Columbia​-​Princeton Electronic Music Center 10th Anniversary

by Columbia-Princeton Electronic Music Center

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1.
Edgard Varèse; Group for Contemporary Music - Déserts 23:39
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2.
Ethel Luening, Otto Luening - Theater Piece No. 2: In the Beginning 07:50
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3.
Bethany Beardslee, Milton Babbitt - Vision and Prayer 14:34
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4.
Vladimir Ussachevsky - Computer Piece No. 1 03:49
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5.
Vladimir Ussachevsky - Two Sketches For A Computer Piece: Sketch 1 00:58
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6.
Vladimir Ussachevsky - Two Sketches For A Computer Piece: Sketch 2 02:17
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7.
Pril Smiley - Kolyosa 06:43
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8.
Alice Shields - The Transformation of Ani 09:04
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Saith Osiris, the scribe Ani: I have obtained the mastery over the animals, with the knife in their heads and their locks of hair, who live among their emeralds, the aged and shining beings who prepare the moment of Osiris Ani, triumphant in peace. My seasons are in my body. I do not speak evil in the place of right and truth, every day advancing in right and truth, being shrouded in darkness, sailing to keep the festival of the dead one, embracing the old man, the guardian of the earth, Osiris, the scribe Ani, triumphant. I have not entered into the cavern of the starchy deities. I ascribe glory to Osiris, I have pacified the heart of those deities who follow him. Not am I afraid of those who create terror, or of those who live on their lands. Behold me, I am exalted up my standard, upon my seat. I am Nu, not shall I be overcome by the doer of evil. I am Shu of primaeval matter. My soul is the God, my soul is eternity. I am the creator of the darkness, making its place in the bounds of the sky, the prince of eternity.
9.
Bülent Arel - Stereo Electronic Music No. 2 14:23
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10.
Mario Davidovsky - Synchronisms No. 5 08:38
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about

The Columbia-Princeton Electronic Music Center officially came into existence on February 20, 1959. This was the starting date of a fve year grant from the Rockefeller Foundation, which made available a total of $175,000 in response to a proposal by Columbia and Princeton Universities to establish working studio facilities. They were to be used by interested resident and invited composers to work in electronic music, a term that was assumed to include tape music and musique concrète. Working facilities were to include "an adequately equipped studio, the necessary technical assistance, and the means to initiate such programs of investigation as are necessary to facilitate the task of composers desiring to compose with the expanded sound resources available on magnetic tape or needed to be built up through sound synthesis." It was agreed that the main new studio would be housed at Columbia University, where the original Experimental Tape Studio was already housed, as it seemed advantageous to maintain such a studio in the metropolitan area.

The Center started to function fully in the year 1960 and accordingly, celebrated its tenth anniversary in the year 1970. By then the Center had expanded to include three nearly identical studios at Columbia University, one located in McMillin Theater on the main campus, and two in the Prentis Building, at 632 West 125th Street in Manhattan. At the latter address a fourth studio continued to house the Mark II RCA Sound Synthesizer. A laboratory for designing, building and maintaining the studio equipment was also in its tenth year of existence under the supervision of Peter Mauzey.

A fifth studio, similar in layout to the three-studio complex at Columbia, was installed in the Woolworth Music Building on the Princeton University campus. (Several years prior to this, the Princeton Music Department had begun a vigorous program of investigation into Computer Music Analysis and Computer Sound Synthesis.)

The first public concert of works produced with the new facilities was given May 9th, 1961, and repeated the following day.

credits

released January 1, 1971

Group for Contemporary Music; Charles Wuorinen, conductor; Bethany Beardslee, soprano; Raymond DesRoches, percussion; Claire Heldrich, percussion; Richard Fitz, percussion; Howard van Hyning, percussion; Donald Marcone, percussion; Harvey Sollberger, conductor

Produced by Carter Harman

Cover by Stephen Allen Whealton; separations provided by The Polaroid Corp.

Recorded at the Columbia-Princeton Electronic Music Center

This recording was made possible by gra􀀨ts from the Alice M. Oitson Fund of Columbia University, the Martha Baird Rockefeller Fund for Music, the Fromm Music Foundation. the Contemporary Music Society, Mrs. Ernest Heller and Prof. Joseph Machlis.

LC No. 78-752306

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Composers Recordings, Inc. Brooklyn, New York

CRI (Composers Recordings, Inc.) was founded in 1954 by Otto Luening, Douglas Moore and Oliver Daniel. CRI was dedicated to the promotion of new music by American composers, releasing over 600 recordings on LP, cassette and CD over its 49 year history, New World Records assumed ownership of CRI in 2006, since which time its entire catalog has been digitized for streaming, download & CD-R purchase. ... more

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