MINIMALIST DREAM HOUSE_ Katia & Marielle Labèque

_ VII _ XII

g _ V.Synchronising

4814468. LC 00173

28948 14468 6
4814468
 VOL_1
Philip Glass Michael Nyman
two pianos / 2008 two pianos / 1985-2011
_ Four Movements for Two Pianos _ Water Dances
1_ I 05:59 Katia & Marielle Labèque 11_ I.Dipping 04:48 Katia & Marielle Labèque
2_ II 05:38 Katia & Marielle Labèque 12_ II.Stroking 06:35 Katia & Marielle Labèque
3_ III 06:48 Katia & Marielle Labèque
4_ IV 05:16 Katia & Marielle Labèque Howard Skempton
piano solo / 1989
John Cage _ Images
two pianos / 1945 13_ Interlude 4 01:21 Marielle Labèque
5_ _ Experiences, I. 02:19 Katia & Marielle Labèque 14_ Prelude 5 03:03 Marielle Labèque
15_ Interlude 5 00:52 Marielle Labèque
Arvo Pärt 16_ Prelude 7 02:32 Marielle Labèque
two pianos / 1984-2004
6_ _ Hymn to a Great City 03:18 Katia & Marielle Labèque Howard Skempton
piano solo / 1978
Philip Glass 17_ _ Postlude 01:48 Marielle Labèque
piano solo / 2002-2003
7_ _ The Poet Acts 03:42 Katia Labèque
(Music from the Hours for piano transcribed
by Michael Riesman and Nico Muhly) •Total vol_1 01:01:06

William Duckworth
piano solo / 1977-1978
_The Time Curve Preludes
8_ I 02:27 Marielle Labèque
9_ II 02:08 Katia Labèque
10_ XVII 02:32 Marielle Labèque
 VOL_2
David Chalmin Terry Riley
2011 two pianos+band / 1964
1_ _Gameland 06:06 Katia & Marielle Labèque 9_ _ In C 28:58 Katia & Marielle Labèque
David Chalmin, Raphaël Séguinier David Chalmin, Raphaël Séguinier
Nicola Tescari Nicola Tescari
William Duckworth Raphaël Séguinier
piano solo / 1977-1978 2011
_The Time Curve Preludes 10_ _ Free to X 05:03 Katia Labèque, David Chalmin
2_ VII 03:18 Katia Labèque Raphaël Séguinier, Nicola Tescari
3_ XII 02:56 Katia Labèque

Radiohead •Total vol_2 01:08:09

Brian Eno
1975
5_ _ In Dark Trees 03:49 Katia Labèque, David Chalmin
Raphaël Séguinier, Nicola Tescari
Aphex Twin
piano 4 hands / 2001
6_ _ Avril 14th 02:11 Katia & Marielle Labèque

