MESSAGIO GALORE take X
an evening of sound poetry & similaria read by
jwcurry
Rachel Lindsey
Sheena Mordasiewicz
Brian Pirie
Zachary Robert
& special guest Alastair Larwill
1o august 2o12 at Rockcliffe Park Pavillion in Rockcliffe Park, Ottawa, 7 PM
__________________________________________________
part 1
1. sounds' favorite words, Paul Haines (Canada, 1986), as quoted in full in an extract from Haines' Jubilee; source: Paul Haines, Secret Carnival Workers (Toronto?, H Pal Productions, 2oo7), with reference to Michel Contat's reading on Haines, DARN IT! (USA, American Clavé, 1994). hijacked as an introduction of manysorts. Jubilee ends "Unrelatedly, there was a recital of whisk the morning of 17 July after a night the cats had raised hell on the front lawn, a group of robins fallen by the side of the hedge as though meeting on a street corner and – now headless to prove it –plumb run out of things to say, but still prettier representations of events than the sparrows the exact size of erasers stacked up with the heads on. // Which of course are words apart." reader: curry
2. anacyclic poem with two shouts DHARMATHOUGHTS STUPAWARDS, dom sylvester houédard (England, 1966); source: KROKLOK ⌗1 (ed.dom sylvester houédard, London, Writers Forum, 1971). "for the artists protest committee for their call from losangeles for a tower against the war (houédard in KROKLOK ⌗1), an anagrammatic poem in 3 vowels & 45 consonants. readers: curry, Mordasiewicz
3. TAR TRAITS, Richard Truhlar (Canada, 1977); source: primarily-unpublished manuscript (excerpts published as a postcard, Toronto, Curvd H&z, 1989; in INDUSTRIAL SABOTAGE ⌗54, ed.jwcurry, Ottawa, Curvd H&z, 1997; in 1CENT ⌗35o, ed.jwcurry, Ottawa, 2oo1). curry's arrangement (2o12) of Truhlar's sound excavations from Steve McCaffery's THe TeN PoRtRaiTS (1973), itself derived from an "interview with some N.Y. prostitutes". McCaffery's note on his own compositional methods in Ow's Waif (Toronto, Coach House Press, 1975) apply even moreso to Truhlar's furtherance of it: "The operating analogy in many cases was cubism: the process of fragmentation and reconstitution of a known thing in a fresh form." readers: curry, Lindsey, Pirie
4. Scraptures: 12th Sequence, bpNichol (Canada, 1967?); source: bpNichol, gifts (Toronto, Coach House Press, 199o); arrangement by curry (2o12): & on the 12th "day", humanity stuck its heads up from the muck & goo, took a look around in its state of ignorant grace, & knew but lustful fear. arrangement dedicated to Jan Svankmeyer. full quintet
5. A Little Valentine, Steve McCaffery (Canada, 1977); source: Steve McCaffery, research on the mouth (Toronto, Underwhich Editions, 1978?), transcribed & arranged by curry & Mordasiewicz (2o12). a trystcycle built for 2 interpenetrates itselves to become a relentless rush toward simultaneous climax. readers: curry, Mordasiewicz
6. breath is, bill bissett (Canada, 1966?); source: fires in th tempul OR TH JINX SHIP ND OTHR TRIPS (Vancouver, Very Stone House, 1966), arranged by curry (2oo9). one of bissett's concrete scattertexts, here divided into a duo demonstration of the logic inherent in his more radical field compositions. readers: curry, Lindsey
7. EAST WIND, bpNichol (Canada, 1979?); source: Four Horsemen, The Prose Tattoo (Milwaukee, Membrane Press, 1983). gridtext deployed through overlaid extended breathlines, our version approaches the score much more literally than did the Horsemen's more freewheeling phonetic romps. readers: curry, Lindsey, Mordasiewicz, Pirie
