performed by stephane ginsburgh [piano]
SR183

ERRATUM MUSICAL
the principle of musical erratum is simple: you choose a keyboard - any keyboard - you draw each note at random - no note can be struck twice, but all are struck - the resulting whole is played without any particular modulation, "a uniformity de rhythm, anaccentuation" says Duchamp.tThe premises of minimal and aleatory art are thus expressed in "the green box", published in 1934 (although the writings date back to 1912-15). to do this, we chose to use a piano (a bösendorfer)

STEPHANE GINSBURGH
Born in 1969, he is already known as a great pianist by the critics - he loves to build his concerts as a mix-up of styles - perfect in his performance of robert schumann, morton feldman and stockhausen, he was the man between the pieces for piano by renaud de putter (ref. sr 131). he performed in europa as well than in usa.

7 VARIATIONS ON A DRAW OF 88 NOTES
the pieces heard here were recorded on one single day - the beginning is lively, full of exploration (#1) - then it becomes gentler (#2) - almost feldmanian (#3) - we reach the hard core in the centre : 36 minutes that swallow up the everyday world (it's 4 pm, children are getting out of school, people are coming and going, cars rev up...) (#4) - then there is the magic inverse version (#5) - a strong reverse, tense, strung out (#6) - then, tenuous, ending as evening falls (#7) - the last note - no. 63 - is struck for the last time - it was also the first note, played six hours earlier...

THE CREATIVE ACT
the disk presented here is also the counterpart of another, 'the creative act', published by ourselves in 1994, and edited by marc dachy. It contains, besides the luminous lecture given on the creative act, in Houston, Texas in 1957, two interviews dealing with, among other things, the readymade and a reading of 'à l'infinitif'. we have completed it with an mus.......
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performed by stephane ginsburgh [piano]
SR183

ERRATUM MUSICAL
the principle of musical erratum is simple: you choose a keyboard - any keyboard - you draw each note at random - no note can be struck twice, but all are struck - the resulting whole is played without any particular modulation, "a uniformity de rhythm, anaccentuation" says Duchamp.tThe premises of minimal and aleatory art are thus expressed in "the green box", published in 1934 (although the writings date back to 1912-15). to do this, we chose to use a piano (a bösendorfer)

STEPHANE GINSBURGH
Born in 1969, he is already known as a great pianist by the critics - he loves to build his concerts as a mix-up of styles - perfect in his performance of robert schumann, morton feldman and stockhausen, he was the man between the pieces for piano by renaud de putter (ref. sr 131). he performed in europa as well than in usa.

7 VARIATIONS ON A DRAW OF 88 NOTES
the pieces heard here were recorded on one single day - the beginning is lively, full of exploration (#1) - then it becomes gentler (#2) - almost feldmanian (#3) - we reach the hard core in the centre : 36 minutes that swallow up the everyday world (it's 4 pm, children are getting out of school, people are coming and going, cars rev up...) (#4) - then there is the magic inverse version (#5) - a strong reverse, tense, strung out (#6) - then, tenuous, ending as evening falls (#7) - the last note - no. 63 - is struck for the last time - it was also the first note, played six hours earlier...

THE CREATIVE ACT
the disk presented here is also the counterpart of another, 'the creative act', published by ourselves in 1994, and edited by marc dachy. It contains, besides the luminous lecture given on the creative act, in Houston, Texas in 1957, two interviews dealing with, among other things, the readymade and a reading of 'à l'infinitif'. we have completed it with an mus.......
more