PRESTEL

MUNICH • LoNdoN • NEw YoRk

ECM

Manfred Eicher and keith Jarrett, Amerika Haus, Munich, 1973

Photo: Roberto Masotti

Manfred Eicher, Jan Garbarek and Jack deJohnette in oslo, n.d.

Photo: Roberto Masotti

FoREwoRd

okwUI ENwEzoR

GREAT BIG EARS: ECM – A CULTURAL ARCHAEoLoGY –

NoTES TowARd AN ExHIBITIoN

okwUI ENwEzoR

ECM IN CoNTExT: INdEPENdENT RECoRd CoMPANIES ANd THE

SELF – dETERMINATIoN oF MUSICIANS IN THE 1950s, ’60s, ANd ’70s

MARkUS MÜLLER

RoUNdTABLE: MANFREd EICHER, okwUI ENwEzoR, STEVE LAkE,

kARL LIPPEGAUS, ANd MARkUS MÜLLER

THE LIBRARY oF SoUNdS: ECM ANd

THE HIGH ART oF PUBLISHING MUSIC

woLFGANG SANdNER

CoLd STARS, LAzY SUBJECTS, wELL-FoUNdEd NEGATIoNS –

PAUL BLEY, ANNETTE PEACoCk, ANd THE BECkETT LINE AT ECM

dIEdRICH dIEdERICHSEN

CLoSE UP, IN YoUR EAR, ANd FRoM A dISTANCE: MUSINGS oN

“oUR” MUSIC VIA ECM

RENéE GREEN

CodoNA: REoRIENTATIoN PoINT FoR NEw PLANETARY VALUES

kodwo ESHUN

MULTITALENTS: JEAN-LUC GodARd ANd MANFREd EICHER

JÜRG STENzL

ECM, A TIMELINE

CoMPILEd BY STEVE LAkE

ECM dISCoGRAPHY, 1969 — 2012 …

BIoGRAPHIES oF ARTISTS ANd AUTHoRS

ANNA SCHNEIdER

25

30

54

66

112

122

176

188

204

218

248

290

TABLE oF CoNTENT

gREAT BIg EARS:ECM – A CULTURAL ARChAEOLOgY – NOTES TOWARD AN ExhIBITION

okwUI ENwEzoR

Barbara wojirsch, untitled, cover design, 1993

John Abercrombie Trio, Speak Of The Devil (ECM 1511)

ECM IN CONTExT: INDEpENDENT RECORD COMpANIES AND ThE SELf – DETERMINATION Of MUSICIANS IN ThE 1950s, ’60s, AND ’70sMARkUS MÜLLER

keith Rowe at AMM3 session in Ludwigsburg for It had Been An Ordinary

Enough Day In Pueblo, Colorado (JAPo 60031), n.d., Photo: Signe Mähler

INTRodUCTIoN

Since its beginning, the recording and music industry has been one with an oligopolistic structure, that is, a market condition controlled by a limited number of firms. A short history of the developments over what is almost 150 years could read like this: In 1887, Emile Berliner, an émigré from Germany, started by founding the United States Gramophone Company, the world’s first record company, followed by the Gramophone Company, Ltd., in London in 1897, and a year later the deutsche Grammophon GmbH in his hometown of Hannover. At the beginning of the twentieth century, apart from the aforementioned Berliner ventures, there were several major record companies: Edison Amberol (1888), Columbia Records (1888), and the Victor Talking Machine Company (1901). Today, in 2012, three big companies are left: the Universal Music Group, the warner Music Group, and Sony Music Enter- tainment, sharing a good seventy percent of the world recording market. Two of these companies, Universal and Sony, can be traced back directly to Emile Berliner’s companies. A more extensive history of these unbelievable developments and the later upheavals and shifts in the concen-tration of forces involved cannot be dealt with here. 1 However, in order to place the Edition of Contemporary Music (ECM, founded by Manfred Eicher in 1969) in the context of this history, it has to be remembered that the successful development of the recording industry has only been made possible through the underlying basso continuo of a never-ending loop of one particular story from the Bible. The oligopoly was and still is carried on by a multitude of other, smaller contributors.

