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Gavin Bryars, Massimo Bartolini // In La LP

Gavin Bryars, Massimo Bartolini // In La LP

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British experimental musician/composer Gavin Bryars and Italian artist Massimo Bartolini will launch an Italian experimental label in April 2023.A collaborative record released on Alga Marghen.

Contains two minimal drone pieces created for an installation at the Contemporary Art Center in Prato, Italy.

Below is a commentary by the label.

"In Là" by Gavin Bryars and Italian visual artistsThe result of collaboration with Massimo Bartolini.Performed as a large-scale installation at the Luigi Petch Center for Contemporary Art in Prato, Italy (opening in autumn 2022, exhibition running until May 2023)For the centerpiece of the retrospective, Bartolini turned scaffolding into a pipe organ bar, suspended from the ceiling across the museum's seven rooms.The two sides of Arga Magen's LP are composed ofThe music for this singular organ, composed by Bryars.

The music of Bryars' "In là" is directly in his experimental conceptual realm in the early 1970s, before he composed such masterpieces as "The Sinking of The Titanic" and "Jesus' Blood Never Failed Me Yet". I am referring to In "In Là", the vast space of the installation, where sound physically spreads through each room of the museum, is arranged with respect to spatial continuity, but at the same time the listener cannot fully experience the whole picture. I introduce the work of composing in.As such, the LP record of the work complements the aural adventures that take place live and in real time, revealing otherwise unattainable phenomena and perceptions of the rich tonal and poetic structure of the work. You can.

Although the Bryars' musical background is well known (starting as a jazz bassist in the early 1960s with improvisers Derek Bailey and Tony Oxley, and later with composers John Cage and Cornelius Cardew) activities, founding the Portsmouth Sinfonia, Obsqua Records series in collaboration with Brian Eno), Bartolini's poetic connection to sound is lesser known.His early practice of modifying buildings and household items to produce sound eventually led Bartolini to installations in which scaffolding tubes were converted into organ pipes. Conceived since 2008 in different forms and in relation to different architectural contexts, these works are clearly associated with the most visual instrument, the baroque organ, and the use of scaffolding on construction sites. I'm here.From these references, it has the properties of being an instrument, an architecture, a work of high engineering, and a 'ladder' to climb to God.If the baroque organ makes the invisibility of music visible,Bartolini's scaffolding amplifies the machine, expands its breath, and turns it into music.

The organ, created for a solo exhibition at Prato's contemporary art center Luigi Petch, is the largest of these series and the largest of the installations conceived by the artist.Bartolini created a continuous 75-meter wall of scaffolding tubes suspended from a structure that runs through the museum's ceiling and suspended just a few centimeters above the floor, filling seven of the ten exhibition spaces. let it pass through.Due to this complex structure,Bryars was commissioned to compose a specific polyphonic score.Each room is assigned a unique melody, creating a richly layered soundscape that evolves with the viewer as they move through the space.As the song's dominant tonal (la) title suggests, the score is always 'far,' out of reach, never experienced by a single listener in its entirety, and actually It is the shape of the organ itself. "

Labels and other worksplease use this form. ///Click here to see more Alga Marghen releases available at Tobira. 

----------------------------

Edition of 400. 12" black vinyl. 

Alga Marghen:

*In Là“ is the outcome of the collaboration between Gavin Bryars and the Italian visual artist Massimo Bartolini. Staged as a large-scale installation at the Luigi Pecci Center for Contemporary Art in Prato, Italy, (the opening was in autumn of 2022 and the exhibition is still running until May this year), Bartolini transformed scaffolding into pipe organ bars, suspended from the ceiling across seven rooms of the museum as the central piece for his retrospective exhibition. It is the music played by these singular organs, composed by Bryars, that makes up the two sides of Alga Marghen's LP edition.