8. The Dangerous Kitchen, Frank Zappa (USA, 1983?); source: monograph (North Hollywood, Munchkin Music, 1984), with reference to many recorded versions, most specifically on Frank Zappa, The Man from Utopia (Los Angeles, Barking Pumpkin Records, 1983), while Zappa's lyrics are ordinarily accompanied by improvised electric jazzband meltdown boop-bop atonalities, we thought it worth a lampshade to simulate some verbal discontinuities for an alternate avenue toward parasepsis. readers: full sextet
9. The Tibetan Memory Trick, traditional/arranged by Howard Kayland, Ian Underwood & Mark Volman (USA, 1974); source: Flo & Eddie, ILLEGAL, IMMORAL AND FATTENING (Canadian pressing, Columbia Records, 1975). everyone in the band gets put through this one for articulational, breathing & body memory development. inserted into 8 above. full sextet
part 2
1o. The Multiples, Steve McCaffery (Canada, 199-?); source: transcription by Rob Read (2o11?) from a recording by McCcaffery (unpublished?). a multiplicity of mispronuncimicated masticatiums of eaneming; a study in contrasts between what you seme to be hearing & what you here are seeming to be. readers: curry, Lindsey
11. Calling The Vegetable Collected, jwcurry (Canada, 2oo8); source: monograph (2nd ed, Ottawa, 1cent, 2oo8). hocketed statements that build multiple syntactic paths as the fragments first cohere, then disintegrate. readers: curry, Lindsey, Mordasiewicz, Pirie
12. Againful Deployment, jwcurry (Canada, 1981?); source: monograph (Ottawa, 1cent, 2oo1). a "sound poem an assemblyline of voicings" spiralling outta the conch into yr cochnea. readers: full quintet
13. Salmon River Soliloquy, david uu (Canada, 1972); source: david uu, High C (Toronto, Underwhich Editions, 1991). a rather straightforward poem siding with the fishes. reader: curry
14. Oiseautal / Super-Bird-Song, Raoul Hausmann (France, 1918?) & Kurt Schwitters (England, 1946?), respectively; source: Raoul Hausmann & Kurt Schwitters, PIN and the story of PIN (London, Gaberbocchus Press, 1962). brought together by the 1st world war & separated by the 2nd, both friends independently came to write short works based on birdsound. this interlineated arrangement by curry (2oo9?) is a step toward A Visit to the Aviary, a short suite on related material from various sources. readers: curry, Pirie
15. A Little Nastiness, Four Horsemen [Rafael Barreto-Rivera, Paul Dutton, Steve McCaffery, bpNichol] (Canada, 1981); source: (as 7 above). semantics go sonic through interpersonal badinage. readers: full quintet
16. KNOTS, jwcurry (Canada, 1982?); source: The (Almost) Instant Anthology '88, ed.Beverley Daurio, Daniel Jones & bpNichol (Toronto, Meet The Presses, 1988). excerpts from a "translation into concrete poetry" of R.D.Laing's lineated neuroses trackings, subsequently unreknotted & strung out as schizologue for 2 voices. readers: curry, Mordasiewicz
17. SIZERZ, Steve McCaffery (Canada, 1976); source: THE CAPILANO REVIEW ⌗31 (ed.Steven Smith & Richard Truhlar, North Vancouver, 1984). severe elemental hocketing coupled with ordered layerings subjected to consistent randomizations. readers: curry, Lindsey, Mordasiewicz, Pirie
18. MUSHY PEAS, Steve McCaffery & bpNichol (England, 1978); source: Steve McCaffery & bpNichol, IN ENGLAND NOW THAT SPRING (Toronto, Aya Press, 1979). 6 pages of optophonetics as improvisational ground. readers: curry, Lindsey, Pirie
19. IT CAN'T HAPPEN HERE, Frank Zappa (USA, 1964); source: Mothers Of Invention, FREAK OUT! (USA, Verve Records, 1965), transcribed & arranged by curry (2oo7). a somewhat remented barbershopping routine that only seems to leave metre & tonality behind, part 2 of Help, I'm A Rock, featuring Rachel Lindsey as Suzy Creamcheese ("what's got into ya, hunny?"). readers: curry, Lindsey, Pirie, Robert