Michael Nyman
two pianos / 1985-2011
_ Water Dances
7_ IV.Gliding 04:43 Katia & Marielle Labèque
8_ V.Synchronising 05:55 Katia & Marielle Labèque
 Minimalism: an introduction
in 1968. Riley had in fact been looping aleatorically, creating time showcase minimalist works from each of the past five decades.
lagged phases and flavouring in them
Raphaël Séguinier
To be musically avant-garde the with
1950s Oriental
meantmelodic patterning
to be difficult. Not for
by  • Free to X (2011) (world premiere recording)
two
the or three
end years.
of the But the
1960s. Thattransfer
decadeofsaw these ideas to
a group oflive instrumentation
American beatniks  In the spirit of La Monte Young's 1960s loft experiments (which became
_ band
and the positive
overthrow reaction
the musical to the
givens of results
postwarwas a momentous
Europe. In a series ofevent for the
disobedi-  known as the Dream House concerts), we also present new post-mini-
new
entlymovement. The piece
straightforward came to Riley
compositions, La one
Monte night on theTerry
Young, bus. Jennings, 
He heard malist works by musician-composers, David Chalmin  and Raphaël
Free to X starts with the additive rhythmic principle of Philip Glass and
"the whole
Terry first
Riley, line Reich
Steve of In C.andIt just
PhilipsortGlass
of came into my
declared ear".
that musicSteve Reich
could be  Séguinier, members of Triple Sun..
combines it with the drones of La Monte Young. Both grow and build
(aclear,
neighbour
honest, of Riley's
pretty in Sanexperimental.
and Fransisco) premiered the work
Turning  their backsat the
on San
the  until complication pushes them into a less controllable realm. Here the
Fransisco
conventionalTape Music
centres Center in
of musical 1964the
power, and added
earliest the all-important
minimalist works got 
requirement to sustain
their first public an eighth
audience in the noteLa pulse
Montethroughout.
Young 1960-61 Chamber 
Philip Glass
drone ceases to (b.
be 1937)
so friendly and swallows the rhythmic pulse in a
•cacophony of electronic
Four Movements (2008)noise.
Street Series that took place in Yoko Ono's New York loft.
The work is of indeterminate length and indeterminate instrumentation. It _ two pianos 
consists
Throughofthe 53 1960s,
numbered the melodic
minimalists phrases,
slowlymostly short, each
demystified, of which
democratised 
are Like so much of the later output of the minimalist pioneers, Philip Glass's
andrepeated at liberty.
Americanised Musicians
European must play
modernism. the phrases
"I don't know any in sequence
secrets of 
but may drop more recent music is best described as post-minimal rather than purely
structure thatoutyouandcan'trejoin at declared
hear," any time.Steve Shapes appear
Reich and disappear.
in his 1968 minimal- 
The acoustic affect minimal. Four Movements uses the grammar of 1960s and 1970s to
ist manifesto, Musicisas nota dissimilar
Gradual Process.to the shape-shifting
Minimalism claimedof flocksthat 
of
birds. create a musical landscape that is much more vertically dense, structur-
there Some of theseinterest
was enough figures in can thebesounding
curiously process
familiar. Some
itself tohave hearda 
sustain
Bruckner materialise in the triadic repetitions of the 29th ally zigzaggy and atmospherically romantic. Narrative is back, as are
work. If one removed the complications that were obscuring thephrase.
natural 
Elsewhere themes. Repetition and rhythm still form a substantial part of the struc-
beauties ofIndonesian
rhythm andand sound,Indian
whatmusical
would be phrases
discoveredwaft could
into earshot.
happily 
Every musical idea, however, is soon dashed against tural dynamic of this work. But it no longer dominates. The piece starts
occupy composers for the next fifty years. They werethe aleatoric
right. rocks.
Minimalism 
in mid-melodic flight. A dense web of cross-rhythms ensnares the open-
was the last great musical movement of the 20th century. And it became 
The ing phrase. Beefy octaves stride around cutting through the textures.
the simplicity of the work,
most influential the looseness
and successful ism of the
them rules,
all. the joys of the close
collaborative listening that the work demands have made it one of the There are two clearings, in which Glass sets out one maudlin thought
most popular minimalist works ever and one more furtive one. The second movement is slow. It alternates
These two CDs offer highlights fromwritten.
the 50 Years of Minimalism festival.
between two moods: one downcast and harmonically uneasy and a
We look back to those classical composers who influenced the school.
second dominated by a tender ballad that soars over a glinting treble
We explore minimalism's influence on the experimental rock scene and

