Young La Monte

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La Monte Young è un compositore, performer americano. È uno dei compositori importanti nel campo di Musica Avant-Garde oppure musica sperimentale. Particolarmente è famoso come il compositore di Minimal music insieme a Steve Reich, Philip Glass, e Terry Riley.


La Monte Young.jpg



Biografia:

È nato nel Idaho nel 1935. Studiò a Los Angeles City College, all'Universita di California, e a Darmstadt in Germania. Durante lo studio suonò anche il sassofono con musicisti jazz Eric Dolphy, Ornette Coleman, Don Cherry. Imparò musica elettrica, e fu interessato a quella composta da Anton Webern, al canto greogoriano, e alla musica classica indiana, la musica gamelan di Indonesia. Le prime opere furono ispirate dal metodo Twelve-tone music. Durante lo studio a Darmstadt fu interessato alla teoria della musica conoscendo John Cage. Partecipando al gruppo Fluxus nel 1960, scrisse la serie di opere "Compositions 1960" tra cui ci sono opere che impostano il rumore della sala dei concerti come un elemento della musica. Per esempio; indicano all’esecutore "Accendi il fuoco nel pubblico" (#2), "Lascia andare delle farfalle nello spazio di esecuzione" (#5), la #7 è composta da Il quinto perfetto (B and F#) con l’istruzione "Per essere tenuto per tanto tempo". Nel pezzo #10 indica all'esecutore "disegna una linea diritta e seguila"; da questa indicazione si sarebbe potuto arrivare alla definizione di Minimalismo. Secondo Florian Cramer invece, questa opera può essere considerata un lavoro seminale di software art. Questa opera e An Anthology (Il testo di Young e George Maciunas,1963) furono diventati influenza grande sull’ arte concettuale e il movimento di Fluxus. In quel tempo fece dei concerti alla mansarda di New York dove lavorò anche Yoko Ono come artista di Arte concettuale.

Dal 1962 iniziò a introdurre nelle sue opere la Musica drone. Nel 1964 ha fondato il gruppo The Theater of Eternal Music con sua moglie Marian Zazeela per realizzare una attrezzatura di luce e di suono dove il musicista può vivere e comporre musica. Nel 1964 hanno partecipato a questo progetto Tony Conrad e John Cale, e dopo il 1965 anche Angus MacLise, Name Billy. Dal 1970 studiò anche sotto la guida del vocalist nord-indiano Pandit Pran Nath con Marian Zazeela, Terry Riley.

Sito web:

http://melafoundation.org/lmy.htm

Poetica:

Young lavorava assimilando gli elementi che aveva imparato, e grazie ai suoi lavori creava un modo di concettualizzare la musica come un fenomeno psico-acustico. Young ha profondato Minimalismo come il genere di musica, invece dal punto di vista di arte le opere degli anni 1960 possono essere considerate Arte concettuale, per motivo che hanno lo stesso concetto, cioè arte in cui ciò che conta è l'idea più che la realizzazione musicale stessa; sono opere concrete e sperimentali.

Oltre a questo, i suoi lavori hanno influenzato diversi musicisti come John Cale, Tony Conrad, Jon Hassell, Rhys Chatham, Michael Harrison, Henry Flynt, Catherine Christer Hennix.

Opere:

  • Compositions 1960 No.2, 3, 4, 5, 6, 7, 9, 10, 13, 15 (1960)
  • Piano Pieces for David Tudor #s 1, 2, 3 (1960)
  • Young's Dorian Blues in Bb (1960 or 1961)
  • Compositions 1961 No.1 - 29 (1961)
  • Death Chant (1961)
  • Early Tuesday Morning Blues (1962)
  • Bb Dorian Blues (1962)
  • The Second Dream of the High-Tension Line Stepdown Transformer (1963)

È il suo primo lavoro basato da Musica drone nella intonazione giusta e anche il suo primo lavoro di musica elettrica.