For example, some 500 competing record labels had emerged by 1914 in Germany alone. The history of the recording industry has also always been one of the Goliaths (commonly known as the major labels) and the davids (commonly known as the independent labels). And the distribution of roles in this history can normally also be reduced to two simple truths: The big ones make money (the big money, to be precise) and determine the “what, where, and how.” The small ones, however, repeatedly produce key productions of exceptional artistic quality, meaning how, in fact, it “should be.” In return, they get a certain kind of recognition; but make small change, if they earn anything at all. The fact that within this almost vulgar Marxist reductionist model there always have been and always will be exceptions is an essential part

of the narrative. ECM‘s history is also causally related to the emancipation of a certain group of people in these production processes, that is, the emancipation of the musicians. In the context of this essay, this particular history, one of the infinite other possible stories, is to be put into context. I shall attempt to place the background and early history of ECM into an extended history of jazz, starting in the United States in the 1940s. Among other things, that history has to do with the fact that musicians in the years to follow did not only see themselves as entertainers. From that point on, and rightly so I think, they claimed their roles as artists within the framework of responsibility of a yet-unwritten African-American history of music. or, as it was stated by AACM (the Asso- ciation for the Advancement of Creative Musicians, founded in 1965) and by one of its member ensembles, the Art Ensemble of Chicago, on ECM records: Great Black Music: From the Ancient to the Future.

SALT PEANUTS oN SATURN

Salt Peanuts is a composition by dizzy Gillespie and kenny Clarke from 1942. It was first recorded in 1945, but its most famous version appears on Jazz at Massey Hall, and was recorded live in Toronto on May 15, 1953. Bass player Charles Mingus is accorded responsibility for that recording. Mingus, along with fellow musicians dizzy Gillespie, Bud Powell, Max Roach, and Charles Parker Jr., had all been invited by the New Jazz Society of Toronto to play the biggest jazz concert of all times with this be-bop all-star ensemble. 2 with these recordings, Mingus—together with his former wife Celia and fellow musician Max Roach—started his own record label, debut Records, in 1953. All the musicians involved were mentioned on the record cover; all of them had been put into an exciting and dynamic, nicely balanced collage, typical of the time. The biggest photo by far showed a slightly stubby man playing alto saxophone. His face is unrecognizable. Charles Parker Jr., the alto player on the photo, was under con-tract with Mercury Records at the time the album was published, which meant that he should not have allowed this concert to be recorded, let alone allow the recording to be released by his colleagues, Mingus and Roach. In order to avoid contractual problems, the name of the musician put on the record cover was not Charles (or Charlie) Parker, the most famous alto saxophone player in the world, as everybody knew. Instead, he was identified as “Charlie Chan.”

55

Keith Jarrett, n.d.

Photo: Andreas Raggenbass

109

LP-Box Sun Bear Concerts (ECM 1110), 1976

111

The Library of SoundS: eCM and The high arT of PubLiShing MuSiCWOLfgAng SAndnER

András Schiff, n.d.

Photo: nan Melville

CoLd STarS, Lazy SubjeCTS, WeLL –founded negaTionS:PauL bLey, anneTTe PeaCoCk, and The beCkeTT Line aT eCM

dIEdRICH dIEdERICHSEn

Palle danielsson, n.d.

Photo: Ralph Quinke

To such unacknowledged abstraction, Beckett affixes the caustic anti-thesis by means of acknowledged subtraction. He does not leave out the temporality of existence—all existence, after all, is temporal—but rather removes from existence what time, the historical tendency, attempts to quash in reality. Theodor W. Adorno

It is no coincidence that the first ECM release was of music by Mal Waldron. This man not only represented a connection to all the important jazz musicians that he had played with, musicians who were just then beginning to be forgotten. In 1970, he was also a man of the future, who, open to all kinds of new music, had even played with german prog (progressive) rockers like Embryo. He was, as the album title proclaimed, “free at last,” but at the same time he symbolized a connection to the greatest era of African-American composition, such as his association with Charles Mingus. All of these are very important components of the source code for what ECM was intended to become. Most importantly, how- ever—and this will ultimately be decisive for my argumentation in this essay—Waldron was the regular piano accompanist for Billie Holiday for many years. The lady who sang the blues. Who sang the blues like a lady.