PAGE 20 PAGE 29
PAGE 8 PAGE 21
 ricochets and atmospheric guitar lines reminiscent of Baroque grounds. 
Radiohead
clef (England,
ostinato. The third is the 1985)
longest movement and the most complicat- monastery. The act of stripping sound down to its bare essentials was
ed• rhythmically
Pyramid Song and(2001)
harmonically. There is even the sense of a good old Aphex
from theTwin
beginning of the movement associated with spiritual ways of
(b. 1971)
_ voice and
Romantic pianobetween keys (F major and F minor). The final move-
struggle thinking.
• Avril The connection between religion and minimalism was even
14th (2001)
ment begins with a low, richly harmonised and snaky melody on the closer four
_ piano, in communist
hands Eastern Europe. Here, where dissonance meant
Pyramid
second Song,Syncopations
piano. which was released
and fastonostinati
Radiohead's
propel2001 album and
it forward Amne you were a traitor and tonality a lackey of the state, minimalism was seen
siac, confirmed
ultimately shatter itthe band's role style.
in spectacular as Britain's leading rock experimental- as aare
There happyfew third way. The
minimalists whoEstonian Arvoflirting
can resist Pärt developed one
with Satie at of the
some most
point
ists. Rhythmically and harmonically we are in unsettling realms. The in sophisticated
their lives. And minimalist
Richard D. languages - oneAphex
James (aka that was
Twin)based
is noonexception.
the evoca-
drum beat is syncopated into virtual barlessness. Harmonic choices - tion ofthrew
James bells.minimalism
This tintinnabular
onto hotstyle caninbe
coals theheard in this
1980s, short ambient
melding two-piano
John Cage (1912-1992)
the major and minor 9ths and dissonances - add a Middle Eastern
• Experiences No. 1 (1945) piecetoinathe
sounds repeated
techno pulse.GBy sharps and
the time of the
the sudden high cartwheels.
album Drukqs, however, his The
sultriness. All of it conspires to create a Satie-like feeling of lostness. second
music had pianist
calmedisitself
unfailing
down.loyal to the
Drukqs hashome key, for
13 tracks returning
piano, toonea of
perfect
the
_ two pianos
cadence
finest is Avrilin14th
every bar. This
which loopsrefrain lends the
on a catchy piece
little an incantatory quality.
melody.
Brian
This slow, Eno (b.unaccented
careful, 1948) work for two pianos is as light and holey The great city of the title is New York. 
as• aIn Swiss
Dark Trees
cheese.(1975)
It was written at a time when Cage was coming Terry Riley ( (b. 1935) In C (1964)
_ band
under the influence of the Indian composer Gita Sarabhai. She had Philip Glass (b. 1937) (arr. Michael Riesman)
_ band
convinced Cage that "the purpose of music is to sober and quiet the • The Poet Acts (2004)
"I canthus
mind, remember
making very clearly ... to
it susceptible this image
divine of a dark, inky
influences." Cage'sblueresponse
forest with _soloLike
"Music piano
None Other On Earth" proclaimed the music critic of the San
moss
was hanging
to seek off of
a kind and you could
musical hearslow-moving
Tai Chi: horses off inmusical
the distance all the
exercises Fransisco Chronicle, Alfred Frankenstein, on the premiere of Terry
time,
that these
would horses kind
incorporate of neighing,
silence. The workwhinnying."
was written InforDark
a new Trees
danceis a No survey
Riley's of minimalism yet
In C. Experimental would be completealeatoric
unthreatening, without ayet
look at the
clear, wealth
Riley's
transcription
piece of BrianMerce
by his boyfriend Eno's Cunningham.
memories of Suffolk's Rendlesham Woods. of film
work music of the
epitomised the quietly
past thirty years, where
audacious naturethe
ofmovement
minimalism. has"No
become
one
The piece was part of the album, Another Green World, which marked something
could remember of athe
house
last style. The mancomposer
experimental who kickedwhooffhad
theused
love affair
a key is
Brian Eno's break with the glam rock world of Roxy Music. The music Philip Glass.
signature, much One of Glass's
less written most successful
anything recent explained
in C major," scores wasfellow
for the
Arvo Pärt (b. 1935) Hymn to a Great City (1984/2004)
moves at pace through several percussive pulses, taking in unexpected
_ two pianos StephenWilliam
composer Daldry Duckworth.
biopic The Hours (2002), which was arranged for the
ricochets and atmospheric guitar lines reminiscent of Baroque grounds.  piano by his long-time collaborator Michael Riesman and Nico Muhly in
Minimalism could be seen as the moment music decided to re-enter the In 2004.
C is the The Poet
first Acts is classic.
minimalist the brooding, barcarolle-like
The piece became a first movement
calling card forof
Riley and the American minimalists when it was recorded by Columbia