part 3
2o. Dew On The Newts We Got, Frank Zappa (USA, 197o?); source: Frank Zappa, 2oo MOTELS (reissue, Salem, Metro-Goldwyn-Mayer Incorporated & Rykodisc, 1997), transcribed by curry (2o12). the 3rd movement (of 7) of the primarily choral suite I Have Seen The Pleated Gazelle (a goblin made me do it). readers: curry, Lindsey
21. BALLADS OF THE RESTLESS ARE, bpNichol (Canada, 1967?); source: monograph (2nd ed, Ottawa, Curvd H&z, 2oo6), arranged by curry (2oo9). "two versions/common source" of elemental theme & variations presented as comparative simultaneity in a "quartet for 2 voices". readers: curry, Robert
22. Pieces Of Stop, bpNichol (Canada, 1978); source: (as 7 above). "for Greta Monach", an extremely literal take that casts the reversed expectations of its sound envelopes into starker relief. readers: curry, Lindsey, Mordasiewicz, Pirie
23. auf dem land, ernst jandl (Austria, 1968?); source: konkrete poesie deutschsprachige autoren, ed.Eugen Gomringer (reprint?, Stuttgart, Philipp Reclam, 198o). an "utter zoo" octupletted & here arranged as simultaneous nouns'n'souns. readers: curry, Robert
24. THREE/FOUR: OF TIME, bpNichol (Canada, 1985); source: 5e échanges internationaux de poésie contemporaine, ed.Julien Blaine (Tarascon, L'A.G.R.I.P.P.A., 1988). the 3rd in Nichol's "TIME" series "for the 4 Horsemen", this one targeting the structure of the waltz for vigorous interrogation. readers: curry, Mordasiewicz, Pirie, Robert
25. GOING CRITICAL, jwcurry & Michèle Provost (Canada, 2oo9); source: ABSTrACTS / RéSUmÉS, ed.Michèle Provost (Gatineau, privately published, 2o1o). a critical appreciation of Marcel Dzama (by Joseph R.Wollin in Canadian Art 25:3) is subjected to sibilant excision & extreme subsyllabic hocketing, revealing an altogether different narrative perhaps closer in spirit to Dzama than Wolin may have intended. readers: full quintet
26. WORM, bob cobbing (England, 1964); source: CEOLFRITH ⌗26 (ed.Peter Mayer, Sunderland, Ceolfrith Press, 1974). one of cobbing's earliest semantic derivations into sound burrowing through concrete. raeders: full quintet
27. GLASS ON THE BEACH, Richard Truhlar (Canada, 1978?); source: Owen Sound [Michael Dean, David Penhale, Steven Smith, Richard Truhlar], Beyond The Range (Toronto, Underwhich Editions, 198o), trancribed by curry (2oo9) from a trio (Dean, Smith, Truhlar) recording at The Music Gallery in Toronto, 18 august 1979, with additional parts adapted from 2 manuscript scores courtesy of Truhlar. extended vocal waveforms with buried shards. readers: full sextet
__________________________________________________
front cover: bpNichol, THREE/FOUR: OF TIME
rear cover: jwcurry, Calling The Vegetable Collected
Big Thanks to all involved with extra dollops to Rachel Lindsey (vehicular vivacity & copymagic), Brian Pirie (communications), Ben Walker (documenteur), Amanda Earl (further communications contagion), Rachel Zavitz (tender love & care department) & Jessica Pieterse (who first brought me to the pavillion (you knew, didn't you!)). an extra whack on the back for Alastair Larwill, who came in on 3 pieces with us by spontaneous request.
__________________________________________________
filmed by Ben Walker
__________________________________________________
see also:
photos by Pearl Pirie:
Sheena Mordasiewicz pre-reading
review & photos by Rob McLennan:
www.robmclennan.blogspot.ca/2012/08/messagio-galore-take-...
