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.
1. wHoly Trinitye, a duality ov duos - first (2016)
2. 2 Extreemizms (2015)
3. Two-part Monologue No.1 (1958)
4. Two-part Monologue No.2 (1958)
5. Two-part monologue No.3 (1958)
6. wHoly Trinitye, a duality ov duos - second (2016)
7. FINALE - violin, cello, piano (1958)°
8. wHoly Trinitye, for a “free-togethering”
9. wHoly Trinitye, another Duet, just-one