{"product_id":"mary-jane-leach-woodwind-multiples-lp","title":"Mary Jane Leach - Woodwind Multiples LP","description":"\u003cb data-mce-fragment=\"1\"\u003eMary Jane Leach\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e is a composer focused on the physicality of sound, its acoustic properties and how they interact with space. She has played an instrumental role in NYC's pioneering Downtown scene alongside \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eArthur Russell\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e, \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eEllen Fullman\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e, \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003ePeter Zummo\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e, \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003ePhilip Corner\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e, and \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eArnold Dreyblatt\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e, as well as devoting years to the preservation and reappraisal of \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eJulius Eastman\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e's work since his death in 1990, compiling \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eUnjust Malaise\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e (2005) and editing the book \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eGay Guerrilla: Julius Eastman and His Music\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e (2015). \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eWoodwind Multiples\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e features four pieces for multiples of the same instrument: four bass flutes, nine oboes, nine clarinets, and seven bassoons. Each piece works closely with the unique sound of each instrument, combining pitches that create other, sometimes unexpected, tones, primarily combination and interference tones, as well as rhythmic patterns. What you hear is what happens naturally -- there is no processing or manipulation. \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e8B4\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e (1985\/2022), played by \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eManuel Zurria\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e, is for four bass flutes. It is a revision of \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e8x4\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e, which was written in 1985 for the \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eDownTown Ensemble\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e and was only performed once, due to its unusual instrumentation: alto flute, English horn (originally bass oboe), clarinet, and voice. \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eXantippe's Rebuke\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e (1993) was written for \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eLibby Van Cleve\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e, for eight taped oboes and one live, solo oboe. The eight taped parts are equal and dependent, while the solo part is meant to be a solo with the tape as accompaniment. The piece works with the unique sound of the oboe, starting with unison pitches that create the richest sound, building the piece from there. Pitches and rhythmic patterns that occur naturally are notated and then played later, which in turn create other pitches and rhythmic patterns. \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eCharybdis\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e (2020), played by \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eSam Dunscombe\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e, is for solo clarinet and eight taped clarinets. It combines a somewhat obscured reference to \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eWeep You No More\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e, a \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eJohn Dowland\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e piece, which combines with the sound phenomena created from the melody and supporting chords of the Dowland. \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eFeu de Joie\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e (1992) was written for bassoonist \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eShannon Peet\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e and is an homage to the bassoon and its wonderful sound. It is for seven parts -- six taped and one \"live.\" The taped bassoons combine to create a bed of sound that exploits the unique qualities of the bassoon, creating combination and interference tones, starting off with unison pitches, creating a rich sound that builds from there. Most of the subsequent pitches and phrases occur naturally, and are then notated later on in the piece, which in turn creates other notes and phrases. Engineered by Manuel Zurria, \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eBryce Goggin\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e, and Sam Dunscombe, mastered by \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eRashad Becker\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e.\u003c\/span\u003e","brand":"Modern Love (UK)","offers":[{"title":"Default Title","offer_id":68359725056235,"sku":"rie1793809368221","price":29.62,"currency_code":"DOP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0834\/7926\/5515\/files\/mary-jane-leach---woodwind-multiples-lp_1.jpg?v=1793809379","url":"https:\/\/tailwagging.shop\/products\/mary-jane-leach-woodwind-multiples-lp","provider":"My Store","version":"1.0","type":"link"}