PAGE
PAGE 10 18 PAGE
PAGE 19 11
 the piano kink in the surface patterning. The interludes are more contemplative.
written for suite.
a 1984 documentary film by Peter Greenaway about The Twelfth is both the most straightforward and the most rhythmically
Four betrays Skempton's love of The Beatles in its syncopative direct-
synchronised swimming, Making a Splash, (Nyman's 13th collaboration complex of all the Duckworth here. The pulse constantly changes,
William Duckworth (1943-2012) ness. Five channels the harmonies of Debussy.
with the director), is heard here in a new  arrangement for two pianos. creating a flickering effect in the octave ostinato, out of which,
The• Time Curve
half-hour Preludes
work (1977-78)
is a wealth excerpts
of carefully - No. 1, 2,
balanced 7, 12 and
stylistic 17
contradic- Riley-like, an Indian melody appears. It strives for the major seventh
_ solo piano   figures in Minimalist clothes, coloured with Romantic The final piece from this miniaturist is his stand-alone Postlude, one of
tions: Baroque then suddenly climbs an octave and retires in this new idyll. The same
the most economical and evocative that he ever wrote. In a series of
harmonies. The work builds to a energetic conclusion capped by a melodic pattern returns in Prelude XVII but in a more listless frame of
unresolved chord, over the space of just two minutes, the piece appears
heady melody
William that wouldn't
Duckworth's Time sound out of place
Curve Preludes markat the end
top ofof the charts.
minimalism's mind. It lolls around dreamily, ornamenting its way (almost but not
to travel far and wide, each vertical an atmospheric tableau standing in
austere first phase and the start of something much looser and freer. quite) into a minor key. 
for a hidden world.
Duckworth's
Howard ground-breaking
Skempton piano cycle was "the first major work that
(b. 1947)
sounded
• Images minimalist
(1989) excerpts but- Interlude
refused 4, toPrelude
satisfy 5, minimalist
Interlude 5,expectations",
Prelude 7, Despite the added complications, all the preludes maintain a strong
wrote critic
Postlude (1978)Kyle Gann. Unlike the first generation, Duckworth wears his David Chalmin
relationship (b. 1980)
to minimalism's  
first phase in the drones that the piano is
influences • Gameland
meant (2011) (world
to sustain premiere recording)
(through pedalling or weighing down the relevant
_ solo piano without shame. Bluegrass, plainchant, the music of Erik Satie
and Keith Jarrett all rear their head at various points in this 24-piece _ band
hammers).
cycle for solo
Minimalists are piano.
mostlyThere's a folk-like
maximilists when freshness
it comes to Preludes
to duration. I. TheNot
first
is playful and gambols around a bright E flat major and its maudlin Chalmin's Gameland begins in an experimental mood, the pianist and
Howard Skempton. He is one the very few minimalist miniaturists. He Michael Nyman (b. 1944)
guitars investigating the innards of their instrument. The piece then shifts
majorhis
began seventh.
musical Prelude
life in IIthe
is structured around aCardew,
orbit of Cornelius dynamicwith arc,whom
the synco-
he • Water Dances 2012 (first recording): excerpts – No. 1, 2, 4 and 5
pated the
Cs experimental
of the left hand gradually overwhelming into a highly chromatic and punchy dance in 12/8 that is slowly
founded Scratch Orchestra in 1969, andthe minor
in this modal
environ- _ two pianos
dancing bells in the right then fading away.  overwhelmed by two menacing minor seconds. There is a threatening
ment he fashioned a distinctive musical language through a series of
theatricality to the encounter between the musical ideas that recalls the
Satie-like piano pieces. Michael Nyman is one of the most important minimalists to come from
A woozy dissonance rears its head in Prelude VII, scattered rhythmically music of Bernard Herrmann.
outside America. He coined the term minimalism in an article for The
accordingImages
Skempton's to a Fibonacci
are a setnumber
of solo sequence
piano worksgiving an asymmetry
composed to the
for a photo- Spectator magazine in 1968 and shaped the language of the new
left-hand figuration. Prelude X has a Latin American quality
graphically focused 1989 Channel Four TV series. The preludes evoke in its springy movement in a highly personal and hugely popular direction. His music
themajor
play sevenths and minor
of the waves. In thechromatic
first, rightrun
andarounds,
left handasricochet
left and right hand
off each combines the propulsion and puzzles of the Baroque with the lyricism
fightgently.
other each other for the
In Seven the pitches
bobbingnear B.  lively. In Five a wind injects a
is more and amplified brashness of modern rock. Water Dances, originally

PAGE 12 PAGE 17
PAGE 16 PAGE 13
 the piano kink in the surface patterning. The interludes are more contemplative.
written for suite.
a 1984 documentary film by Peter Greenaway about The Twelfth is both the most straightforward and the most rhythmically
Four betrays Skempton's love of The Beatles in its syncopative direct-
synchronised swimming, Making a Splash, (Nyman's 13th collaboration complex of all the Duckworth here. The pulse constantly changes,
William Duckworth (1943-2012) ness. Five channels the harmonies of Debussy.
with the director), is heard here in a new  arrangement for two pianos. creating a flickering effect in the octave ostinato, out of which,
The• Time Curve
half-hour Preludes
work (1977-78)
is a wealth excerpts
of carefully - No. 1, 2,
balanced 7, 12 and
stylistic 17
contradic- Riley-like, an Indian melody appears. It strives for the major seventh
_ solo piano   figures in Minimalist clothes, coloured with Romantic The final piece from this miniaturist is his stand-alone Postlude, one of
tions: Baroque then suddenly climbs an octave and retires in this new idyll. The same
the most economical and evocative that he ever wrote. In a series of
harmonies. The work builds to a energetic conclusion capped by a melodic pattern returns in Prelude XVII but in a more listless frame of
unresolved chord, over the space of just two minutes, the piece appears
heady melody
William that wouldn't
Duckworth's Time sound out of place
Curve Preludes markat the end
top ofof the charts.
minimalism's mind. It lolls around dreamily, ornamenting its way (almost but not
to travel far and wide, each vertical an atmospheric tableau standing in
austere first phase and the start of something much looser and freer. quite) into a minor key. 
for a hidden world.
Duckworth's
Howard ground-breaking
Skempton piano cycle was "the first major work that
(b. 1947)
sounded
• Images minimalist
(1989) excerpts but- Interlude
refused 4, toPrelude
satisfy 5, minimalist
Interlude 5,expectations",
Prelude 7, Despite the added complications, all the preludes maintain a strong
wrote critic
Postlude (1978)Kyle Gann. Unlike the first generation, Duckworth wears his David Chalmin
relationship (b. 1980)
to minimalism's  
first phase in the drones that the piano is
influences • Gameland
meant (2011) (world
to sustain premiere recording)
(through pedalling or weighing down the relevant
_ solo piano without shame. Bluegrass, plainchant, the music of Erik Satie
and Keith Jarrett all rear their head at various points in this 24-piece _ band
hammers).
cycle for solo
Minimalists are piano.
mostlyThere's a folk-like
maximilists when freshness
it comes to Preludes
to duration. I. TheNot
first
is playful and gambols around a bright E flat major and its maudlin Chalmin's Gameland begins in an experimental mood, the pianist and
Howard Skempton. He is one the very few minimalist miniaturists. He Michael Nyman (b. 1944)
guitars investigating the innards of their instrument. The piece then shifts
majorhis
began seventh.
musical Prelude
life in IIthe
is structured around aCardew,
orbit of Cornelius dynamicwith arc,whom
the synco-
he • Water Dances 2012 (first recording): excerpts – No. 1, 2, 4 and 5
pated the
Cs experimental
of the left hand gradually overwhelming into a highly chromatic and punchy dance in 12/8 that is slowly
founded Scratch Orchestra in 1969, andthe minor
in this modal
environ- _ two pianos
dancing bells in the right then fading away.  overwhelmed by two menacing minor seconds. There is a threatening
ment he fashioned a distinctive musical language through a series of
theatricality to the encounter between the musical ideas that recalls the
Satie-like piano pieces. Michael Nyman is one of the most important minimalists to come from
A woozy dissonance rears its head in Prelude VII, scattered rhythmically music of Bernard Herrmann.
outside America. He coined the term minimalism in an article for The
accordingImages
Skempton's to a Fibonacci
are a setnumber
of solo sequence
piano worksgiving an asymmetry
composed to the
for a photo- Spectator magazine in 1968 and shaped the language of the new
left-hand figuration. Prelude X has a Latin American quality
graphically focused 1989 Channel Four TV series. The preludes evoke in its springy movement in a highly personal and hugely popular direction. His music
themajor
play sevenths and minor
of the waves. In thechromatic
first, rightrun
andarounds,
left handasricochet
left and right hand
off each combines the propulsion and puzzles of the Baroque with the lyricism
fightgently.
other each other for the
In Seven the pitches
bobbingnear B.  lively. In Five a wind injects a
is more and amplified brashness of modern rock. Water Dances, originally