MESSAGIO GALORE take X
an evening of sound poetry & similaria read by
jwcurry
Rachel Lindsey
Sheena Mordasiewicz
Brian Pirie
Zachary Robert
& special guest Alastair Larwill
1o august 2o12 at Rockcliffe Park Pavillion in Rockcliffe Park, Ottawa, 7 PM
__________________________________________________
part 1
1. sounds' favorite words, Paul Haines (Canada, 1986), as quoted in full in an extract from Haines' Jubilee; source: Paul Haines, Secret Carnival Workers (Toronto?, H Pal Productions, 2oo7), with reference to Michel Contat's reading on Haines, DARN IT! (USA, American Clavé, 1994). hijacked as an introduction of manysorts. Jubilee ends "Unrelatedly, there was a recital of whisk the morning of 17 July after a night the cats had raised hell on the front lawn, a group of robins fallen by the side of the hedge as though meeting on a street corner and – now headless to prove it –plumb run out of things to say, but still prettier representations of events than the sparrows the exact size of erasers stacked up with the heads on. // Which of course are words apart." reader: curry
2. anacyclic poem with two shouts DHARMATHOUGHTS STUPAWARDS, dom sylvester houédard (England, 1966); source: KROKLOK ⌗1 (ed.dom sylvester houédard, London, Writers Forum, 1971). "for the artists protest committee for their call from losangeles for a tower against the war (houédard in KROKLOK ⌗1), an anagrammatic poem in 3 vowels & 45 consonants. readers: curry, Mordasiewicz
3. TAR TRAITS, Richard Truhlar (Canada, 1977); source: primarily-unpublished manuscript (excerpts published as a postcard, Toronto, Curvd H&z, 1989; in INDUSTRIAL SABOTAGE ⌗54, ed.jwcurry, Ottawa, Curvd H&z, 1997; in 1CENT ⌗35o, ed.jwcurry, Ottawa, 2oo1). curry's arrangement (2o12) of Truhlar's sound excavations from Steve McCaffery's THe TeN PoRtRaiTS (1973), itself derived from an "interview with some N.Y. prostitutes". McCaffery's note on his own compositional methods in Ow's Waif (Toronto, Coach House Press, 1975) apply even moreso to Truhlar's furtherance of it: "The operating analogy in many cases was cubism: the process of fragmentation and reconstitution of a known thing in a fresh form." readers: curry, Lindsey, Pirie
4. Scraptures: 12th Sequence, bpNichol (Canada, 1967?); source: bpNichol, gifts (Toronto, Coach House Press, 199o); arrangement by curry (2o12): & on the 12th "day", humanity stuck its heads up from the muck & goo, took a look around in its state of ignorant grace, & knew but lustful fear. arrangement dedicated to Jan Svankmeyer. full quintet
5. A Little Valentine, Steve McCaffery (Canada, 1977); source: Steve McCaffery, research on the mouth (Toronto, Underwhich Editions, 1978?), transcribed & arranged by curry & Mordasiewicz (2o12). a trystcycle built for 2 interpenetrates itselves to become a relentless rush toward simultaneous climax. readers: curry, Mordasiewicz
6. breath is, bill bissett (Canada, 1966?); source: fires in th tempul OR TH JINX SHIP ND OTHR TRIPS (Vancouver, Very Stone House, 1966), arranged by curry (2oo9). one of bissett's concrete scattertexts, here divided into a duo demonstration of the logic inherent in his more radical field compositions. readers: curry, Lindsey
7. EAST WIND, bpNichol (Canada, 1979?); source: Four Horsemen, The Prose Tattoo (Milwaukee, Membrane Press, 1983). gridtext deployed through overlaid extended breathlines, our version approaches the score much more literally than did the Horsemen's more freewheeling phonetic romps. readers: curry, Lindsey, Mordasiewicz, Pirie
