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Ron Nagorcka
Atom Bomb Becomes Folk Art
Please note: This release packaging comes folded into
quarters, ending up as a 5 ½” x 5 ½” brochure style booklet (liner
notes inside), with the CD in a paper sleeve, all inserted into
re-sealable plastic sleeves. There is no jewel case, tray card etc.
There is a bar code.
Pogus is very pleased to release this 2 CD set of Australian composer
Ron Nagorcka’s work, covering almost 40 years of his compositions from 1973-2006.
Atom Bomb (1977) (Golden Fur: Samuel Dunscombe,
Judith Hamann & James Rushford, with cassette tape recorders, toy
instruments and various other devices) In a music critique for The
Australian newspaper in 1977 entitled Atom Bomb becomes Folk Art, Paul
Utiger described one of Atom Bomb's performances from the late 1970s:
“…The most important instruments … were the cassette recorders for
which Nagorcka provided very detailed operating instructions. During
the course of the piece they built up an elaborate collage of
acoustically superimposed material which in turn was played at the
end.” This performance by Golden Fur is the first in thirty years. This
group of young Melbourne musicians with their creative use of
amplification and choice of toy instruments, take the notion of
creative analog distortion to new levels. Finite Differences (1973)
(Graham Cox & Ron Nagorcka, pipe organ duet) This is one of
Nagorcka's first pieces. Extensive use is made of the instrument’s
mechanical stop action to control the amount of air passing through the
pipes, producing many intriguing effects. In Modulations (1974/83/2012),
a group of instrumentalists interpreted one note (in various octaves)
according to a graphic score while reel-to-reel tape loops and a VCS3
synthesiser were set-up to add effects. Requiem (in memoriam Ian Bonighton) (1976)
(Ron Nagorcka, pianoforte) Ian Bonighton was a young Melbourne composer
who was an especially valued and loved teacher. This Requiem was
written after his tragic early death, and is based on the theme ABGH
derived from his name. Dawn in the Wombat Forest (1985) (Liza
Lim, violin; Ron Nagorcka, clavichord, didjeridu, electronics) One
morning in 1985, when Ron Nagorcka was living on the edge of the Wombat
State Forest in Victoria, he recorded himself playing the didjeridu
while slowly approaching a cassette tape recorder. The recording became
the backing track for this largely improvisational piece with violin
and (unamplified) clavichord which. Artamidae (2002) (Monte
Mumford, conductor; Larry Polansky, fretless electric guitar &
mandolin; Joe Cook, trombone; Jennie MacDonald, flute & piccolo;
Karlin Love, clarinet & bass clarinet; Ron Nagorcka, MIDI
keyboard & didjeridu) With the exception of the second piece
(Australian Magpie), they are all written in just intonation.
This is a tuning system based on the harmonic series that Nagorcka
began to explore seriously once electronic instruments made the task
relatively easy in the late 1980s. Just Bluffing for Quamby (2006) is 2 electro-acoustic pieces in just intonation based on the sounds of Quamby Bluff. With myriad degrees of light-dark infusion (2006)
(Conductor, Simon Reade; Joe Cook, trombone; Karlin Love, clarinet;
Melissa Chominsky, violoncello; Ron Nagorcka, MIDI keyboard) The title
of this work is taken from a quotation below by American composer Harry
Partch, who devised the scale of 43 tones per octave used in this
piece. Little Penguins (1995) (Ole Jørgen Melhus, trombone; Ron
Nagorcka, didjeridu & electronic keyboard) A raucous chorus of
Little Penguins on a Tasmanian beach inspired this virtuosic and
rhythmically complex interplay between trombone, didjeridu and
keyboard, written in just intonation. Colluricincla harmonica (1998)
(Larry Polansky, fretless electric guitar; Hans Meijer & Ron
Nagorcka, electronic keyboards) Written for Larry Polansky in what
seems to have been a successful attempt to help convince him keep an
electric guitar fretless so that it can play alternative tunings. To be a pilgrim (2006)(Ole
Jørgen Melhus, trombone; David Scott Hamnes, pipe organ; Ron Nagorcka,
didjeridu) In the theme can be heard echoes of the English traditional
melody adapted by Ralph Vaughan Williams for John Bunyan's wonderful
hymn “Who would true valour see...”