PAGE 12 PAGE 17
PAGE 16 PAGE 13
 ricochets and atmospheric guitar lines reminiscent of Baroque grounds. 
Radiohead
clef (England,
ostinato. The third is the 1985)
longest movement and the most complicat- monastery. The act of stripping sound down to its bare essentials was
ed• rhythmically
Pyramid Song and(2001)
harmonically. There is even the sense of a good old Aphex
from theTwin
beginning of the movement associated with spiritual ways of
(b. 1971)
_ voice and
Romantic pianobetween keys (F major and F minor). The final move-
struggle thinking.
• Avril The connection between religion and minimalism was even
14th (2001)
ment begins with a low, richly harmonised and snaky melody on the closer four
_ piano, in communist
hands Eastern Europe. Here, where dissonance meant
Pyramid
second Song,Syncopations
piano. which was released
and fastonostinati
Radiohead's
propel2001 album and
it forward Amne you were a traitor and tonality a lackey of the state, minimalism was seen
siac, confirmed
ultimately shatter itthe band's role style.
in spectacular as Britain's leading rock experimental- as aare
There happyfew third way. The
minimalists whoEstonian Arvoflirting
can resist Pärt developed one
with Satie at of the
some most
point
ists. Rhythmically and harmonically we are in unsettling realms. The in sophisticated
their lives. And minimalist
Richard D. languages - oneAphex
James (aka that was
Twin)based
is noonexception.
the evoca-
drum beat is syncopated into virtual barlessness. Harmonic choices - tion ofthrew
James bells.minimalism
This tintinnabular
onto hotstyle caninbe
coals theheard in this
1980s, short ambient
melding two-piano
John Cage (1912-1992)
the major and minor 9ths and dissonances - add a Middle Eastern
• Experiences No. 1 (1945) piecetoinathe
sounds repeated
techno pulse.GBy sharps and
the time of the
the sudden high cartwheels.
album Drukqs, however, his The
sultriness. All of it conspires to create a Satie-like feeling of lostness. second
music had pianist
calmedisitself
unfailing
down.loyal to the
Drukqs hashome key, for
13 tracks returning
piano, toonea of
perfect
the
_ two pianos
cadence
finest is Avrilin14th
every bar. This
which loopsrefrain lends the
on a catchy piece
little an incantatory quality.
melody.
Brian
This slow, Eno (b.unaccented
careful, 1948) work for two pianos is as light and holey The great city of the title is New York. 
as• aIn Swiss
Dark Trees
cheese.(1975)
It was written at a time when Cage was coming Terry Riley ( (b. 1935) In C (1964)
_ band
under the influence of the Indian composer Gita Sarabhai. She had Philip Glass (b. 1937) (arr. Michael Riesman)
_ band
convinced Cage that "the purpose of music is to sober and quiet the • The Poet Acts (2004)
"I canthus
mind, remember
making very clearly ... to
it susceptible this image
divine of a dark, inky
influences." Cage'sblueresponse
forest with _soloLike
"Music piano
None Other On Earth" proclaimed the music critic of the San
moss
was hanging
to seek off of
a kind and you could
musical hearslow-moving
Tai Chi: horses off inmusical
the distance all the
exercises Fransisco Chronicle, Alfred Frankenstein, on the premiere of Terry
time,
that these
would horses kind
incorporate of neighing,
silence. The workwhinnying."
was written InforDark
a new Trees
danceis a No survey
Riley's of minimalism yet
In C. Experimental would be completealeatoric
unthreatening, without ayet
look at the
clear, wealth
Riley's
transcription
piece of BrianMerce
by his boyfriend Eno's Cunningham.
memories of Suffolk's Rendlesham Woods. of film
work music of the
epitomised the quietly
past thirty years, where
audacious naturethe
ofmovement
minimalism. has"No
become
one
The piece was part of the album, Another Green World, which marked something
could remember of athe
house
last style. The mancomposer
experimental who kickedwhooffhad
theused
love affair
a key is
Brian Eno's break with the glam rock world of Roxy Music. The music Philip Glass.
signature, much One of Glass's
less written most successful
anything recent explained
in C major," scores wasfellow
for the
Arvo Pärt (b. 1935) Hymn to a Great City (1984/2004)
moves at pace through several percussive pulses, taking in unexpected
_ two pianos StephenWilliam
composer Daldry Duckworth.
biopic The Hours (2002), which was arranged for the
ricochets and atmospheric guitar lines reminiscent of Baroque grounds.  piano by his long-time collaborator Michael Riesman and Nico Muhly in
Minimalism could be seen as the moment music decided to re-enter the In 2004.
C is the The Poet
first Acts is classic.
minimalist the brooding, barcarolle-like
The piece became a first movement
calling card forof
Riley and the American minimalists when it was recorded by Columbia

