DCM 137 - MSEP 33
The DCM Collaborative music, Cm Edition
The 21 Collaborations - Index A - U
[E] Anderson Morning
[E4] They Make Music
[DCM 137 & Cm E4] They Make music - Music for Strings, Electronics and Percussion, MSEP 33 - my 137th Album. An Opera in two Acts for Voices - Instruments and Electronics.
They Make Music - Rh 560. A Shadow-play for two Children and a box of Delights. Co Composed with Flautist Maureen Anderson in game-play rehearsal. A children's game of dressing up and Making music with the oddment of instruments in the box - where she was Christingle and I was Vladimir.
New music for an old collaboration - Maureen and I as Anderson Morning again - ‘AM’ - our fourth production. This time though, because so much of the Concept and realisation is mine, I call it a work of mine - staring Maureen, flute and Voice as Christingle to my Vladimir. It becomes then an album in my Electro-acoustic Genre, MSEP - but it is also AM 4 - in acknowledgement of her. I draw the process into fantasy and formality as we made music. It is a play for disguised voices where you see them dress up and play in your minds eye. Enjoy the bouncing percussion and how the voices stretch into melody. What do they say - well let that be a secret between ourselves.
This was my conception - Direction and Realisation at Isabel in July and August 2019. It is - in Spirit and designation, Anderson Morning's fourth Album - AM 4. However in its completed state, it is also a work of mine - hence my Works Catalogue number - Rh 562 and my Album designation MSEP 33 - my electro acoustic Genre - MSEP. That being said it is Our Opera - a unique combination of two people.
A difficult album to place notationally because it almost uniquely falls into two distinct Camps. It Is part of my MSEP Tranche / Genre but it is also distinctly part of my [E] Collaboration - Anderson Morning with Maureen Anderson and must be seen as part of that - a work in both our Houses.
[E3] AM3 - May 2015 and for a third production - a change and just for a change we have the classic DCM Blue daisy wheel Cover and we make our name a little easier on the inkjet - I think you will see where we are going with this. We are scaling back the visuals, now it is just about the Music.
In between our second and third album I - as the DCM label - begin working with - Serbian Pianist Maria Vesic as [N] Konnyek - with Poet Reg Keeling for [O] - an Audio Book - with English Harpist Alison Katy as [P] Alisian - and with Percussionist Walt Shaw as [Q] Lords of The Dance.
For the third album we are at Maureen’s home - the recording room - wires- drums - trumpets - French Horns and flutes strewn left to right - Left of field that is. We begin to vocalise, to improvise - to process running though. I am live and Studio Editor - Producer for DCM [later at my Isabel studio in Derbyshire]. What a pleasure - what an experience. We didn’t make Piglets out of sows ears, silk purses or even butterflies - rather we spun Gold dust on to tape spools [Gold Dust GOLDSTAUB if anyone caught the Stockhausen reference]. This one is even further out than the last one - will they let us make a fourth album ? At this slope of affairs we’d be taken away for our own good to a home for the musically insane. Infact we were not and the fourth album is an Opera for voices.
[E2] Cabaret Dada - Our second album had to wait a long time - in reality 3 years but it felt like a lifetime. Coming after the label’s break with Leicester and the flurry of new foundations that became our International sub label JJM [Named for [K] JJM - that short lived seminal Collab that broke into [L] Wenninger Broadhurst and [M] Anjelic - basically the world happening through us. Cabaret Dada fell between Anjelic 1 - [] Study no. 1 Angel and [F] D’juil 16 - the Outrageous Roof Top Performance [] Old Grey Live [al la ‘Let it Be' - every generation needs one and D’juil was it]. So Anderson Morning’s Second album was the one that healed the Break with Leicester bringing in its wake a slew of new music.
Reordered live et al - Flute - Percussion and fragments of song - what a Witch’s brew it is - one of the strangest things I’ve ever been involved with but then that is Maureen ! She is beautiful - dexterous - flute and voice. A dimly lit, small scale, private event captured here. As mad as a box of frogs it is a treasure trove of musical Dada as Cabaret !
Song references are to ‘Yes - to The Beatles - to Faust and to Telly Savalas - ”she used to save the darndest things rubber bands and bits of string.”
Another masterwork of a cover by Jim Tetlow - ‘Cabaret.’
[E1] Anderson Morning - The natural resonance of a redundant church now rehearsal space - the W of my W with [C] Etuda, and my Drum works - now with Flautist - Vocal Artist Maureen Anderson to record her flute in that space. That fabulous morning - where with my percussion we became Anderson Morning. Our first Album is then that performance, that Morning. An exciting, high energy performance for Flute - Drum and Natural resonance. A masterpiece of a cover by Jim Tetlow.