The music of “In là” by Gavin Bryars directly refers to his experimental and conceptual territory of the early 1970s, prior to the composition of seminal works like “The Sinking of The Titanic” and “Jesus' Blood Never Failed Me Yet”. In Là” presents the composer working across the vast space of the installation, with sounds physically spread in each of the museum's rooms and placed in careful consideration of the space continuity, while at the same time never fulling being experienced in its totality by the listener This allows the LP documentation of the work to become a singular complement to the live, real-time aural adveture, unveiling phenomena and perceptions of the work's rich tones and poetic structures that would otherwise be unavailable.

While Gavin Bryars background in music is well documented (started as a jazz bassist working in the early 1960s with improvisors Derek Bailey and Tony Oxley, later worked with composers John Cage and Cornelius Cardew, founded the Portsmouth Sinfonia and collaborated with Brian Eno to the Obscure Records series), the connections of Massimo Bartolini's poetic to sound as less known. Conceived in different forms and in relation to different architectural contexts since 2008, these works clearly relate to Baroque organs, the most visual of musical instruments, and to the use of scaffolding in construction sites. part architecture, a work of sophisticated engineering, a “ladder” for climbing up to God. If Baroque organs render visible the intangibility of music, though, Bartolini's scaffolding amplifies a machine, extends its breath, turning it into music.

The organ conceived for the solo survey at Centro per l'arte contemporanea Luigi Pecci in Prato is the largest incarnation of these series and altogether the largest installation ever conceived by the artist. Hung from a structure that runs along the museum ceiling and suspended just centimeters above the floor, Bartolini built a continuous 75-meters-long wall of scaffolding tubes which winds through seven of the ten rooms of the exhibition space. For this structure of complex engineering Gavin Bryars was invited to compose a specific polyphonic score. Assigning each room a unique melody, the composition creates a richly layered soundscape that is constantly shifting with the viewer as they move through the space. As the title suggests—alluding to the dominant tonality (La) of the piece—the score is always “beyond,” out of reach, never experienced in its entirety by a single listener as, in fact, the shape of the organ itself.

Edition of 400 numbered copies, including an insert with liner notes and photo documentation of the installation.

Tracklist:
1 In Là      17:26
2 In Là      15:48

Artist: Gavin Bryars

Label: Alga Marghen

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British experimental musician/composer Gavin Bryars and Italian artist Massimo Bartolini will launch an Italian experimental label in April 2023.A collaborative record released on Alga Marghen.

Contains two minimal drone pieces created for an installation at the Contemporary Art Center in Prato, Italy.

Below is a commentary by the label.

"In Là" by Gavin Bryars and Italian visual artistsThe result of collaboration with Massimo Bartolini.Performed as a large-scale installation at the Luigi Petch Center for Contemporary Art in Prato, Italy (opening in autumn 2022, exhibition running until May 2023)For the centerpiece of the retrospective, Bartolini turned scaffolding into a pipe organ bar, suspended from the ceiling across the museum's seven rooms.The two sides of Arga Magen's LP are composed ofThe music for this singular organ, composed by Bryars.

The music of Bryars' "In là" is directly in his experimental conceptual realm in the early 1970s, before he composed such masterpieces as "The Sinking of The Titanic" and "Jesus' Blood Never Failed Me Yet". I am referring to In "In Là", the vast space of the installation, where sound physically spreads through each room of the museum, is arranged with respect to spatial continuity, but at the same time the listener cannot fully experience the whole picture. I introduce the work of composing in.As such, the LP record of the work complements the aural adventures that take place live and in real time, revealing otherwise unattainable phenomena and perceptions of the rich tonal and poetic structure of the work. You can.

Although the Bryars' musical background is well known (starting as a jazz bassist in the early 1960s with improvisers Derek Bailey and Tony Oxley, and later with composers John Cage and Cornelius Cardew) activities, founding the Portsmouth Sinfonia, Obsqua Records series in collaboration with Brian Eno), Bartolini's poetic connection to sound is lesser known.His early practice of modifying buildings and household items to produce sound eventually led Bartolini to installations in which scaffolding tubes were converted into organ pipes. Conceived since 2008 in different forms and in relation to different architectural contexts, these works are clearly associated with the most visual instrument, the baroque organ, and the use of scaffolding on construction sites. I'm here.From these references, it has the properties of being an instrument, an architecture, a work of high engineering, and a 'ladder' to climb to God.If the baroque organ makes the invisibility of music visible,Bartolini's scaffolding amplifies the machine, expands its breath, and turns it into music.