In the early 1970s, a friend sold me a whole stack of re- cords for a ridiculously small amount of money. He wanted to get rid of them quickly because he was in the middle of changing his life. He had joined the Communist Party in West germany that promoted the teachings of Enver Hoxhas, the Communist leader of Albania. I later heard that this friend was supposed to bequeath all of his possessions to the Party, perhaps also the couple of deutschmarks he received from me when he sold me the collection which included, among others, Girl from Martinique by Robin Kenyatta; Sart by Jan garbarek; Music For Two Basses by dave Holland and Barre Philips; Paris-Concert, a live double album by Circle—a band with Anthony Braxton, Chick Corea, dave Holland and Barry Altschul; and much, much more free jazz, new music, and, as it was called at the time, progressive rock—like frank Zappa and Captain Beefheart.

Most of all, I couldn’t hear enough of the Circle double album; I still know every phrase by heart and, along the way, was initiated into becoming familiar with things like label politics. After all, all of the records just listed, and even more, were releases from the relatively new label, ECM—and that was, I believe, the first time I had the opportunity to understand the creative flavor of different covers as a uniform gesture through the collec-tion of the same or similar tunes. I learned to make a correlation between musical expressions that do not initially cohere because they come from different artists and temperaments, understanding them as the business of a label, as a curatorial signature. Added to this was a series of tours, Terje Rypdal performed at the Jazzhaus at Brandstwiete in 1971, while Chick Corea was fre-quently in Hamburg, and derek Bailey was a guest at the ndR Jazz Workshop. In my case, the experience with the ECM collection, as well as the uniform and innovative presentation of the label in general, led me and my contemporaries to attribute everything possible that was new and/or not yet present in germany at the time in international jazz to the authorship of the label, even if ECM was only the first to support a couple of artists in germany who had already made their marks elsewhere. I was as little aware of the fact that Jan garbarek had a history with george Russell and releases on the flying dutchman label as I was of Paul Bley’s time with Ornette Coleman or Charles Mingus or of his sessions with, again, george Russell.

ECM, of course, was not the first label to have such an individual character, to compose itself of a certain musical taste, creative gestures, and even production standards and principles. I had already been enamored of Impulse! before then, followed Harvest and Vertigo for a time, had been aware of Chess, and later, at the be- ginning of the 1980s, graduated to Rough Trade or Ralph, and then to various labels such as International Artists, Trojan SST, or Qbico. nevertheless, these earlier and later loyalties came about completely differently in one regard. I followed certain artists for musical reasons and thus gradually began to notice associations in the production style and graphic design of a label—and here was a package with which I was familiar with almost nothing and was forced to deal with the music and the strict, non-pop packaging as two unknowns explaining each other. The fact that this was even possible naturally increased my interest in the label ECM even more.

123

Paul Bley, 1970s

Photo: Jochen Mönch

133

Keith Jarrett, concert in Perugia at Umbria Jazz, 1974

Photo: Roberto Masotti

CLoSe uP, in your ear, and froM a diSTanCe: MuSingS on “our” MuSiC via eCMREnéE gREEn

Renée green, “Blutopia,” from Space Poem #3 (Media Bicho)

for MoMA Media Lounge, 2012

181

Renée green, “A Power Stronger Than Itself,” from Space Poem #3 (Media Bicho)

for MoMA Media Lounge, 2012

Codona: reorienTaTion PoinT for neW PLaneTary vaLueS KOdWO ESHUn

Codona (don Cherry, Colllin Walcott, naná Vasconcelos)

in Stuttgart, 1978, Photo: Roberto Masotti

Manfred Eicher and don Cherry, recording session

for Codona 2 (ECM 1177), Ludwigsburg, 1978

Photo: Roberto Masotti

<

don Cherry, in concert at the Auditorium de Lyon, 1979

Photo: gérard Amsellem, Lyon-france

199

MuLTiTaLenTS: jean–LuC godard and Manfred eiCher JüRg STEnZL

One should not only see Jean-Luc godard’s more than sixty feature-length films and his considerable number of short films; one should consciously hear them as well. This makes it clear that the most creative cinéaste of the second half of the twentieth century is much more than a filmmaker. One thing is certain: when it comes to thinking, reflecting, and posing questions with the medium of film, there is scarcely anyone who has explored this so thoroughly and with such consistently new questions as he has. But Jean-Luc godard is much more than a cinematic philosopher. Whoever looks at and listens to the images, the language, the sounds, and the music in his films discovers an incomparable connoisseur, not only of painting (godard himself paints occasionally), but also an incredibly well-read man whose films quote hundreds of texts. In addition, he is also an outstanding expert of music, even if he has occasionally disputed that description. He spoke with some reserve about the use of music in his films at a relatively late point in his career: “Music expresses the spiritual, and it provides in-spiration. When I’m blind, music is my little Antigone; it helps [me] to see the unbelievable. And what has always interested me is the fact that musicians have no need for the image although people involved with images need music. I’ve wanted […] music to take over at the moment when there is no more need to see the images. for music to express something else. What interests me is to see music, to try to see what one is hearing and to hear what one is seeing.” 1

