SUPPLEMENT
maandag 25 maart, 20.02-24.00 uur, Radio 4

LA MONTE YOUNG - Goeroe van de Minimal Music

LA MONTE YOUNG

COMPLETE WORKS

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), stringquartet; 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. e flat minor (1957), brass or other instruments; Fugue in f minor (1957), for two pianos; Preludio 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; Study I (1959), piano; Study II (1959), piano; Study 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), pre-recorded friction sounds;

Compositions 1960 (1960), performance pieces, including:
Composition 1960 # 2; Composition 1960 # 3; Composition 1960 # 4; Composition 1960 # 5; Composition 1960 # 6; Composition 1960 # 7; Composition 1960 # 9; Composition 1960 # 10; Composition 1960 # 13; Composition 1960 # 15;

Piano Pieces for David Tudor (1960), performance pieces including:
Piano Piece for David Tudor # 1; Piano Piece for David Tudor # 2; Piano Piece for David Tudor # 3;

Invisible Poem Sent to Terry Jennings (1960), performance pieces; Piano Piece for Terry Riley # 1 (1960); Piano Piece for Terry Riley # 2 (1960), performance piece; Target for Jasper Johns (1960), piano; Arabic Numeral (any Integer) to H.F. (1960), piano(s) or gang(s) or ensemble of at least 45 Instruments of the same timbre, or combinations of the above, or orchestra;

Compositions 1961 (1961), performance pieces, including:
Composition 1961 # 1; Composition 1961 # 2; Composition 1961 # 3; Composition 1961 # 4; Composition 1961 # 5; Composition 1961 # 6; Composition 1961 # 7; Composition 1961 # 8; Composition 1961 # 9; Composition 1961 # 10; Composition 1961 # 11; Composition 1961 # 12; Composition 1961 # 13; Composition 1961 # 14; Composition 1961 # 15; Composition 1961 # 16; Composition 1961 # 17; Composition 1961 # 18; Composition 1961 # 19; Composition 1961 # 20; Composition 1961 # 21; Composition 1961 # 22; Composition 1961 # 23; Composition 1961 # 24; Composition 1961 # 25; Composition 1961 # 26; Composition 1961 # 27; Composition 1961 # 28; Composition 1961 # 29;

Young's Dorian Blues in B flat (c. 1960 or 1961); Young's Aeolian Blues in B flat (Summer 1961); Death Chant (l961), male voices, carillon or large bells; Response to Henry Flynt Work Such That No One Knows What's Going On (c. 1962);

[lmprovisations] tl962-64), sopranino saxophone, vocal drones, various instruments.Realizations include:
B flat Dorian Blues, The Fifth/Fourth Piece, ABABA, E flat DEAD, DEGAC, The Overday, Early Tuesday Morning Blues, Sunday Morning Blues;

Poem on Dennis' Birthday (1962), unspecified instruments;

The Four Dreams of China (The Harmonic Versions) (1962), tunable, sustaining instruments of like timbre, in multiples of 4, 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;

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 llluminated by The Sawmill, The Green Sawtooth Ocelot and The High-Tension Line Stepdown Transformer,
The Obsidian Ocelot, The Sawmill, and The Blue Sawtooth High-Tension Line Stepdown Transformer Refracting The Legend of The Dream of The Tortoise Traversing The 189/98 Lost Ancestral Lake Region llluminating Quotients from The Black Tiger Tapestries of The
Drone of The Holy Numbers,
The Ballad of The Tortoise or Pierced Earrings/Drone Ratios Transmitting The Manifestation of The Tortoise Center Drifting Obsidian Time Mists through The Synaptic Stepdown Barrier,
7, The Celebration of The Tortoise,
The Tortoise;

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 lntervals Ornamental Lightyears Tracery (1966.-resent), 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 Catagories (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 lntervals 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 lntonation 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 lncluding Philosophy, Attitudes, lnfluences, Purposes (1981);

Chords from The Well-Tuned Piano (1981 -present), sound environments. lncludes:
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 Postlude from The Subsequent Dreams of China (c. 1984), bowed strings;

The Melodic Versions (1984) of The Four Dreams of China (1962), tunable, sustaining instruments of like timbre, in multiples of 4, 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;

The Melodic Versions (1984) of The Subsequent Dreams of China, (1980), tunable, sustaining instruments of like timbre, in multiples of 8, including:
The High-Tension Line Stepdown Transformer's Second Dream of The First Blossom of Sprin;

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), sound environments, 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;

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), tunable, sustaining instruments in sections of like timbre, and sound environment;

The Prime Time Twins (1989-90), sound environments, including:
The Primo Time Twins in The Ranges 144 to 112; 72 to 56 and 38 to 28; lncluding 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);

Chronos Kristalla (1990), string quartet;

The Young Prime Time Twins (1991), sound environments, 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; lncluding 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; lncluding or Excluding The Range Limits 2304, 1792, 1152, 576, 448, 288, 224, 56, 28 and 18; and lncluding 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; lncluding or Excluding The Range Limits 1152, 576, 448, 288, 224, 56 and 28; with One of The lnclusory Optional Bases: 7. 8; 14:8; 18:14:8. 18:16:14; 18:16:14:8; 9:7'4; or The Empty Base (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; lncluding The Range Limits 1152 576, 448, 288, 224, 56 and 28; with The Empty Base (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; Excluding The Range Limits 1152 576, 448, 288, 224, 56 and 28; with The Empty Base (1991);

The Symmetries in Prime Time from 288 to 224 with 279, 261 and 2 X 119 with One of The lnclusory 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), sound environments, 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 lncluding 288 Consists of The Powers of 2 Multiplied by Tho 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 lncluding 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 lnclusory Optional Bases: 7. 8; 14:8; 18:14:8; 18:16:14. 18:16:14:8; 9:7:4; or The Empty Base (1991);

The Empty Base Symmetry 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 lncluding 288 Consists of The Powers of 2 Multiplied by The Primes within Tho 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 lncluding 224 within The Ranges 126 to 112, 63 to 56 and 31 5 to 28 with The Addition of 119 Tho Base 7 Symmetry in Prime Time When Centered above and bolow 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 lncluding 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 lncluding 224 within The Ranges 126 to 112, 63 to 56 and 31.5 to 28 with The Addition of 119;

The Base 8 Symmetry 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 lncluding 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 lncluding 224 within The
Ranges 126 to 112, 63 to 56 and 31 5 to 28 with The Addition of 119;

The Base 14:8 Symmetry 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 lncluding 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 lncluding 224 within The Ranges 126 to 112, 63 to 56 and 31 5 to 28 with The Addition of 119;

The Base 18: 14:8 Symmetry 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 lncluding 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 lncluding 224 within The Ranges 126 to 112, 63 to 56 and 31.5 to 28 with The Addition of 119;

The Base 18: 16: 14 Symmetry 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 Symmetrie Division Mapped above and lncluding 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 lncluding 224 within The Ranges 126 to 112, 63 to 56 and 31.5 to 28 with The Addition of 119;

The Base 18:16:14:8 Symmetry 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 lncluding 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 lncluding 224 within The Ranges 126 to 112, 63 to 56 and 31 5 to 28 with The Addition of 119;

The Base 9:7:4 Symmetry 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 lncluding 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 lncluding 224 within The Ranges 126 to 112, 63 to 56 and 31 5 to 28 with The Addition of 119;

Annod (1953-55) 92 X 19 Version for Zeitgeist (1992), alto saxophone, vibraphone, piano, bass, drums, including:
92 XIl 22 Two-Part Harmony, The 1992 Xll Annod Backup Riffs.