  • The Tortoise, His Dreams and Journeys (1964-presente)
  • The Well-Tuned Piano (1964-73-81-presente)

Può essere considerato il suo capolavoro; della durata di più di 6 ore, si può catalogare come un'opera di Minimalismo. È influezzato da musica classica induista e dalla matematica che è alla base della sua produzione musicale.

  • Tortoise, His Dreams and Journeys (1964-presente)
  • The Two Systems of Eleven Categories (1966-presente)
  • Intervals and Triads from Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (1967)
  • Scherzo in a minor (c. 1953), piano;
  • Rondo in d minor (c. 1953), piano;
  • Annod (1953-55), dance band or jazz ensemble;
  • Wind Quintet (1954);
  • Variations (1955), string quartet;
  • Young's Blues (c. 1955-59);
  • Fugue in d minor (c. 1956), violin, viola, cello;
  • Op. 4 (1956), brass, percussion;
  • Five Small Pieces for String Quartet, On Remembering A Naiad, 1. A Wisp, 2. A Gnarl, 3. A Leaf, 4. A Twig, 5. A Tooth (1956);
  • Canon (1957), any two instruments;
  • Fugue in a minor (1957), any four instruments;
  • Fugue in c minor (1957), organ or harpsichord;
  • Fugue in eb minor (1957), brass or other instruments;
  • Fugue in f minor (1957), two pianos;
  • Prelude in f minor (1957), piano;
  • Variations for Alto Flute, Bassoon, Harp and String Trio (1957);
  • for Brass (1957), brass octet;
  • for Guitar (1958), guitar;
  • Trio for Strings (1958), violin, viola, cello;
  • Study (c.1958-59), violin, viola (unfinished);
  • Sarabande (1959), keyboard, brass octet, string quartet, orchestra, others;
  • Studies I, II, and III (1959), piano;
  • Vision (1959), piano, 2 brass, recorder, 4 bassoons, violin, viola, cello, contrabass;
  • [Untitled] (1959-60), live friction sounds;
  • [Untitled] (1959-62), jazz-drone improvisations;
  • Poem for Chairs, Tables, Benches, etc. (1960), chairs, tables, benches and unspecified sound sources;
  • 2 Sounds (1960), recorded friction sounds;
  • Compositions 1960 #s 2, 3, 4, 5, 6, 7, 9, 10, 13, 15 (1960), performance pieces;
  • Piano Pieces for David Tudor #s 1, 2, 3 (1960), performance pieces;
  • Invisible Poem Sent to Terry Jennings (1960), performance pieces;
  • Piano Pieces for Terry Riley #s 1, 2 (1960), performance pieces;
  • Target for Jasper Johns (1960), piano;
  • Arabic Numeral (Any Integer) to H.F. (1960), piano(s) or gong(s) or ensembles of at least 45 instruments of the same timbre, or combinations of the above, or orchestra;
  • Compositions 1961 #s 1 - 29 (1961), performance pieces;
  • Young's Dorian Blues in Bb (c. 1960 or 1961);
  • Young's Dorian Blues in G (c. 1960-1961-present);
  • Young's Aeolian Blues in Bb (Summer 1961);
  • Death Chant (1961), male voices, carillon or large bells;
  • Response to Henry Flynt Work Such That No One Knows What's Going On (c. 1962);
  • [Improvisations] (1962-64), sopranino saxophone, vocal drones, various instruments. Realizations include: Bb Dorian Blues, The Fifth/Fourth Piece, ABABA, EbDEAD, The Overday, Early Tuesday Morning Blues, and Sunday Morning Blues;
  • Poem on Dennis' Birthday (1962), unspecified instruments;
  • The Four Dreams of China (The Harmonic Versions) (1962), including The First Dream of China, The First Blossom of Spring, The First Dream of The High-Tension Line Stepdown Transformer, The Second Dream of The High-Tension Line Stepdown Transformer, tunable, sustaining instruments of like timbre, in multiples of 4;