In 2009, just before his move to Leicester [after our 10th album], Jim Tetlow introduces me to two fabulous people that I would have long collaborations with over the rest of my career - Flautist & vocal Artist Maureen Anderson - and Cellist David Dhonau.
[Jim Tetlow and I drive out to visit Maureen at her amazingly weird house on the edge of Leicester, She of the Shapeshifter family of Projects with which Jim was heavily involved [I cite myself as a member through my Album Integral Shining with her in 2011]. I told Maureen about the work I was doing in Derby’s W Studio - a redundant church - with Choreographer Joanna Geldard and she wants to meet me there to record a flute part in that Ambiance. I bring my drum and record us performing there together, that morning, that Anderson Morning. That then became our Collaboration name and our eponymous first album - with the title piece being also Anderson Morning - ‘so good I named it thrice’ [NY NY G. Kenny]. We weren’t a collaboration when we met that day but we were when we parted - an album in the Can. The start of a long, important project. Anderson Morning then - for that morning with her.
An Amazingly rich album of invention and stone-wall, high ceiling, church ambiance - in two parts.
- Anderson Morning the Albums -
[] Anderson Morning (2009) - [] Cabaret Dada (Sep. 2012) - [] AM3 (May 2015) - [] AM4 They Make Music - An Opera for voices (2019) - [] AM5 (February 2022).
With me also on my 65th album- [] DCM 65 Integral Shining - with the Golden cover by Jim Tetlow of bridges from the air. That Gold names that whole period of my work as ‘The Golden Band’ Group of Albums.
- [B] - TETLOW & BROADHURST 1 - 10. I Meet Jim Tetlow at Bambu club Leicester 11th July 2007, performed there together 18th July as T& B : [] Live at Bambu (July 2007) - [] Qua - [] Orn
[] Under Normandy Bridges - [] Bridges above Us - [] Live in a Drum Group ( break) [] Koncertat - [] Sn for Solo Vn and Electronics - [] Better Than Even (Break) [] The Measure of Autumn (late 2008).
- [C] - ETUDA :1 & 2. I meet Chorographer Joanna Geldard early 2009 : [] Intonation W - [] Percussion W.
- I Meet David Dhonau and Maureen Anderson 2009 -
- [D] - REVENGE OF THE UMBRELLA PEOPLE 1 - 3 with Johannas Schafer ( Dr C) : [] Live at Pineapple Peppermint (released 2011) - [] Voration 1 - [] Voration 2 ( released 2021 in my Arkiv Box).
- [E] - ANDERSON MORNING 1 with Maureen Anderson : [] Anderson Morning (2009).
- [F] - D'juil with Cellist David Dhonau : 1 - 8 : [] Ola (2010) - [] Projections - [] Exhibition music (Break) [] I heard a Rumour - [] For That We Love - [] Winter Light (Break) - [] Emma (spring 2011) - [] Damian.
- [H] - THE FLYING SOURCES 1 - 5 - [] Out from Venus - [] Home to Venus - [] Live at Area 51 - [] Saucer Blues - [] Cup without a Saucer (All Discovered 2011+).
D'juil : 9 - 15 : [] Strata - [] Tapippio - [] Virtual Live - [] Gargamelle
[] Bebop - [] Helios - [] In Colour Live (December 2011).
- [I] - OLArJ - with Ola Szmidt & D. Dhonau: [] The Cord of Life (February 2012).
- [J] - OLAU : 1 - 4 - with Ola Szmidt : [] Cordeal - [] Honeybees - [] Bride By Her Bachelors, Even - [] Sztriped Ice (All March 2012).
- The Break with Leicester 2012 -
Founding Music with Markus Wenninger - Jurica Jelic - Marcus Beauter and Maria Vesic - on my JJM Label.
- [K] - JJM With Markus Wenninger & Jurica Jelic : [] Breeze (August 2012).
- [L] - WENNINGER BROADHURST 1 - 3 - With Markus Wenninger : [] First Reply to Markus - [] Decollement Horizon - [] Rohre (August 2012).
- [M] - ANJELIC 1 - with Jurica Jelic and Marcus Beuter : [] Study no. 1 - Angel.
Anderson Morning 2 : [] Cabaret Dada (released September 2012).
D'juil 16 : [] Leicester Old Grey Live (released September 2012).
Anjelic 2 : [] Blood and the soil (October 2012).
- [N] - KONNYEK 1 - 3 with Marina Vesic: [] Sn for Pn & Percussion no. 1 - [] Sn for Pn & Percussion no. 2 ‘In Tears’ - [] Lady Blue Black (Oct. 2012). .
- [O] - REG KEELING - Audio Book : [] A Winters Journey (Oct. 2012).
Wenninger Broadhurst 4 & 5 : [] Red Frame Blue (January 2013)
[] Avatar.
Tetlow & Broadhurst 14 : [] OBAH (February 2013).
Konnyek 4 : [] Sonate Concret (February 2013).