Composer, performer, and naturalist Ron Nagorcka (born 1948)
spent much of his childhood exploring music and the natural world on a
sheep farm in Western Victoria (Australia). He went on to study
history, pipe organ with Sergio de Pieri, harpsichord with Max Cooke,
and composition with Keith Humble, Ian Bonighton and Jean-Charles
Francois at Melbourne University and then composition and electronic
music at the University of California San Diego, where his teachers
included Kenneth Gaburo, Pauline Oliveros, Robert Erickson, and John
Silber. During the 1970s he was active as a composer in Melbourne where
he founded the Clifton Hill Community Music Centre - providing a venue
of considerable importance to many emerging composers and musicians of
the time - and taught composition at the Melbourne State College. In
1986 he visited Tasmania as a tutor at the National Young Composers
School in Hobart, and decided to move to the island. Since 1988 he has
been living and working in a remote forest in northern Tasmania, where
he has built his own house and solar-powered studio. As an active field
naturalist, he takes a keen interest in the science, as well as the
aesthetics of the Australian bush. His recordings of nature also become
the basis for many of his compositions. The melodies, rhythms, even the
instrumental quality of the music are generated by painstaking
listening and analysis of natural Australian soundscapes. Digital
technology also enables him to explore a long held interest in the
ancient tuning known as "just intonation". An analysis of birdsong
provides the basis for the scales he designs. He also writes for
conventional instruments using equal temperament. It was the influence
of Australian indigenous culture - in particular the didjeridu players
with whom he occasionally worked - who encouraged him to develop more
of an understanding of the Land, and to reflect this in his music. He
makes and plays his own didjeridus, and has incorporated this
instrument into his music since 1974. The influence of traditional
Aboriginal music is otherwise most evident in his rhythmical techniques.
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21090
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Enzo Minarelli |
21089
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Aliona Yurtsevich |
21088
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Yiorgis Sakellariou |
21087
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id m theft able |
21086
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Kasper T. Toeplitz |
21085
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Tom Hamilton |
21084
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David First |
21083
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Tomomi Adachi / Jaap Blonk / Owen F. Smith / Duane
Ingalls |
21082
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Marta Sainz &
If, Bwana |
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Aliona Yurtsevich |
21080
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If, Bwana |
21079
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Ulrich Krieger |
21078
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Triple Point |
21077
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Robin Hayward |
21076
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Ron Nagorcka |
21075
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Secluded Bronte |
21074
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David Rosenboom |
21073
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Peter Batchelor |
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Alvin Lucier |
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Lou Cohen |
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Brian Chase |
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Jerry Hunt |
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If, Bwana |
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Jorge Antunes |
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Enzo Minarelli |
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Tensions At The Vanguard |
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Frances White |
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Noah Creshevsky |
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If,Bwana/Trio Scordatura |
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Nate Wooley |
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Leo Kupper |
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Pauline Oliveros/ Francisco López/Doug Van Nort/Jonas
Braasch |
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Philip Corner |
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Alvin Lucier |
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Dimitri Voudouris |
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Birds + Machines |
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Kiva |
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César Bolaños |
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Lionel Marchetti & Olivier Capparos |
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Tom Hamilton/
Bruce Eisenbeil |
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Source Records 1-6 |
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Noah Creshevsky/ If,Bwana |
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Simon Wickham-Smith |
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Kenneth Gaburo |
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If, Bwana (Al Margolis) |
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Annea Lockwood |
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Felix Werder |
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Dimitri Voudouris |
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Nick Didkovsky |
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Montreal Sound Matter |
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Anla Courtis |
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Crawling with Tarts |
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If, Bwana (Al Margolis) |
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Hans Otte |
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DIY Canons |
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Band/Myers |
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Chris Brown |
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Tom Johnson |
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Roger Reynolds |
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Trios - Collaboration |
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Beth Anderson |
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Hamilton, Silverton, Margolis |
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Warren Burt |
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Jorge Antunes |
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David Dunn |
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Roger Reynolds |
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If, Bwana (Al Margolis) |
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Pauline Oliveros |
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David Rosenboom |
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Ross Bolleter |
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Kenneth Gaburo |
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If, Bwana (Al Margolis) |
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Leo Kupper |
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Robert Rutman |
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Matthew Ostrowski |
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various |
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Rune Linblad |
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If, Bwana (Al Margolis) |
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Pauline Oliveros |
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Rune Linblad |
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If, Bwana (Al Margolis) |
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Leo Kupper |
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various |
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If, Bwana (Al Margolis) |
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Trigger |
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Big City Orchestra |
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If,Bwana |
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Frog Peak Music |
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C.U.E. Records |
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Sound of Pig Cassettes |
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Ants (Italian Label) |
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Ned Rothenberg |
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Anna Homler |
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oaksmus (German Label) |
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Geoff Dugan |
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Anomalous Records |
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Nonsequitur |
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