Let us remain with the filmmaker and his use of music. It is not sufficient to simply know as many types of music as possible in order to use them in a film so that they function there as more than a repetition and reinforcement of what the image already says. godard has gone beyond what the Russian filmmaker Sergei Eisenstein, together with Vsevolod Pudovkin and grigori Alexandrov, called for in a visionary manifesto in 1928: Music in sound films must act “contrapuntally” to the images. This was nothing less than an appeal to film- makers to compose with their music—be it with new music composed especially for the films or be it with already existing music from many different centuries and countries—understanding music as an integral part of a whole. godard did this not only with music, but also with other forms of art as well. from the very beginning he quoted from different literary works, until at one point there was a film in which practically every line of dia-

logue was a quote, not to speak of countless references to other films. Only on the basis of such a composed diver- sity could his great work, Histoires(s) du cinéma (Histories of Cinema, gallimard, 1998), a film history of the twen-tieth century, have been made—and it is not only a matter of film history.

Jean-Luc godard is what one could call multitalented, but even more than that, he is a composer: One of his critical film texts was entitled “Montage, mon beau souci” (Montage, my beautiful care, Cahiers du cinéma, no 65 [december 1956])—even before he had shot his first feature-length film: “If film directing is a glimpse, montage is the heartbeat,” he said. godard is a composer, even if he has never composed a single note himself, never sung or played an instrument in public and perhaps has never mastered any instrument better than the tennis racket.

JEAn-LUC gOdARd And MAnfREd EICHER: “SPIEgEL IM SPIEgEL” (MIRROR In THE MIRROR)

When one asks how the close collaboration between godard and Eicher came about and what the cinéaste—the “Vaudois,” the Vaud from Rolle on Lake geneva and Paris—could have in common with the record- producer born in Lindau and based in Munich, the answer seems obvious. Much as the film director in question is much more than simply someone who makes movies, the producer is much more than someone who facilitates and manages the recording of music. Just as godard functions as a musician and a theoretician, a techni- cian and a critic with regard to his films, Eicher is simul- taneously an ensemble musician, a conductor, and a listener. Eicher was inspired from an early age by Kind of Blue, Miles davis’s 1959 album on which John Coltrane, Cannonball Adderley, Bill Evans, and Jimmy Cobb appeared with Paul Chambers—a giant in every regard—on the bass, whose style heavily influenced Eicher as a bassist. How a music enthusiast, however, acquired the indispensable financial, legal, and mana-gerial competencies needed to avoid quickly careen-ing into bankruptcy as a record producer of the most demanding music is a completely different story.

It was the year 1984, fifteen years after the founding of the label, when Eicher decided to make a bold expan- sion to the successful jazz program. The ECM new Series,

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comprising both old and very old music, from Johann Sebastian Bach to contemporary music, largely ignoring the profitable canon of concert-hall music of the eight- eenth and nineteenth centuries. It must have been shocking to the record industry that this musician/pro-ducer not only survived with his decidedly individual ideas and demands but that he was also able to become internationally successful. not even Eicher would have dreamed that the jazz label and then the new Series would create not a worldwide “social network” (in today’s pretentious language) but instead a “musical network”—in the words of godard and Anne-Marie Miéville—an “ECM family” of musicians and their listeners.