The organ, created for a solo exhibition at Prato's contemporary art center Luigi Petch, is the largest of these series and the largest of the installations conceived by the artist.Bartolini created a continuous 75-meter wall of scaffolding tubes suspended from a structure that runs through the museum's ceiling and suspended just a few centimeters above the floor, filling seven of the ten exhibition spaces. let it pass through.Due to this complex structure,Bryars was commissioned to compose a specific polyphonic score.Each room is assigned a unique melody, creating a richly layered soundscape that evolves with the viewer as they move through the space.As the song's dominant tonal (la) title suggests, the score is always 'far,' out of reach, never experienced by a single listener in its entirety, and actually It is the shape of the organ itself. "

Labels and other worksplease use this form. ///Click here to see more Alga Marghen releases available at Tobira. 

----------------------------

Edition of 400. 12" black vinyl. 

Alga Marghen:

*In Là“ is the outcome of the collaboration between Gavin Bryars and the Italian visual artist Massimo Bartolini. Staged as a large-scale installation at the Luigi Pecci Center for Contemporary Art in Prato, Italy, (the opening was in autumn of 2022 and the exhibition is still running until May this year), Bartolini transformed scaffolding into pipe organ bars, suspended from the ceiling across seven rooms of the museum as the central piece for his retrospective exhibition. It is the music played by these singular organs, composed by Bryars, that makes up the two sides of Alga Marghen's LP edition.

The music of “In là” by Gavin Bryars directly refers to his experimental and conceptual territory of the early 1970s, prior to the composition of seminal works like “The Sinking of The Titanic” and “Jesus' Blood Never Failed Me Yet”. In Là” presents the composer working across the vast space of the installation, with sounds physically spread in each of the museum's rooms and placed in careful consideration of the space continuity, while at the same time never fulling being experienced in its totality by the listener This allows the LP documentation of the work to become a singular complement to the live, real-time aural adveture, unveiling phenomena and perceptions of the work's rich tones and poetic structures that would otherwise be unavailable.

While Gavin Bryars background in music is well documented (started as a jazz bassist working in the early 1960s with improvisors Derek Bailey and Tony Oxley, later worked with composers John Cage and Cornelius Cardew, founded the Portsmouth Sinfonia and collaborated with Brian Eno to the Obscure Records series), the connections of Massimo Bartolini's poetic to sound as less known. Conceived in different forms and in relation to different architectural contexts since 2008, these works clearly relate to Baroque organs, the most visual of musical instruments, and to the use of scaffolding in construction sites. part architecture, a work of sophisticated engineering, a “ladder” for climbing up to God. If Baroque organs render visible the intangibility of music, though, Bartolini's scaffolding amplifies a machine, extends its breath, turning it into music.

The organ conceived for the solo survey at Centro per l'arte contemporanea Luigi Pecci in Prato is the largest incarnation of these series and altogether the largest installation ever conceived by the artist. Hung from a structure that runs along the museum ceiling and suspended just centimeters above the floor, Bartolini built a continuous 75-meters-long wall of scaffolding tubes which winds through seven of the ten rooms of the exhibition space. For this structure of complex engineering Gavin Bryars was invited to compose a specific polyphonic score. Assigning each room a unique melody, the composition creates a richly layered soundscape that is constantly shifting with the viewer as they move through the space. As the title suggests—alluding to the dominant tonality (La) of the piece—the score is always “beyond,” out of reach, never experienced in its entirety by a single listener as, in fact, the shape of the organ itself.

Edition of 400 numbered copies, including an insert with liner notes and photo documentation of the installation.

Tracklist:
1 In Là      17:26
2 In Là      15:48

Artist: Gavin Bryars

Label: Alga Marghen