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60 x 60
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60 x 60 is a concert containing 60 compositions from 60 different composers, each composition is 60 seconds or less in duration. The 60 recorded pieces are performed in an hour long continuous concert. The performance is played in conjuction with a synchronized analog clock marking the passage of each minute. At the top of the minute begins a new composition from a different composer.
Track
Listing & Audio Samples
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1. | Welcome (2004) |
| Douglas Cohen | ||
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2. | Shadow Boxer |
| Allen Strange | ||
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3. | Glimmerings |
| Judith Shatin | ||
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4. | Try |
| Noah Creshevsky | ||
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5. | Junk Fragment |
| Gene Pritsker | ||
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6. | Car Accident |
| Daniel Eichenbaum | ||
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7. | Traffic Under 60 |
| Aaron Acosta | ||
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8. | Radio Play |
| George Brunner | ||
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9. | Last Monday |
| John Mallia | ||
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10. | Goo Mee |
| David Hahn | ||
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11. | Where am I? |
| Mikako Endo | ||
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12. | the electronic music revolution will most certainly be televised with the five part harmony, full orchestration, all all the phenomena |
| Eric Schwartz | ||
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13. | Christmas Bells |
| Jim Stallings | ||
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14. | Gems: #2 Malachite |
| Charles Norman Mason | ||
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15. | Cavatina from an Imaginary Opera |
| Stan Link | ||
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16. | Signature: Peace |
| Scott Brickman | ||
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17. | Glassbut |
| John Villec | ||
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18. | Peptyde Hallucination |
| Philip Schuessler | ||
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19. | Farrob: One Minute or Listening Pleasure |
| Michael Kinney | ||
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20. | Unspoken |
| Douglas Geers | ||
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21. | Moth |
| Tom Lopez | ||
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22. | PLSR 2003 |
| Michael Berkowski | ||
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23. | Lost-Salvage-Divined |
| Eldad Tsabary | ||
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24. | Phase 58 |
| Arthur Gottschalk | ||
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25. | Dido Remembered |
| Mary Jane Leach | ||
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26. | System Activated |
| Derek Devore | ||
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27. | Eulogy |
| Charles Nichols | ||
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28. | Life Cycle |
| Mark Petering | ||
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29. | Machine #04 |
| Nery Pedro Bauer Junior | ||
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30. | Imagine Happiness |
| Elaine Fine | ||
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31. | Miniature 06 |
| Coa Schwab | ||
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32. | 48 Rows in One Minute |
| Eugene Marlow | ||
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33. | Rumble Strip |
| Sean Hickey | ||
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34. | Loomings |
| David Claman and Sunita Vatuk | ||
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35. | The Danube at Batina, Croatia, underwater, 2003 |
| Annea Lockwood | ||
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36. | Warbler Garden |
| Dennis Bathory-Kitsz | ||
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37. | rnd.snd.bas |
| Dwight Winenger | ||
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38. | Trak News Agency |
| Norbert Herber | ||
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39. | Variation on 5 sound objects |
| Lucio Edilberto Ceullar | ||
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40. | Papa |
| Samy Moussa | ||
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41. | Partial Precept |
| Norman Adams | ||
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42. | nous n'avons qu'un espoir au monde |
| Benjamin Thigpen | ||
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43. | 60 Spin |
| Maggi Payne | ||
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44. | The Singularity |
| Michael Vernusky | ||
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45. | Passing Gas |
| Charles Berry | ||
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46. | Birds |
| Gordon Green | ||
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47. | Ducks in Motion |
| David Mooney | ||
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48. | The Sputnick Diary |
| David Campbell | ||
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49. | Reset: 59.5 |
| James Hegarty | ||
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50. | Molten Statues |
| Eric Lyon | ||
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51. | ripples in sand |
| Robert Voisey | ||
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52. | Skrit |
| John Allemeier | ||
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53. | Writing Out Loud |
| David Evan Jones | ||
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54. | Nice Noise |
| Juan Maria Solare | ||
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55. | Gocce |
| Marco Russo | ||
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56. | One Minute of Eternity |
| Serban Nichifoor | ||
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57. | Hora |
| Liana Alexandra | ||
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58. | Mini-A-Tura |
| Gerado Perez Giusti | ||
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59. | love hurts |
| Elliott Carlson Botero | ||
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60. | The End is Near |
| Marco Oppedisano | ||
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61. | Dance Truman, Dance. |
| Christopher Ward |
Reviews
www.mvdaily.com
by Malcolm Miller'If you can fill the unforgiving minute with sixty seconds' worth of distance run…' The idea of commissioning sixty pieces each a minute long has elements of both ingenuity combined with madness: can a creative artist have anything serious to say in just one minute? Can a listener gain anything in such a short time span?