How he discovered the films of godard is one of the few biographical details that Eicher has ever spoken about publicly: “A love for music drove my life from childhood on, later, gradually, accompa-nied by a growing interest in cinema. The simultaneous involvement in music and film marked the time I spent studying music in Berlin. The places for both passions were located across the street from each other: The music academy on the north side of Hardenbergstraße, Kino Am Steinplatz on the south side, with a four-lane highway between them. It was in this theater that I first saw films by Roberto Rossellini, Ingmar Bergman, Jean-Luc godard, and Robert Bresson. There was one film that especially engaged me: godard’s Vivre sa vie with Anna Karina 2: a quiet, rhythmically composed film with a pronounced design concept for light, sound, and music and a self-will for the art of omission that godard mastered so rigorously even at the start of his career. I sent him records as musical messages for twenty years that then would appear in his erratic later work. His Histoire(s) du cinéma is also a history of music.” 3

godard’s multiple talents unmistakably showed them-selves in his third feature film, Vivre sa vie (1962). The film does not primarily tell the story of the central character, nana. Instead, it illuminates “sa vie,” her life, in twelve scenes separated by intertitles (as in silent films). At godard’s request, the composer for the film, Michel Legrand, wrote a theme with eleven variations in a pastoral, “neo-Bach” style. Yet godard used no music at all for three of the twelve scenes; a song by Jean ferrat, “Ma Môme,” for the sixth and the ninth; and a piece of dance music, “Swing, je t’aime,” for an unusual dance scene by Anna Karina. In both cases, the music in the

film is played from a jukebox. for the rest of the film, as the composer later noted with astonishment, godard used “only the first eight beats of the first variation. In other words, the filmmaker played with the music, manipulated it, cut it apart, pasted it back together, and extended its pauses. This was a kind of remaking of a new creation, always intelligent and inventive. With godard, I was voluntarily joined in a sort of mutual emulation (émulation réciproque).” 4 In Legrand‘s de-scription of the use of music in Vivre sa vie, one can recognize the constellation that would emerge much later between the filmmaker/musician godard and the music-maker/cinéaste Eicher and that one could describe with the title of a famous work by Arvo Pärt: “Spiegel im Spiegel” (Mirror in the Mirror).

Only decades later did the film connoisseur Eicher make his first film Holozän (Holocene, 1992), adapted from Max frisch’s late novel Der Mensch erscheint im Holozän (Man in the Holocene, 1978), together with the Swiss filmmaker Heinz Bütler, who made a name for himself with his subtle film portraits of such artists as Alberto giacometti, ferdinand Hodler, Balthus or félix Valloton. frisch contributed actively to the screenplay. Holozän is not a filmic novel, but instead a haunting, artistic, and acoustic realization of frisch’s spare language, and in the process he exhibits a thoroughly filmic montage technique. At the center is an old man, played by Erland Josephson, who became famous in the films of Ingmar Bergman and who scarcely says a word in the entire film. His, and by extension the author Max frisch’s, fictitious world is drawn from the pictures shot in Ticino and Iceland, the persistent sounds of rain and wind, and especially the music. It begins with the instrumental introduction to “Wir setzen uns in Tränen nieder” (We sit down in tears, from Bach’s Johannes-Passion [St. John’s Passion]), followed by music from Jan garbarek, Keith Jarrett, Paul Hindemith, and dmitri Shostakovich. In this film, we are again brought into the world of sound of the late period of Jean-Luc godard, again brought into one of his “emulations,” of which Michel Legrand spoke. godard’s late films are parables of end-times, no different from frisch’s farewell to all utopias when faced with a nature that knows no catastrophes. Holozän is not a literary adaptation, but instead the transposition of a literary masterwork into the genuinely different form of expression of this essentially wordless film.

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COMPILED BY STEVE LAKE

ECM, A Chronology

1969

The 26-year-old bassist Manfred Eicher, increasingly interested in the recording of music,

has already produced a number of albums for small jazz labels and helped as a production

assistant at classical sessions for Deutsche Grammophon. The discipline and concentration

of the classical session are, he notes, qualities that could usefully be imported into

improvised recordings. Encouraged by Munich businessman Karl Egger, Eicher establishes

the Edition Zeitgenössischer Musik GmbH—the Edition of Contemporary Music [later ECM]—

as a production company and record label. “The idea to have a label came gradually. I’d

done some freelance production, but it seemed to make sense to have one place where

I could develop these experiments.”. . . The first of ECM’s experiments is with pianist Mal

Waldron. As a former sideman for Charles Mingus and Gene Ammons and accompanist /

musical director for Billie Holiday, Waldron had been a Munich resident since 1967; his

approach to improvising, rooted in the percussive approach of Thelonious Monk and Bud

Powell, fascinates local players. Eicher takes Waldron to Ludwigsburg’s Tonstudio Bauer in

November. “Mal comes into the studio with a concept, sits in his chair and plays his very

definite music. There aren’t too many changes to make. He knows what he is doing” (early

Eicher interview in New Musical Express). Martin Wieland, assistant engineer on the Waldron

session, will be a dependable ally through the early years of ECM.

