Larry Polansky: The World’s Longest Melody
Larry Polansky – for jim, ben and lou – guitar, harp and percussion
Larry Polansky – Ontslaan – electric guitar quartet – creation
Larry Polansky – 34 Chords – solo electric guitar
Christian Wollf – Pairs – guitar duo

As composer, Larry Polansky clearly follows in the steps of his mentor James Tenney (1934-2006). What unites both, who are conceptualists, is foremost a shared fascination for structure and process. Other composers, such as Ben Johnston, Lou Harrison, Ruth Crawford Seeger and – old and familiar friend – Christian Wolff as well have had an influence on Larry Polansky’s music. In his impressive “for jim, ben and lou” (dedicated to Tenney, Johnston, and Harrison) for classical guitar, harp and percussion, we clearly find all these traces. An obstinate form of just-intonation, a high performance quality, a virtuoso part for harp and guitar and a very experimental soundscape make this work an unprecedented gem that probes several boundaries. The mathematical and processual thinking can also be found in such works as “ivtoo” for guitar and tape, and the new “Ontslaan,” written for the electrical guitar quartet ZWERM. In 2010 these and other works will be issued together on the CD “The World’s Longest Melody” on the American label New World Records. with musicians: Toon Callier – acoustic and e-guitar (ZWERM), Larry Polansky – e-guitar, Jutta Troch – harp, Jeroen Stevens – percussion, Matthias Koole – e-guitar (ZWERM), Johannes Westendorp – e-guitar (ZWERM), Bruno Nelissen – e-guitar (ZWERM)

Carol Robinson: U-CHAIN
A musical tale for birbyne, basset horn, computer, amplified objects and spoken voice. Sound: Christina Clar. The voice of an instrument with the injection of its proper sonoric universe and of more distant ones, the superimposition of simple lines with a panorama of more encompassing timbres.The idea was to make a work out of various sections that superpose on one another in successive pairs. In other words, a section that is so devised that it still incorporates liberties regarding interpretation and that will be recorded when executed. This recording will serve as a basis to set the tone for everything that follows. As such, the second section, performed on another instrument, will be interpreted in relation to the recording of the first section, immediately played all over again. The third section propounds an improvisation on computer, using a well-defined selection of recorded elements in a multichannel patch max-msp, and so on…