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Earle Brown

Earle Brown was an American composer. Among his many innovations, he near-singlehandedly re-invigorated classical music with improvisation by establishing his own formal and notational systems. It is important to note that he did this at a time when his peer John Cage was actively dismissing improvisation as the regurgitation of one's habits, a position incompatible with Cage's Zen leanings. Brown was the creator of open form, a style of musical construction that has influenced many waves of composers. Among his most famous works are December 1952 with its use of a 'radical' score, the open form pieces Available Forms I & II, Centering, and Cross Sections and Color Fields.

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Earle Brown was an American composer. Among his many innovations, he near-singlehandedly re-invigorated classical music with improvisation by establishing his own formal and notational systems. It is important to note that he did this at a time when his peer John Cage was actively dismissing improvisation as the regurgitation of one's habits, a position incompatible with Cage's Zen leanings. Brown was the creator of open form, a style of musical construction that has influenced many waves of composers. Among his most famous works are December 1952 with its use of a 'radical' score, the open form pieces Available Forms I & II, Centering, and Cross Sections and Color Fields.

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Tracer - Chamber Works 1952-1999
Surround sound DVD. Earle Brown first encountered the work of Alexander Calder in 1948, whose mobile sculptures Brown saw as a visual embodiment of the variable (impermanent) aesthetic that he was striving to create. This Calder aesthetic stayed with Brown throughout his several stylistic shifts. Whether he was writing twelve-tone serial music (Music for Violin, Cello, and Piano), conceptual graphic scores (Folio and Four Systems), composed material open form scores (String Quartet, New Piece an…
Sinergy
The question of form is key in the music of Earle Brown, one of the foremost American composers of the past fifty years. It was a certain amount of serendipity and a shared interest in the liberation of musical form which brought Brown to gether, circa 1951, with John Cage, Morto n Feldman, Christian Wolff, and David Tudor, in what was for a time called the New York School. … There was a close identification between these composers and painters at this time, and Feldman and Brown, especially, to…
Morton Feldman / Earle Brown
Finally back in print. This rare Morton Feldman /Earle Brown split LP was originally released in 1962 on the small NY-based Time Records and features Feldman's 'Durations I-IV' on side A and Brown's 'Hodograph I,' 'Music for Violin, Cello and Piano' and 'Music for Cello and Piano' on side B. David Tudor is featured on piano throughout. Feldman and Brown, who were both interested in non-traditional systems of notation and improvisation, were very closely aligned with the New York School, a group …
Earle Brown: Selected Works 1952- 1965
This long-awaited reissue of the CRI recording of Earle Brown’s (1926–2002) music is the best overview of his seminal early works. “It is obviously a great pleasure for me that Cri is re-releasing its 1974 recording of my work, and an even greater pleasure that I am able to add to the repertoire. The performance of Times Five and Novara still seem very fine representations of the works and are performed brilliantly by the Dutch musicians. December 1952 as realized by the late, brilliant pianist …
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