Description
Guess-again specialists Death Is Not The End reissue Earle Brown’s 1974 solo debut of otherworldly concrète, notably featuring piano by live electronics pioneer and Cage foil, David Tudor, contributing to its uncanny magnetic tape soundscapes. ‘Music by Earle Brown’ features compositions written 1952-1963 during the years after its maker moved to New York to be closer to kindred spirits Merce Cunningham, John Cage, and David Tudor, whom he met years prior when they performed in Denver where he was teaching the Schillinger technique of composition. In New York, his style of open form composition would influence Cage’s own developments guided by indeterminacy, which in turn exposed Brown’s music to Pierre Boulez and Bruno Maderna, and whch led him to work with Morton Feldman, as heard on their 1962 split side - Brown’s first recording credit, for Time Records. The four works speak to the pivotal emergence of new music during that era. In chronological order, ’November 1952’ features a stop/start angularity, shards of keys and persuasive detonations precisely performed by David Tudor, gripping in its embrace of negative space, contrasting with the fractious concrète cut-up tones of ‘Octet I’, a 1953 piece composed and executed entirely by Brown and comparable as much with Stockhausen’s early electronics as the oddities emerging from Pierre Henry’s studio around that same time. Forward ten years to the album’s long-form bookends, where he conducts an acoustic octet in the fever dream-like play of dissonance and queered pitches on ‘Novara’ (1962), and conducts many of the same performers, and joins them on magnetic tape, for ‘Times Five’ (1963), a fascinating electro-acoustic whorl of rich colours and icicle rhythms that slips off the page into sustained, pitch bent notes with an effect that must have felt radical at the time, and still represents the curiosity and freedoms of the New York School of composers.
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