Extremes are extreme, extremely. For Philip Corner, a lifelong commitment to extremes - extreme expression, extreme beauty, extreme noise, extreme silence - developed a mastery of expression, any one extreme may result in all of the others. In gripping new recordings by the duo of Silvia Tarozzi, violin, and Deborah Walker, cello - with assistance from Rhodri Davies, harp, and Philip Corner, piano - Corner's early ensemble works from 1958 are paired with newer, late works from 2015-2016. The works from 1958, "Two-part monologue" and "FINALE,” were composed while Corner was teaching at City College and still finishing his Masters at Columbia University under Henry Cowell and Otto Luening. Extremes being extreme, they were too extreme for Columbia. Yet, Corner completed his degree and continued to stretch on, creating works somewhere between the supercomputer-refined micro-tunings of James Tenney and the ecstatic enactments of Malcolm Goldstein, his Tone Roads bandmates. Now, with the world (somewhat) caught up, we can appreciate Philip Corner’s EXTREEMIZMS, early and late, together.
Glass mastered CD
Mini-LP gatefold wallet
Tipped-in 11 page booklet
Photos, scores, and liner notes by Philip Corner and Silvia Tarozzi and Deborah Walker
Your choice of the following formats:
"Corner is a highly interesting and perhaps somewhat overlooked composer. As a student he was guided by Otto Luening, Henry Cowell and Oliver Messian. He was a member of Fluxus, became immersed in Zen Buddhism and now lives in Italy. Corner is a significant artery channelling a huge swathe of the avant-garde.
After the brief wHoly Trintye, a duality ov duos – first (2016), the almost 15 minute 2 Extreemizms (2015) opens the album out into a gently blooming drone for violin and cello. The tiniest deepening of intensity some 4 minutes in beautifully evolves the entire scene. Yet deeper tones come in at around 7 and half minutes. So far, a group mind meditating in the same mental and physical space. And then it happens…
The stylus slips into freefall. That very same grouping spills out into a wild, see-sawing and yelping mess. The sudden exhilarating physicality of the players, revealing their own vocalisations like some fourth wall rule being dissolved." -Obladada