  • Studies in The Bowed Disc (1963), gong;
  • Pre-Tortoise Dream Music (1964), sopranino saxophone, soprano saxophone, vocal drone, violin, viola, sine waves;
  • The Tortoise, His Dreams and Journeys (1964-present), voices, various instruments, sine waves. Realizations include: Prelude to The Tortoise, The Tortoise Droning Selected Pitches from The Holy Numbers for The Two Black Tigers, The Green Tiger and The Hermit, The Tortoise Recalling The Drone of The Holy Numbers as They Were Revealed in The Dreams of The Whirlwind and The Obsidian Gong and Illuminated by The Sawmill, The Green Sawtooth Ocelot and The High-Tension Line Stepdown Transformer;
  • The Well-Tuned Piano (1964-73-81-present). Each realization is a separately titled and independent composition. Over 60 realizations to date. World premiere: Rome 1974. American Premiere: New York 1975;
  • Sunday Morning Dreams (1965), tunable sustaining instruments and/or sine waves;
  • Composition 1965 $50 (1965), performance piece;
  • Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (1966-present), voices, various instruments, sine waves;
  • Bowed Mortar Relays (1964) (realization of Composition 1960 # 9), Soundtracks for Andy Warhol Films "Eat," "Sleep," "Kiss," "Haircut," tape;
  • The Two Systems of Eleven Categories (1966-present), theory work;
  • Chords from The Tortoise, His Dreams and Journeys (1967-present), sine waves. Realizations include: Intervals and Triads from Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (1967), sound environment;
  • Robert C. Scull Commission (1967), sine waves;
  • Claes and Patty Oldenburg Commission (1967), sine waves;
  • Betty Freeman Commission (1967), sound and light box & sound environment;
  • Drift Studies (1967-present), sine waves;
  • for Guitar (Just Intonation Version) (1978), guitar;
  • for Guitar Prelude and Postlude (1980), one or more guitars;
  • The Subsequent Dreams of China (1980), tunable, sustaining instruments of like timbre, in multiples of 8;
  • The Gilbert B. Silverman Commission to Write, in Ten Words or Less, a Complete History of Fluxus Including Philosophy, Attitudes, Influences, Purposes (1981);
  • Chords from The Well-Tuned Piano (1981-present), sound environments. Includes: The Opening Chord (1981), The Magic Chord (1984), The Magic Opening Chord (1984);
  • Trio for Strings (1983) Versions for string quartet, string orchestra, and violin, viola, cello, bass;
  • Trio for Strings, trio basso version (1984), viola, cello, bass;
  • Trio for Strings, sextet version (1984);
  • Trio for Strings, String Octet Version (1984), 2 violins, 2 violas, 2 cellos, 2 basses;
  • Trio for Strings Postlude from The Subsequent Dreams of China (c. 1984), bowed strings;
  • The Melodic Versions (1984) of The Four Dreams of China (1962), including The First Dream of China, The First Blossom of Spring, The First Dream of The High-Tension Line Stepdown Transformer, The Second Dream of The High-Tension Line Stepdown Transformer, tunable, sustaining instruments of like timbre, in multiples of 4;
