Philip Corner (b. 1933)
- Vox (11:30)
- Vocalise (17:30)
- Air Effect (23:05)
Track 01 performed at Livingston College, Rutgers University, New Jersey, in 1981.
Track 02 performed in New York City, at Judson Church, in 1962.
Track 03 performed in New York City in 1988.
Satie's Rose Cross As A Revelation (16:00)
Voice, Composed By, Piano – Philip Corner
Studio Akustische Kunst, WDR Köln, 1990.
An Interview with Philip Corner (June 14, 1978)
Charles Amirkhanian talks with one of New York City’s finest, composer Philip Corner, longtime stalwart of the avant-garde music and art scene in Lower Manhattan. Corner studied briefly with Olivier Messiaen in Paris in 1955, and in 1958 at the New School for Social Research he attended John Cage’s class which included such distinguished budding artists as Allan Kaprow, George Brecht, Dick Higgins, and others who would make their marks in the lively East Village scene of the 1960s. An articulate and persuasive spokesperson for new music, Corner talks about his own music, such as his food related performances, his association with the Fluxus group of artists, and the role of meditation in many of his compositions, during a late-night conversation recorded at his West Broadway flat on December 7, 1977, in New York City. Musical selections on this program include a performance of Corner’s “Metal Meditations”.
Interview with Philip Corner (January 4, 1979), Part 1
Interview with Philip Corner (January 4, 1979), Part 2
From January 4, 1979, Charles Amirkhanian interviews composer Phil Corner. Born April 10, 1933 in New York, Corner studied briefly with Olivier Messiaen in Paris in 1955, and in 1958, at the New School for Social Research, he attended John Cage’s class which also included such distinguished budding artists as Allan Kaprow, George Brecht, Dick Higgins, and others who would make their marks in the lively East Village scene of the 1960s. As a member of the faculty of Livingston College (Rutgers University, New Jersey), Corner continued his provocative, improvisation-oriented music making based on highly original open-ended hand calligraphed performance notations which have become a trademark of his style. In this program he discusses his interest in gamelan and gong music and other aspects of his prodigious output, as well as giving a live performance of part of his “Metal Meditations”. (from KPFA Folio)