PAGE
PAGE 10 18 PAGE
PAGE 19 11
 Minimalism: an introduction
in 1968. Riley had in fact been looping aleatorically, creating time showcase minimalist works from each of the past five decades.
lagged phases and flavouring in them
Raphaël Séguinier
To be musically avant-garde the with
1950s Oriental
meantmelodic patterning
to be difficult. Not for
by  • Free to X (2011) (world premiere recording)
two
the or three
end years.
of the But the
1960s. Thattransfer
decadeofsaw these ideas to
a group oflive instrumentation
American beatniks  In the spirit of La Monte Young's 1960s loft experiments (which became
_ band
and the positive
overthrow reaction
the musical to the
givens of results
postwarwas a momentous
Europe. In a series ofevent for the
disobedi-  known as the Dream House concerts), we also present new post-mini-
new
entlymovement. The piece
straightforward came to Riley
compositions, La one
Monte night on theTerry
Young, bus. Jennings, 
He heard malist works by musician-composers, David Chalmin  and Raphaël
Free to X starts with the additive rhythmic principle of Philip Glass and
"the whole
Terry first
Riley, line Reich
Steve of In C.andIt just
PhilipsortGlass
of came into my
declared ear".
that musicSteve Reich
could be  Séguinier, members of Triple Sun..
combines it with the drones of La Monte Young. Both grow and build
(aclear,
neighbour
honest, of Riley's
pretty in Sanexperimental.
and Fransisco) premiered the work
Turning  their backsat the
on San
the  until complication pushes them into a less controllable realm. Here the
Fransisco
conventionalTape Music
centres Center in
of musical 1964the
power, and added
earliest the all-important
minimalist works got 
requirement to sustain
their first public an eighth
audience in the noteLa pulse
Montethroughout.
Young 1960-61 Chamber 
Philip Glass
drone ceases to (b.
be 1937)
so friendly and swallows the rhythmic pulse in a
•cacophony of electronic
Four Movements (2008)noise.
Street Series that took place in Yoko Ono's New York loft.
The work is of indeterminate length and indeterminate instrumentation. It _ two pianos 
consists
Throughofthe 53 1960s,
numbered the melodic
minimalists phrases,
slowlymostly short, each
demystified, of which
democratised 
are Like so much of the later output of the minimalist pioneers, Philip Glass's
andrepeated at liberty.
Americanised Musicians
European must play
modernism. the phrases
"I don't know any in sequence
secrets of 
but may drop more recent music is best described as post-minimal rather than purely
structure thatoutyouandcan'trejoin at declared
hear," any time.Steve Shapes appear
Reich and disappear.
in his 1968 minimal- 
The acoustic affect minimal. Four Movements uses the grammar of 1960s and 1970s to
ist manifesto, Musicisas nota dissimilar
Gradual Process.to the shape-shifting
Minimalism claimedof flocksthat 
of
birds. create a musical landscape that is much more vertically dense, structur-
there Some of theseinterest
was enough figures in can thebesounding
curiously process
familiar. Some
itself tohave hearda 
sustain
Bruckner materialise in the triadic repetitions of the 29th ally zigzaggy and atmospherically romantic. Narrative is back, as are
work. If one removed the complications that were obscuring thephrase.
natural 
Elsewhere themes. Repetition and rhythm still form a substantial part of the struc-
beauties ofIndonesian
rhythm andand sound,Indian
whatmusical
would be phrases
discoveredwaft could
into earshot.
happily 
Every musical idea, however, is soon dashed against tural dynamic of this work. But it no longer dominates. The piece starts
occupy composers for the next fifty years. They werethe aleatoric
right. rocks.
Minimalism 
in mid-melodic flight. A dense web of cross-rhythms ensnares the open-
was the last great musical movement of the 20th century. And it became 
The ing phrase. Beefy octaves stride around cutting through the textures.
the simplicity of the work,
most influential the looseness
and successful ism of the
them rules,
all. the joys of the close
collaborative listening that the work demands have made it one of the There are two clearings, in which Glass sets out one maudlin thought
most popular minimalist works ever and one more furtive one. The second movement is slow. It alternates
These two CDs offer highlights fromwritten.
the 50 Years of Minimalism festival.
between two moods: one downcast and harmonically uneasy and a
We look back to those classical composers who influenced the school.
second dominated by a tender ballad that soars over a glinting treble
We explore minimalism's influence on the experimental rock scene and

