contemporary

Tracklist

A For Four Orchestras - Composition 20:10

B For Four Orchestras - Composition 18:52

C For Four Orchestras - Composition 16:14

D For Four Orchestras - Composition 19:29

E For Four Orchestras - Composition 20:25

F For Four Orchestras - Composition 19:20

Companies, etc.

Manufactured By – Arista Records, Inc.

Phonographic Copyright (p) – Arista

Copyright (c) – Arista

Published By – Synthesis Music (2)

Recorded At – Oberlin College

Mixed At – Sound Mixers

Credits

Bass – Arthur Kell, Daniel Savage (2), David Seckinger, Jeffrey Hill (2), Jeffrey Soule, Leon Dorsey, Mark Shapire, Matthew McCauley (2), Michael Talbert (2), Mikkel Jordahl, Robert Adair, Suzanne Tarshis

Bass Clarinet – Carol Robinson, Cynthia Douglass, David Ballon, Mark Gallagher (3)

Bassoon – Allen Smith, Ann Kosanovic, Deanna Kory, Mark Gross

Cello – Aaron Henderson, Carol Elliott (2), Carole Stipleman, Daniel Kazez, Dawn Wilder, Elizabeth Knowles, Elizabeth Warren (2), Kathy Kelly (3), Mattew Wexler, Michele McTeague, Sarah Binford, Steven Drake (2), Steven Harrison (2), Steven Wise, Suzanne Wijsman, Tom Rosenberg

Clarinet [Eb] – Bela Schwartz, David Bell (29), David Hostetler (2), James Colbert (2), John Guest (2), Marta Schworm, Marty Rossip, Michael Zakim

Composed By – Anthony Braxton

Conductor – Gene Young (2), Kenneth Moore, Murray Gross, Robert Baustian

Design, Art Direction – Howard Fritzson

Engineer [Editing] – John Pace

Engineer [Recording] – Arthur Stokes (2)

Executive-Producer – Steve Backer

Flute [Alto] – Adam Kuenzel, Carol Goodwillow, Joel Karr, Wendy Tarnoff

Harp – Cynthia Mowery, Nancy Lendrim, Naomi Markus, Susan Kelly (2)

Liner Notes – Anthony Braxton

Oboe – Bernard Gabis, Cameron McClusky, Carolyn Hove, Claudia Patton, Giselle Lautenbach, James Hois, Michael Harrison (8), Pamela Hill (2)

Percussion – Andre Whatley, Andrew Collier, Charles Wood (3), David Wiles, Derek Davidson, Galen Work, Gregg Linde, John Gardner (9), John Kennedy (7), Philip Seeman, Stephen Pascher, Victor Thomas (4)

Photography By – Linda Harris

Photography By [Orchestra Photos] – Barbara Mayfield

Piccolo Flute – Betsy Adler, Celeste Johnson (2), Leonard Garrison, Virginia Elliott

Producer – Michael Cuscuna

Remix – William Wittman

Technician [Technical Director] – Tom Bethal

Trombone – Ann Mondragon, Bradley Cornell, Brian Campbell (6), David Fogg, David Stocklosa, Eileen Jones, Erik Johnson (2), Kadie Nichols, Mark Adams (10), Mark Kaiser, Richard Ruotolo, Robert Asmussen

Trumpet – Alan Campbell (2), Chris Kerrebrock, Dave Rinaldi (2), David Driesen, James Kirchenbauer, John Bourque, Thomas Gotwals, William Camp

Tuba – Barry Jenson, Brian Bailey (3), John Lomonaco (2), Steven Box (2)

Viola – Alex GuroffIgor Polisitsky, Amy Leventha, Beth Thorne, David Rogers (5), Dee Ortel, Helen McDermott, James Thomas (9), Jeffery Durachta, Kathleen Elliott, Nanci Severence*, Naomi Barlow, Norin Saxe, Rachel Yurman, Sarah Bloom (2), Theodore Chemey

Violin [First] – Audrey Hale, Barry Sargent, David Wilson (4), Diane Cooper, Edward Shlasko, Francine Swartzentruber, Judith Bixler, Karin von Gierke, Lilyn Graves, Lorraine Adel, Mary Bolling, Monique Reid (3), Pamela Stuckey, Peter Jaffe, Robert Scarrow, Shelley Fowle, Stanislav Branovicki, Steven Schuch, Susan Demetris, Zabeth Oechlin

Violin [Second] – Alison Feuerwerker, Amorie Robinson, Andra Marx, Elizabeth Welch (2), Ellen Ziontz, Jane Moon, Jennifer Doctor, Jennifer Steiner, Johnathan Dunn, Julie Badger, Kathy Blackwell, Lauri Gutman, Lori Fay, Lynda Mapes, Marcus Woo, Margaret Morgan (2), Marriane Smith, Sally Becker, Shannon Simonson, Susan Brenneis

Notes

Four 39-piece orchestras from the Oberlin College Conservatory of Music.