1970

On New Year’s Day, Mal Waldron’s Free At Last is issued in a first pressing of 500 copies.

Enthusiasm for Mal in faraway Japan ensures that this album sells out and there are two

further pressings before year’s end. ECM is in business. . . . Eberhard Weber makes his first

label appearance in the eruptive trio of Wolfgang Dauner on Output. Dauner drummer Fred

Braceful, who is sometimes also Mal Waldron’s drummer, recommends that Eicher check out

the Music Improvisation Company, a new collective that brings free music innovators Evan

Parker and Derek Bailey together with former Stockhausen associate and live electronics

player Hugh Davies. Their ECM disc maps territory that Parker will explore in detail with his

Electro-Acoustic Ensemble a quarter-century later. . . . ECM licenses two 1960s recordings

from Paul Bley and releases them as the LP Paul Bley with Gary Peacock. . .. In September,

Eicher travels to Oslo to record Jan Garbarek, the striking young saxophonist who has been

touring the European festivals with George Russell. It’s a first recording encounter not only

with Garbarek, Terje Rypdal, Arild Andersen, and Jon Christensen—the Big Four of Norwegian

jazz, as the press will call them—but also with engineer Jan Erik Kongshaug.

1971

Garbarek’s Afric Pepperbird released to extremely positive reviews, with DownBeat magazine

writing, “Not since Django Reinhardt has there been a European musician as forward looking

as this young Norwegian.” By midsummer, the UK’s Melody Maker is writing that “ECM is

rapidly becoming the best label around,” a judgment based upon three new releases: Chick

Corea’s solo Piano Improvisations Vol. 1; A.R.C. by the trio of Corea, Dave Holland, and Barry

Altschul; and Music from Two Basses by Holland and Barre Phillips. These pioneering releases

introduce some key members of the ECM family, and Corea’s unaccompanied disc sets the

stage for the label’s important series of solo piano discs. . . . Another landmark recording

is Facing You, the solo piano debut of Keith Jarrett, recorded in Oslo. . . . Making albums

is one thing, getting them distributed another. In Germany, LPs are still sold primarily by

mail order from Gleichmannstrasse 10 in Munich.

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ECM DisCogrAphy1969 — 2012 …

ECM NEW SERIES

John AdamsHarmoniumSan Francisco Symphony Orchestra and ChorusEdo de Waart: conductorPart 1 – Negative LovePart 2 – Because I Could Not StopFor Death – Wild NightsRecorded January 1984ECM 1277

Johann Sebastian BachThe Sonatas and Partitas for Violin SoloJohn Holloway: baroque violinRecorded July and September 2004ECM 1909/10 2-CD Set

Johann Sebastian BachThe Sonatas and Partitas for Violin SoloGidon Kremer: violinRecorded September 2001 and March 2002ECM 1926/27 2-CD Set

Johann Sebastian BachDas Wohltemperierte Klavier, Buch ITill Fellner: pianoRecorded September 2002ECM 1853/54 2-CD Set

Johann Sebastian BachInventionen und Sinfonien / Französische Suite VTill Fellner: pianoInventionen BWV 772 — 786Sinfonien BWV 787 — 801Französische Suite V in G-Dur BWV 816Recorded July 2007ECM 2043

Johann Sebastian BachIch hatte viel BekümmernisKonzerte und Sinfonien für OboeHeinz Holliger: oboe, oboe d’amoreCamerata BernErich Höbarth: violin, conductorKantate “Ich hatte viel Bekümmernis” BWV 21Konzert in c-Moll BWV 1060Oster-Oratorium “Kommt, eilet und laufet” BWV 249Konzert in A-Dur BWV 1055Konzert in d-mollKantate „Weinen, Klagen, Sorgen, Zagen“ BWV 12Konzert d-Moll BWV 1059Recorded December 2010ECM 2229

András SchiffJohann Sebastian BachGoldberg VariationsAndrás Schiff: pianoRecorded October 2001ECM 1825

Johann Sebastian BachSix PartitasAndrás SchiffAndrás Schiff: pianoSix Partitas BWV 826 — 830Recorded September 2007ECM 2001/02