8. The Dangerous Kitchen, Frank Zappa (USA, 1983?); source: monograph (North Hollywood, Munchkin Music, 1984), with reference to many recorded versions, most specifically on Frank Zappa, The Man from Utopia (Los Angeles, Barking Pumpkin Records, 1983), while Zappa's lyrics are ordinarily accompanied by improvised electric jazzband meltdown boop-bop atonalities, we thought it worth a lampshade to simulate some verbal discontinuities for an alternate avenue toward parasepsis. readers: full sextet
9. The Tibetan Memory Trick, traditional/arranged by Howard Kayland, Ian Underwood & Mark Volman (USA, 1974); source: Flo & Eddie, ILLEGAL, IMMORAL AND FATTENING (Canadian pressing, Columbia Records, 1975). everyone in the band gets put through this one for articulational, breathing & body memory development. inserted into 8 above. full sextet
part 2
1o. The Multiples, Steve McCaffery (Canada, 199-?); source: transcription by Rob Read (2o11?) from a recording by McCcaffery (unpublished?). a multiplicity of mispronuncimicated masticatiums of eaneming; a study in contrasts between what you seme to be hearing & what you here are seeming to be. readers: curry, Lindsey
11. Calling The Vegetable Collected, jwcurry (Canada, 2oo8); source: monograph (2nd ed, Ottawa, 1cent, 2oo8). hocketed statements that build multiple syntactic paths as the fragments first cohere, then disintegrate. readers: curry, Lindsey, Mordasiewicz, Pirie
12. Againful Deployment, jwcurry (Canada, 1981?); source: monograph (Ottawa, 1cent, 2oo1). a "sound poem an assemblyline of voicings" spiralling outta the conch into yr cochnea. readers: full quintet
13. Salmon River Soliloquy, david uu (Canada, 1972); source: david uu, High C (Toronto, Underwhich Editions, 1991). a rather straightforward poem siding with the fishes. reader: curry
14. Oiseautal / Super-Bird-Song, Raoul Hausmann (France, 1918?) & Kurt Schwitters (England, 1946?), respectively; source: Raoul Hausmann & Kurt Schwitters, PIN and the story of PIN (London, Gaberbocchus Press, 1962). brought together by the 1st world war & separated by the 2nd, both friends independently came to write short works based on birdsound. this interlineated arrangement by curry (2oo9?) is a step toward A Visit to the Aviary, a short suite on related material from various sources. readers: curry, Pirie
15. A Little Nastiness, Four Horsemen [Rafael Barreto-Rivera, Paul Dutton, Steve McCaffery, bpNichol] (Canada, 1981); source: (as 7 above). semantics go sonic through interpersonal badinage. readers: full quintet
16. KNOTS, jwcurry (Canada, 1982?); source: The (Almost) Instant Anthology '88, ed.Beverley Daurio, Daniel Jones & bpNichol (Toronto, Meet The Presses, 1988). excerpts from a "translation into concrete poetry" of R.D.Laing's lineated neuroses trackings, subsequently unreknotted & strung out as schizologue for 2 voices. readers: curry, Mordasiewicz
17. SIZERZ, Steve McCaffery (Canada, 1976); source: THE CAPILANO REVIEW ⌗31 (ed.Steven Smith & Richard Truhlar, North Vancouver, 1984). severe elemental hocketing coupled with ordered layerings subjected to consistent randomizations. readers: curry, Lindsey, Mordasiewicz, Pirie
18. MUSHY PEAS, Steve McCaffery & bpNichol (England, 1978); source: Steve McCaffery & bpNichol, IN ENGLAND NOW THAT SPRING (Toronto, Aya Press, 1979). 6 pages of optophonetics as improvisational ground. readers: curry, Lindsey, Pirie
19. IT CAN'T HAPPEN HERE, Frank Zappa (USA, 1964); source: Mothers Of Invention, FREAK OUT! (USA, Verve Records, 1965), transcribed & arranged by curry (2oo7). a somewhat remented barbershopping routine that only seems to leave metre & tonality behind, part 2 of Help, I'm A Rock, featuring Rachel Lindsey as Suzy Creamcheese ("what's got into ya, hunny?"). readers: curry, Lindsey, Pirie, Robert