PAGE 20 PAGE 29
PAGE 8 PAGE 21
 Terry Riley
two pianos+band / 1964
9_ _ In C 28:58 Katia & Marielle Labèque
David Chalmin, Raphaël Séguinier
Nicola Tescari
Raphaël Séguinier
2011
10_ _ Free to X 05:03 Katia Labèque, David Chalmin
Raphaël Séguinier, Nicola Tescari

•Total CD_2 01:08:09

1_ Katia & Marielle Labèque

1 3

PAGE 6 PAGE 23
PAGE 22 PAGE 7
 Long.Michael
Short. Big.Nyman
Small. Soft. Spirited. Electronic. Acoustic. There are - CD_2
KATIA & MARIELLE LABÈQUE ______  pianos
contrary
twotopianos
popular belief - many ways of being minimal. Travelling the
/ 1985-2011 David Chalmin
entire_minimalist archipelago from the holy innocence of Arvo Pärt to the
Water Dances 2011 featuring:
mosh-pit
11_ boldness of Glenn Branca, this
I.Dipping recorded
04:48 Katiacelebration
& Marielle ofLabèque
musical 1_ DAVID CHALMIN ______ vocals, guitars,06:06
_Gameland Katia & Marielle
bass & electronics (on Labèque
CD2 tracks #1, 4, 5, 9, 10)
12_ II.Stroking
minimalism from the Labèque sisters 06:35
and theirKatia
band & Marielle Labèque
is a tribute to the RAPHAËL SÉGUINIER ______ drums, percussion &David Chalmin,
electronics Raphaël
(on CD2 Séguinier
tracks #1, 5, 9, 10)
Nicola
NICOLA TESCARI ______ keyboards, electronics (onTescari
CD2 tracks #1, 5, 9 & 10)
movement and its many tributaries. William Duckworth
Howard Skempton piano soloRecorded,
/ 1977-1978
mixed and mastered by David Chalmin in Studio KML
piano solo / 1989
No one did more to develop the language of the first generation of _The Time Curve Preludes
Produced by Katia Labèque & David Chalmin
_ Images 2_ VII Recorded in Rome between
03:18JulyKatia
and December
Labèque2012
minimalists than composer, chronicler01:21
13_ Interlude 4
and teacher, William Duckworth.
Marielle Labèque
He took the lead in opening up the principles established by the likes of 3_ XII 02:56 Katia Labèque
14_ Prelude 5 03:03 Marielle Labèque Pianos ______ Steinway Model D
SteveInterlude
Reich and Philip Glass and 00:52
exposing them Labèque
to non-classical
15_ 5 Marielle Radiohead ANTONINO RAPOCCIO ______ Piano technician
musical
16_ idioms,
Prelude 7 ushering in post-minimalism.
02:32 Post-minimalism's
Marielle Labèque starting piano and vocals
pistol was sounded in 1978 by Duckworth's inspired piano cycle Time ROBERTO CALBUCCI ______  Artwork / Design and Photo of Katia & Marielle Labèque 
4_ _ Pyramid Song 05:10 Katia Labèque, David Chalmin
CurveHoward Skempton Cover image______ Painting by Roberto Calbucci "On the Perspective_ n°43"
Preludes, a selection of which the Labèques have recorded here. ILARIA MAGLIOCCHETTI LOMBI ______ Photos of David Chalmin and Raphaël Séguinier
piano solo / 1978 Brian Eno
17_ _ Postlude
Duckworth 01:48 together
was a fantastic guide in putting Marielle Labèque
the programme for 1975 IGOR TORONYI-LALIC ______ Texts
the 50 Years of Minimalism festival that premiered at Kings Place in 5_ _ In Dark Trees 03:49 Katia Labèque, David Chalmin
Raphaël Séguinier, Nicola Tescari
November 2011, London, from which these recordings sprang. He was Thanks to :
Aphex Alex,
Twin Loub, Reeks, Massimo, Silvia & Luigi, Stefania & Paolo, Yves.
prevented from attending the London concerts and those at the Angelica piano 4 hands / 2001
•Total CD_1 01:01:06
Festival, Italy, where the festival transferred to in May 2012, because of 6_ _ Avril 14th 02:11 KML
Fondazione Katia & Marielle Labèque
the onset of pancreatic cancer, but he continued to champion the
concerts online and hoped he'd be well again for when the festival Michael Nyman For more information please visit :
moved on to Paris in 2013. This was never to be. In September 2012 two pianos / 1985-2011
_ Water Dances www.labeque.com
William Duckworth died at home in West New York, New Jersey. 
7_ IV.Gliding www.deutschegrammophon.com
04:43 Katia & Marielle Labèque
8_ V.Synchronising www.clubdeutschegrammophon.com 
05:55 Katia & Marielle Labèque
These recordings are dedicated to his music and memory.