Johann Sebastian BachDas Wohltemperierte ClavierAndrás SchiffAndrás Schiff: pianoDas Wohltemperierte Clavier - Buch I & IIRecorded August 2011ECM 2270 — 73

Johann Sebastian BachChristoph PoppenThe Hilliard EnsembleMorimurChristoph Poppen: baroque violinThe Hilliard EnsembleMonika Mauch: sopranoDavid James: countertenorJohn Potter: tenor

Gordon Jones: baritoneJohann Sebastian Bach:Partita d minor BWV 1004CiacconaRecorded September 2000ECM 1765

Johann Sebastian BachAnton WebernRicercarMünchener KammerorchesterChristoph PoppenThe Hilliard EnsembleJohann Sebastian Bach:Fuga (Ricercata) (orchestrated by Anton Webern)Cantata No. 4 “Christ lag in Todesbanden”Anton Webern: String Quartet 1905(orchestrated by Christoph Poppen)Five Movements op. 5Recorded January 2001ECM 1774

Johann Sebastian BachMotettenThe Hilliard EnsembleJoanne Lunn, Rebecca Outram: sopranosDavid James, David Gould: countertenorsRogers Covey-Crump: tenor and organSteven Harrold: tenorGordon Jones: baritoneRobert Macdonald: bassMotets, BMW 225 — 230Recorded November 2003ECM 1875

Johann Sebastian BachDie Kunst der FugeKeller QuartettAndrás Keller: violinJános Pilz: violinZoltán Gál: violaOttó Kertész: violoncelloRecorded May 1997ECM 1652

Johann Sebastian BachDas Wohltemperierte Klavier, Buch IKeith Jarrett: pianoRecorded February 1987ECM 1362/63 2-CD Set

Johann Sebastian BachGoldberg VariationsKeith Jarrett: harpsichordRecorded January 1989ECM 1395

Johann Sebastian BachDas Wohltemperierte Klavier, Buch IIKeith Jarrett: harpsichordRecorded May 1990ECM 1433/34 2-CD Set

Johann Sebastian BachThe French SuitesKeith Jarrett: harpsichordRecorded September 1991ECM 1513/14 2-CD Set

Johann Sebastian Bach3 Sonaten für Viola da Gamba und CembaloKim Kashkashian: violaKeith Jarrett: cembaloSonata G major, BWV 1027Sonata D major, BWV 1028Sonata g minor, BWV 1029Recorded September 1991ECM 1501

Werner BärtschiMozart/Scelsi/Pärt/Busoni/BärtschiWerner Bärtschi: pianoWolfgang Amadeus Mozart:Fantasie c minor KV 475 | Adagio b minor KV 540 | Sonata B-flat major KV 333Giacinto Scelsi: Vier Illustrationen zu den Verwandlungen VishnusArvo Pärt: Für AlinaWerner Bärtschi: Frühmorgens am Daubensee

Ferruccio Busoni: ToccataRecorded July 1988ECM 1377

Juliane Banse / András SchiffSongs of Debussy and MozartJuliane Banse: sopranoAndrás Schiff: pianoClaude Debussy:Beau soir | Clair de lune | PierrotApparition| PantomimeFêtes galantes, 1er livre:En sourdine | Fantoches | Clair de luneAriettes oubliées:C’est l’extase langoureuse | Il pleuredans mon cœur | L’ombre des arbresChevaux de bois | Green | SpleenWolfgang Amadeus Mozart:Dans un bois solitaire KV 308Oiseaux, si tous les ans KV 307Warnung KV 433 | Der Zauberer KV 472Das Veilchen KV 476Sehnsucht nach dem Frühlinge KV 596Als Luise die Briefe ihres untreuen Liebhabers verbrannte KV 520Abendempfindung KV 523Recorded January 2001ECM 1772

Jean BarraquéSonata pour pianoHerbert Henck: pianoRecorded July 1996ECM 1621

Béla Bartók44 Duos for Two ViolinsAndrás Keller, János Pilz: violinsBéla Bartók:44 Duos for Two ViolinsGyörgy Ligeti:Ballad and DanceGyörgy Kurtág:Ligatura – Message to Frances-Marie op. 31bRecorded October 1999ECM 1729