  • The Melodic Versions (1984) of The Subsequent Dreams of China, (1980) including The High-Tension Line Stepdown Transformer's Second Dream of The First Blossom of Spring, tunable, sustaining instruments of like timbre, in multiples of 8;
  • The Big Dream (1984), sound environment;
  • Orchestral Dreams (1985), orchestra;
  • The Big Dream Symmetries #s 1 - 6 (1988), sound environments;
  • The Symmetries in Prime Time from 144 to 112 with 119 (1989), including The Close Position Symmetry, The Symmetry Modeled on BDS # 1, The Symmetry Modeled on BDS # 4, The Symmetry Modeled on BDS # 7, The Romantic Symmetry, The Romantic Symmetry (over a 60 cycle base), The Great Romantic Symmetry, sound environments;
  • The Lower Map of The Eleven's Division in The Romantic Symmetry (over a 60 cycle base) in Prime Time from 144 to 112 with 119 (1989-1990), unspecified instruments and sound environment;
  • The Prime Time Twins (1989-90) including The Prime Time Twins in The Ranges 144 to 112; 72 to 56 and 38 to 28; Including The Special Primes 1 and 2 (1989);
  • The Prime Time Twins in The Ranges 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; with The Range Limits 576, 448, 288, 224, 144, 56 and 28 (1990), sound environments;
  • Chronos Kristalla (1990), string quartet;
  • The Young Prime Time Twins (1991), including The Young Prime Time Twins in The Ranges 2304 to 1792; 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; Including or Excluding The Range Limits 2304, 1792, 1152, 576, 448, 288, 224, 56 and 28 (1991),
  • The Young Prime Time Twins in The Ranges 2304 to 1792; 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; 18 to 14; Including or Excluding The Range Limits 2304, 1792, 1152, 576, 448, 288, 224, 56, 28 and 18; and Including The Special Young Prime Twins Straddling The Range Limits 1152, 72 and 18 (1991),
  • The Young Prime Time Twins in The Ranges 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; Including or Excluding The Range Limits 1152, 576, 448, 288, 224, 56 and 28; with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991), sound environments;
  • The Symmetries in Prime Time from 288 to 224 with 279, 261 and 2 X 119 with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991-present), including The Symmetries in Prime Time When Centered above and below The Lowest Term Primes in The Range 288 to 224 with The Addition of 279 and 261 in Which The Half of The Symmetric Division Mapped above and Including 288 Consists of The Powers of 2 Multiplied by The Primes within The Ranges of 144 to 128, 72 to 64 and 36 to 32 Which Are Symmetrical to Those Primes in Lowest Terms in The Half of The Symmetric Division Mapped below and Including 224 within The Ranges 126 to 112, 63 to 56 and 31.5 to 28 with The Addition of 119 and with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991), sound environments;
  • Annod (1953-55) 92 X 19 Version for Zeitgeist (1992), alto saxophone, vibraphone, piano, bass, drums, including 92 XII 22 Two-Part Harmony and The 1992 XII Annod Backup Riffs;
  • Just Charles & Cello in The Romantic Chord (2002-2003), cello, pre-recorded cello drones and light design;
  • Raga Sundara, vilampit khayal set in Raga Yaman Kalyan (2002-present), voices, various instruments, tambura drone;
  • Trio for Strings (1958) Just Intonation Version (1984-2001-2005), 2 cellos, 2 violins, 2 violas;