PAGE 24 PAGE 5
PAGE 4 PAGE 25
 _
VOL_1 VOL_2
1-4 Philip Glass 1 David Chalmin
_ Four Movements for Two Pianos _ Gameland
5 Cage 2-3 William Duckworth
_ Experiences, I. _The Time Curve Preludes _ VII _ XII
6 Arvo Part 4 Radiohead
_ Hymn to a Great City _ Pyramid Song
7 Philip Glass
_
5 Brian Eno
_ The Poet Acts _ In Dark Trees
VOL_1 VOL_2
8-10 William Duckworth 6 Aphex Twin
1-4 Philip Glass 1 David Chalmin
_The Time Curve Preludes _ I _ II _ XVII _ Avril 14th
_ Four Movements for Two Pianos _ Gameland
11-12 Michael Nyman 7-8 Michael Nyman
5 Cage 2-3 William Duckworth
_ Water Dances _ I.Dipping _ II.Stroking _ Water Dances _ IV.Gliding _ V.Synchronising
_ Experiences, I. _The Time Curve Preludes _ VII _ XII
13-17 Howard Skempton 9 Terry Riley
6 Arvo Part 4 Radiohead
_ Images _ Interlude 4 _ Prelude 5 _ In C
_ Hymn to a Great City _ Pyramid Song
_ Interlude 5 _ Prelude 7 _ Postlude 10 Raphaël Séguinier
7 Philip Glass 5 Brian Eno
_ Free to X
Featuring: _ The Poet Acts _ In Dark Trees
8-10_______vocals,
DAVID CHALMIN William Duckworth 6 Aphex
guitars, bass & electronics(on CD2 tracks #1, 4, 5, Twin
9 & 10)
_The Time
RAPHAËL SÉGUINIER Curve Preludes
_______drums, _ I&_electronics
percussion II _ XVII (on CD2 tracks
_ Avril
#1,14th
5, 9 & 10)
NICOLA TESCARI
11-12_______keyboards,
Michael Nyman electronics (on CD2 tracks #1, 5, 9 7-8
& 10)Michael Nyman
_ Water Dances _ I.Dipping _ II.Stroking _ Water Dances _ IV.Gliding _ V.Synchronising
Recorded, mixed and mastered byDavid ChalmininStudio KML
13-17 Howard Skempton 9 Terry Riley
Produced byKatia Labèque&David Chalmin
_ Images _ Interlude 4 _ Prelude 5 _ In C
_ Interlude 5 _ Prelude 7 _ Postlude 10 Raphaël Séguinier
_ Free to X
Featuring:
DAVID CHALMIN _______vocals, guitars, bass & electronics(on CD2 tracks #1, 4, 5, 9 & 10)
RAPHAËL SÉGUINIER _______drums, percussion & electronics (on CD2 tracks #1, 5, 9 & 10)
NICOLA TESCARI _______keyboards, electronics (on CD2 tracks #1, 5, 9 & 10)

Recorded, mixed and mastered byDavid ChalmininStudio KML