(dedicated to the historian-writer-educator Eileen Southern)

114:30

Recorded at Hall Auditorium, Oberlin College, Oberlin, Ohio, on May 18 and 19, 1978

from Braxton's notes in the booklet: "Composition is the first completed work in a series of ten compositions that will involve the use of multiple-orchestralism and the dynamics of spacial activity. This work is scored for 160 musicians and has been designed to utilize both individual and collective sound-direction (in live performance). Each orchestra is positioned near the corners of the performing space, and the audience is seated in both the center and sides of the space (around and in between each orchestra). The resulting activity has been constructed to fully utilize every area of the room--which is to say, each section of the performing space will give the listener a very different aspect of the music. The science related to how this multiple use of space is utilized, will also open another chapter in multi-orchestra activity, and hopefully this work will be viewed as a positive contribution to transitional multi-orchestralism--as we move to the next cycle.The nature of how extends the dynamic possibilities of multi-orchestra activity has to do with its use of spaciality--involving both the nature of how information is transferred from orchestra to orchestra (where the listener of this record can hear the actual movement of activity change speakers) with the addition of 'trajectoral-activity' (where, in a live performance, the listener can experience the route of a given transfer). More so, this composition has also been constructed to include the actual change of performance direction as well. In other words 'information' in would also involve how the rotation of a given ensemble (as that ensemble is playing) changes the actual direction of the group making the music. This has been accomplished by having all of the performers (with the exception of the percussionist and the harpist) in rotating chairs--where even the direction of the music is calculated. Thus, the nature of spaciality in this composition would encompass an additional dynamic inclusion, for the spacial implications of environment would thus take on added dimensions. Because, in fact, to experience the realness of this composition is to experience a living and breathing universe. ***The actual composing of took place in July of 1977, lasting until the middle of May, 1978 (with sequence corrections up until August). The piece is scored for 160 musicians and each orchestra is made up with the same individual components. The make-up of each orchestra is as follows: two flues (one doubling on piccolo), oboe, English horn, two clarinets (one doubling on soprano clarinet), bass clarinet, bassoon, two trumpets, two trombones, bass trombone, tuba, harp, five first violins, five second violins, five violas, four cellos, three basses, and three percussion. The original floor plan of the composition was not able to be used for this recording as the space requirement it necessitated exceeded what was possible for us, so an alternate seating arrangement was utilized. The actual recording of took place in May, '78, on the campus of Oberlin College and involved four intensive sessions in two days. For this reason, the composition was recorded in sequence-patches, rather than in sectional areas. The total material would also exceed two hours and a half and as such, I have taken out about thirty minutes of the music in order to preserve the sound quality of this record. There have also been other adjustments as well, for the problem of time and economics in a project like this has to be taken into account--but what is documented here is an excellent version of the 'essence' of the piece. The placement of activity in this project has been designed to totally utilize the spacial dynamics of the quadraphonic technology--each orchestra will be heard coming from a separate speaker, and the mixture of events in a given section should give the sense of sound movement through space--and this will also be apparent (though to a somewhat lesser extent) to stereo record players as well."

Barcode and Other Identifiers

Matrix / Runout (Side A runout, hand-etched): A3L 8900 8900A.I RECORD ONE SIDE A

Matrix / Runout (Side B runout, hand-etched): A3L 8900B.I RECORD I SIDE B

Matrix / Runout (Side C runout, hand-etched): A3L 8900C.I REC 2 SIDE A

Matrix / Runout (Side D runout, hand-etched): A3L 8900 8900D REC 2 SIDE B

Matrix / Runout (Side E runout, hand-etched): A3L 8900 8900E RECORD THREE SIDE A

Matrix / Runout (Side F runout, hand-etched): A3L 8900 8900F RECORD THREE SIDE B HUB

Rights Society (Publisher): BMI

Recommendations

GOLDMINE GRADING

MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.

NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.

VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.

VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.

GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.

POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.