The answer is yes if one may go by the individual contributions to 60x60, a project in its third year, whereby composers are invited to submit minute long pieces in digital format with the prospect of being included in the hour long presentation -- concert -- CD. A minute can be ample time to express a whole gamut of imaginative sounds, or it can be a constraint which forces an artist to isolate what is the most important element of a work. The point of the project is that it enables an audience to take in and enjoy a cross section of different approaches to new music within a reasonable duration. And the purpose of Robert Voisey is to promote new music...
Voisey's own input is compositional -- he organises the sixty works into a coherent and dramatic continuity and it is this which can enhance the individual works. In this 60x60 2005, there are a range of approaches, some are purist electronic works, some use electronics and electro acoustics only minimally; some are atonal and postmodern, some are tonal, modal and jazzy, some clearly in the pop and film music genre. Of the electro acoustic works which make up the majority, several use sampling and play with the notion of the original acoustic instrument, whether a string instrument (violin, viola, double bass) or piano and marimba. Some of the pieces were clearly witty, some essays and experiments, some ambitious and some simple.
Voisey struck an arresting note from the start with two pieces that echo racing cars surging round a track. The first was created from samplings of viola note bending, the second was a more complex computerized sound generating programme. There followed three works exploring manipulated string sounds, one of which was clearly tonal.
As a contrast the next five pieces combined voice with transformations: one was a plangent ostinato, the next a witty exchange between students, the next a jazz riff farmyard polyphony and a pop piece. After a few minimalist pieces, which showed little change in a minute, the possibilities of the small scale were shown to great effect by Noah Creshevksy's witty and imaginative piece, immediacy of effect. The following pieces 16-20 were all engaging exercises in electronic sounds, distortions, metallic shimmers, bell sounds broken into noise and janglings.
More instrumental sampling ensued, appealing and stimulating -- piano music created out of one note that is transformed, a brilliant scenario for double basses. Of those pieces using minimal electronics was a jazz number for father and son; there was some ethnic cross-culturalism and a witty use of speech interrupted by regular phone rings, all of which had more to do with music theatre.
Several works had a more serous significance relating to memory and memorials: 32-33 38, 32 and 33 used Hebrew, the first piece with a cantor and a piano and bass accompaniment yet all filtered through electronic layers of sound; the second, 60 seconds in memory of 6 million, blended layers of the Kaddish prayer; Robert Gluck's one-minute environmental soundscape of Prague (composed there on a recent visit) was eloquently paced with samples of cobbled streets, pacing through buildings and open air, a Czech conversation, to give a sense of 'being there'.
Jazz pop minutes by Alex Shapiro and others lightened the tone and made the hour pass with delight. Outstanding were two essays using piano and marimba as sources (46 and 48) while of the pure electronics, George Brunner (51) was immediately stimulating -- its varied palette of sounds. The last two pieces were overtly political, and as a witty ending, Unwelcome looped a soundbite from George Galloway's speech to the American Senate tribunal in an ironic, punchy miniature.
Website by Alexej Steinhardt