Discography

  • Inside the Dream Syndicate, Volume One: Day of Niagara with John Cale, Tony Conrad, Marian Zazeela, and Angus Maclise [Recorded 1965] (Table of the Elements, 2000. Bootleg recording of dubious title, credits, and quality Not authorized by La Monte Young)[1]
  • 31 VII 69 10:26 - 10:49 PM Munich from Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery; 23 VIII 64 2:50:45-3:11 AM the volga delta from Studies in The Bowed Disc [a.k.a. The Black Record] (Edition X, West Germany, 1969)
  • La Monte Young Marian Zazeela The Theatre of Eternal Music - Dream House 78' 17" (Shandar, 1974)
  • The Well Tuned Piano 81 X 25 (6:17.50 - 11:18:59 PM NYC) (Gramavision, 1988)
  • 90 XII C. 9:35-10:52 PM NYC, The Melodic Version (1984) of The Second Dream of the High-Tension Line Stepdown Transformer From the Four Dreams of China (Gramavision, 1991)
  • Just Stompin': Live at The Kitchen (Gramavision, 1993)
  • The Well-Tuned Piano in The Magenta Lights (87 V 10 6:43:00 PM 87 V 11 01:07:45 AM NYC) (Just Dreams, DVD-9, 2000)

Compilations

  • Small Pieces (5) for String Quartet ("On Remembering a Naiad") (1956) [included on Arditti String Quartet Edition, No. 15: U.S.A. (Disques Montaigne, 1993)]
  • Sarabande for any instruments (1959) [included on Just West Coast (Bridge, 1993)]
  • "89 VI 8 c. 1:45-1:52 AM Paris Encore" from Poem for Tables, Chairs and Benches, etc. (1960) [included on Flux: Tellus Audio Cassette Magazine #24]
  • Excerpt "31 I 69 c. 12:17:33-12:24:33 PM NYC" [included on Aspen #8's flexi-disc (1970)] from Drift Study; "31 I 69 c. 12:17:33-12:49:58 PM NYC" from Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals (1969) [included on Ohm and Ohm+ (Ellipsis Arts, 2000 & 2005)]
  • 566 for Flynt Henry [included on Music in Germany 1950–2000: Experimental Music Theatre (Eurodisc 173675, 7-CD set, 2004)]

Bibliografia:

Testi scritti sul personaggio

  • Cardew, Cornelius. "One Sound: La Monte Young" Musical Times 107/11 (1966)
  • Caux, Daniel. "John Cage, La Monte Young et la dissidence musicale d'aujourd'hui," art press 150 (1990)
  • Fricke, David. "Record Reviews: Just Stompin' / Live at The Kitchen, La Monte Young and The Forever Bad Blues Band" Rolling Stone 669 (1993)
  • Gann, Kyle. "La Monte Young's The Well-Tuned Piano," Perspectives of New Music 31/1 (1993)
  • Gann, Kyle. "Maximal Spirit" Village Voice (1987)
  • Gena, Peter. "Freedom in Experimental Music: The New York Revolution" Tri-Quarterly 52 (1981)
  • Griffiths, Paul. "Modern Music: The Avant-garde Since 1945" J M Dent & Sons Ltd (1981)
  • Heisinger, Brent. "American Minimalism in the 1980s" American Music 7/4 (1989)
  • Hitchcock, H. Wiley. "Current Chronicle" Musical Quarterly 51 (1965)
  • Licht, Alan. "The History of La Monte Young's Theatre of Eternal Music," Forced Exposure 16 (1990)
  • McCardell, Charles. "Sound Instincts: La Monte Young & His Breakthrough Music," Washington Post (1985)
  • Mertens, Wim. "American Minimal Music" Kahn & Averill(1983)
  • Morgan, Robert "Twentieth-Century Music" W.W. Norton(1991)
  • Nyman, Michael. " Experimental Music: Cage and Beyond (Music in the Twentieth Century) " Cambridge University Press; 2 edition (1999)
  • Palmer, Robert. "A Father Figure for the Avant-garde" The Atlantic 247/5 (1981)
  • "La Monte Young: Lost in the Drone Zone" Rolling Stone, issue #180 (1975)
  • "Get Ready for the Music of Harmonics" New York Times (1983)
  • Rich, Alan. "La Monte Young's Minimalist Marathon" Newsweek (1987)
  • Rockwell, John. "Boulez and Young: Enormous Gulf or Unwitting Allies?" Los Angeles Times (13 February 1972)
  • Rosenbaum, Ron. "Eternal Music in a Dreamhouse Barn" Village Voice (1970)
  • Schaefer, John. "New Sounds" New York: Harper & Row(1987)
  • Smith, David. "Following a Straight Line: La Monte Young" Contact 18 (1977-78)
  • Strickland, Edward. "Minimalism:Origins, Bloomington and Indianapolis" Indiana University Press(1993)
  • Terry, Ken. "La Monte Young: Avant-garde Visionary: Composer and Pianist" Contemporary Keyboard 6/8 (1980)
  • Wolf, Daniel J. "Living and Listening in Real Time" Interval (1982-83)

Webliografia:

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