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60 x 60

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Catalog Number: CPS-8744
Audio Format: CD
Playing Time: 60:00
Release Date: 2004

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
     
2. Shadow Boxer
    Allen Strange
     
3. Glimmerings
    Judith Shatin
     
4. Try
    Noah Creshevsky
     
5. Junk Fragment
    Gene Pritsker
     
6. Car Accident
    Daniel Eichenbaum
     
7. Traffic Under 60
    Aaron Acosta
     
8. Radio Play
    George Brunner
     
9. Last Monday
    John Mallia
     
10. Goo Mee
    David Hahn
     
11. Where am I?
    Mikako Endo
     
12. the electronic music revolution will most certainly
be televised with the five part harmony,
full orchestration, all all the phenomena
    Eric Schwartz
     
13. Christmas Bells
    Jim Stallings
     
14. Gems: #2 Malachite
    Charles Norman Mason
     
15. Cavatina from an Imaginary Opera
    Stan Link
     
16. Signature: Peace
    Scott Brickman
     
17. Glassbut
    John Villec
     
18. Peptyde Hallucination
    Philip Schuessler
     
19. Farrob: One Minute or Listening Pleasure
    Michael Kinney
     
20. Unspoken
    Douglas Geers
     
21. Moth
    Tom Lopez
     
22. PLSR 2003
    Michael Berkowski
     
23. Lost-Salvage-Divined
    Eldad Tsabary
     
24. Phase 58
    Arthur Gottschalk
     
25. Dido Remembered
    Mary Jane Leach
     
26. System Activated
    Derek Devore
     
27. Eulogy
    Charles Nichols
     
28. Life Cycle
    Mark Petering
     
29. Machine #04
    Nery Pedro Bauer Junior
     
30. Imagine Happiness
    Elaine Fine
     
31. Miniature 06
    Coa Schwab
     
32. 48 Rows in One Minute
    Eugene Marlow
     
33. Rumble Strip
    Sean Hickey
     
34. Loomings
    David Claman and Sunita Vatuk
     
35. The Danube at Batina, Croatia, underwater, 2003
    Annea Lockwood
     
36. Warbler Garden
    Dennis Bathory-Kitsz
     
37. rnd.snd.bas
    Dwight Winenger
     
38. Trak News Agency
    Norbert Herber
     
39. Variation on 5 sound objects
    Lucio Edilberto Ceullar
     
40. Papa
    Samy Moussa
     
41. Partial Precept
    Norman Adams
     
42. nous n'avons qu'un espoir au monde
    Benjamin Thigpen
     
43. 60 Spin
    Maggi Payne
     
44. The Singularity
    Michael Vernusky
     
45. Passing Gas
    Charles Berry
     
46. Birds
    Gordon Green
     
47. Ducks in Motion
    David Mooney
     
48. The Sputnick Diary
    David Campbell
     
49. Reset: 59.5
    James Hegarty
     
50. Molten Statues
    Eric Lyon
     
51. ripples in sand
    Robert Voisey
     
52. Skrit
    John Allemeier
     
53. Writing Out Loud
    David Evan Jones
     
54. Nice Noise
    Juan Maria Solare
     
55. Gocce
    Marco Russo
     
56. One Minute of Eternity
    Serban Nichifoor
     
57. Hora
    Liana Alexandra
     
58. Mini-A-Tura
    Gerado Perez Giusti
     
59. love hurts
    Elliott Carlson Botero
     
60. The End is Near
    Marco Oppedisano
     
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.