Ludwig van BeethovenComplete Music for Piano and VioloncelloAndrás Schiff/Miklós PerényiAndrás Schiff: pianoMiklós Perényi: violoncelloSonata F major, op. 5, No. 1Variations on a theme from Händel’s Oratorio “Judas Maccabaeus” G major WoO 45Sonata g minor op. 5, No. 2Sonata F major op. 17 (Horn Sonata)12 Variations on “Ein Mädchen oder Weibchen“ F major op. 66Sonata A major op. 697 Variations on “Bei Männern, welche Liebe fühlen“ E-flat major WoO 46Sonata C major op. 102, No. 1Sonata D major op. 102, No. 2Recorded December 2001 and August 2002ECM 1819/20 2-CD Set

Ludwig van BeethovenThe Piano Sonatas, Volume IAndrás SchiffAndrás Schiff: pianoSonatas opp. 2 and op.7Recorded March 2004ECM 1940/41 2-CD Set

Ludwig van BeethovenThe Piano Sonatas, Volume IIAndrás SchiffAndrás Schiff: pianoSonatas opp. 10 and 13Recorded November 2004ECM 1942

Ludwig van BeethovenThe Piano Sonatas, Volume IIIAndrás SchiffAndrás Schiff: pianoSonatas opp. 14, 22 and 49Recorded February 2005ECM 1943

Ludwig van BeethovenThe Piano Sonatas, Volume IVAndrás SchiffAndrás Schiff: pianoSonatas opp. 26, 27 and 28Recorded April 2005ECM 1944

Ludwig van BeethovenThe Piano Sonatas, Volume VAndrás SchiffAndrás Schiff: pianoSonatas opp. 31 and 53Recorded December 2005ECM 1945/46

Ludwig van BeethovenThe Piano Sonatas, Volume VIAndrás SchiffAndrás Schiff: pianoSonatas opp. 54, 57, 78, 79 and 81aRecorded April 2006ECM 1947

Ludwig van BeethovenThe Piano Sonatas, Volume VIIAndrás SchiffAndrás Schiff: pianoSonatas opp. 90, 101 and 106Recorded May 2006ECM 1948

Ludwig van BeethovenThe Piano Sonatas, Volume VIIIAndrás SchiffAndrás Schiff: pianoSonatas opp. 109, 110 and 111Recorded September 2007ECM 1949

Ludwig van BeethovenPiano Concertos Nos. 4 & 5Till Fellner: pianoOrchestre symphonique de MontréalKent Nagano: conductorPiano Concertos No. 4, op. 58, and No. 5, op. 73Recorded May and November 2008ECM 2114

Alban BergKarl Amadeus HartmannTief in der NachtJuliane Banse: sopranoAleksandar Madžar: pianoAlban Berg:Sieben frühe Lieder / JugendliederZwei Lieder nach Theodor StormKarl Amadeus Hartmann:LamentoRecorded March 2009ECM 2153

Harald BergmannScardanelliSoundtrack from the filmby Harald BergmannWalter Schmidinger: voicePeter Schneider: Scardanelli-pianoNoël Lee, Christian Ivaldi: pianoRecorded December 1997 and May 1998ECM 1761

Luciano BerioVociKim KashkashianKim Kashkashian: violaRadio Symphonieorchester WienDennis Russell Davies: conductorRobyn Schulkowsky: percussionLuciano Berio: VociSicilian folk musicLuciano Berio: NaturaleRecorded November 1999and May 2000ECM 1735

Biber / MuffatDer Türken AnmarschJohn HollowayJohn Holloway: violinAlosia Assenbaum: organLars Ulrik Mortensen: harpischord

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COLOPHON

This book was published in

conjunction with the exhibition

ECM – A Cultural Archaeology

held at the Haus der Kunst in Munich

from November 23, 2012, to February 10, 2013.

Stiftung Haus der Kunst München,

gemeinnützige Betriebsgesellschaft mbH

Director

Okwui Enwezor

Team

Daniela Burkart, Sylvia Clasen, Arnulf von Dall’Armi,

Patrizia Dander, Elena Heitsch, Tina Köhler,

Anton Köttl, Isabella Kredler, León Krempel, Teresa Lengl,

Anne Leopold, Julienne Lorz, Iris Ludwig, Karin Mahr,

Marco Graf von Matuschka, Miro Palavra, Glenn Rossiter,

Andrea Saul, Anna Schüller, Cassandre Schmid,

Martina Schmid, Ulrich Wilmes

Prinzregentenstr. 1

80538 Munich

Tel: +49 89 21127 113

www.hausderkunst.de

 

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