part 3
2o. Dew On The Newts We Got, Frank Zappa (USA, 197o?); source: Frank Zappa, 2oo MOTELS (reissue, Salem, Metro-Goldwyn-Mayer Incorporated & Rykodisc, 1997), transcribed by curry (2o12). the 3rd movement (of 7) of the primarily choral suite I Have Seen The Pleated Gazelle (a goblin made me do it). readers: curry, Lindsey
21. BALLADS OF THE RESTLESS ARE, bpNichol (Canada, 1967?); source: monograph (2nd ed, Ottawa, Curvd H&z, 2oo6), arranged by curry (2oo9). "two versions/common source" of elemental theme & variations presented as comparative simultaneity in a "quartet for 2 voices". readers: curry, Robert
22. Pieces Of Stop, bpNichol (Canada, 1978); source: (as 7 above). "for Greta Monach", an extremely literal take that casts the reversed expectations of its sound envelopes into starker relief. readers: curry, Lindsey, Mordasiewicz, Pirie
23. auf dem land, ernst jandl (Austria, 1968?); source: konkrete poesie deutschsprachige autoren, ed.Eugen Gomringer (reprint?, Stuttgart, Philipp Reclam, 198o). an "utter zoo" octupletted & here arranged as simultaneous nouns'n'souns. readers: curry, Robert
24. THREE/FOUR: OF TIME, bpNichol (Canada, 1985); source: 5e échanges internationaux de poésie contemporaine, ed.Julien Blaine (Tarascon, L'A.G.R.I.P.P.A., 1988). the 3rd in Nichol's "TIME" series "for the 4 Horsemen", this one targeting the structure of the waltz for vigorous interrogation. readers: curry, Mordasiewicz, Pirie, Robert
25. GOING CRITICAL, jwcurry & Michèle Provost (Canada, 2oo9); source: ABSTrACTS / RéSUmÉS, ed.Michèle Provost (Gatineau, privately published, 2o1o). a critical appreciation of Marcel Dzama (by Joseph R.Wollin in Canadian Art 25:3) is subjected to sibilant excision & extreme subsyllabic hocketing, revealing an altogether different narrative perhaps closer in spirit to Dzama than Wolin may have intended. readers: full quintet
26. WORM, bob cobbing (England, 1964); source: CEOLFRITH ⌗26 (ed.Peter Mayer, Sunderland, Ceolfrith Press, 1974). one of cobbing's earliest semantic derivations into sound burrowing through concrete. raeders: full quintet
27. GLASS ON THE BEACH, Richard Truhlar (Canada, 1978?); source: Owen Sound [Michael Dean, David Penhale, Steven Smith, Richard Truhlar], Beyond The Range (Toronto, Underwhich Editions, 198o), trancribed by curry (2oo9) from a trio (Dean, Smith, Truhlar) recording at The Music Gallery in Toronto, 18 august 1979, with additional parts adapted from 2 manuscript scores courtesy of Truhlar. extended vocal waveforms with buried shards. readers: full sextet
__________________________________________________
front cover: bpNichol, THREE/FOUR: OF TIME
rear cover: jwcurry, Calling The Vegetable Collected
Big Thanks to all involved with extra dollops to Rachel Lindsey (vehicular vivacity & copymagic), Brian Pirie (communications), Ben Walker (documenteur), Amanda Earl (further communications contagion), Rachel Zavitz (tender love & care department) & Jessica Pieterse (who first brought me to the pavillion (you knew, didn't you!)). an extra whack on the back for Alastair Larwill, who came in on 3 pieces with us by spontaneous request.
__________________________________________________
filmed by Ben Walker
__________________________________________________
see also:
photos by Pearl Pirie:
Sheena Mordasiewicz pre-reading
review & photos by Rob McLennan:
www.robmclennan.blogspot.ca/2012/08/messagio-galore-take-...