- [P] - ALISIAN - with English Harpist Alison Katy : [] Elvaston meadows (March 2013).
- [Q] - LORDS OF THE DANCE 1 & 2 with Percussionist Walt Shaw : [] Music for Metal Percussion - [] Electric Surface (Both May 2013).
D’juil Arkiv : [] Sunrise Festival Live (Aug 2013) [Desk release 2022].
Wenninger Broadhurst 6 : [] Lollapolusa - The lost Hour (Sep. 2013).
D'juil 17 : [] Elemental String Music (October 2013).
Wenninger Broadhurst 7 : [] Black Star Music (December 2013).
D'juil 18 - 20: [] Belladonna - [] Arkiv - Art London Live (August 2014) - [] Arkiv - Art London Live [released 2022] - [] Plateau - [] Vingt (June - October 2014).
Wenninger Broadhurst 8 - 10: [] The Unquestioned Answer - [] Virtual Glass - [] With Wisest Sorrow (November 2014).
An early reorganization of my music research interests had defined my music into dedicated sets of Albums. This way things of a kin got heard together - as one type of album or another - by Genre - or Tranche as I styled them. In this Case Music for Strings Electronics and Percussion, MSEP a genre of Electro acoustic composition. By Convention MSEP.
Beginning as a percussionist my first 7 albums are for Drums of various kinds, Drum music or Dm, my first area of research interest or Tranche. I soon realised there was a second area of percussion, as a generality over a specialism - percussion on anything other than Drums, Metal Percussion music, or MPm. The third of five is the Phase music, realised by tape looping and timing, Phm. The fourth, a genre of Electro Acoustic composition, Music for Strings, Electronics and Percussion, or MSEP. The last genre is Electronic music, Em, taking the longest processing detour from an original acoustic source.
Album numbers 96 to the End form my Fifth ‘Group’ - a 5th time division across my Genres, my Outer Blue Group. The End being what it will be, but I have no plans, at the time of writing, in August 2020, to number any further albums, the given End being 142. This all builds on the foundational 'Blue Cherry Group' [where I had introduced my 5 areas of research interest] and the big 'New Horizon Group' - [where I explored to see where these five genres were leading me]. There then seemed to be a ‘band of gold’ across my discography. My Golden Band Group, that mark a particularly successful time for me. The albums that follow that, 76 to the End, are a ‘Blue Horizon’ - after the phrase ‘blue sky research’ - the ‘Blue Horizon Group.’ For convenience, I divided this Huge area into the Inner and the Outer Blue. So my Fourth Group is the Inner Blue Group. Then a Fifth and last Group builds upon that - my outer Blue Horizon - or Outer Blue Group.
There are 15 MSEP albums in the Outer Blue Group - MSEP 22 - 36.
[] Albums MSEP 22 and 23 are my 4 Sonatas and Studies for Solo Cello - which together with albums of Sonatas and Studies for Solo Drum - form a period I call ‘Sonatas and Studies.’ All recorded in the wonderful W Studio acoustic - hence also ‘The W Period.’
[] Album MSEP 24 Luigi is the last part of my huge Nono Series - it finally comes to ground at album 102. Just after the album 101 - the Em Album Dodecette had ended my 12 part Beriom Series. Leaving one world for another - two threads that have come right through my music. To borrow a phrase “perpetual change.” The time of my series’ is over. Now we get into a time of big Stand Alone works - four symphonies and an Opera and . . .
[] Album MSEP 25 is a massive triple album - I would say a whole other world in itself. Making use of the Isabel Ensemble to produce these two, four movement, album long, Consorts for Strings. A third disc is ‘Ring of Bright Consort’ - pushing the boundary between performance and production - between Electro acoustic [MSEP] and Electronic music [Em]. Past a need for series - ‘Big music’ stands alone.
[] Album MSEP 26 is the 63 minute outing for strings - Nabucco - om - a horizon to peruse..
[] Album MSEP 27 ‘The (rather grandly titled) Unification of light.’ Experimental beyond the last fleck of land - Symphony no. 2 is nearly five hours long. “A momentary lapse of reason” on my part ? No, we are at a Mark Rothko stage again. If anything was, these are my real Rothko tone Saturations - I reached him in music and there is nowhere left to go - I think it works though. ‘The ‘Unification of light’ - is subtitled Symphony no. 2 and that title begs an explanation. It was a grand gesture on my part - it was a meditation - the Pieces came before a title. The title is mine but thought comes from physics. Wind the evolution of the Universe back to the Big Bang - wind light back it its first moment. Such thoughts were in the air for me. It is not a description of the music though nor the music a description of the title. Rather it is A Space, a stillness - a question to ask. I have a long relationship with and adoration of Mark Rothko and have often said I could hear his surfaces as music - hence my ‘Rothko Triptych.’ The Rothko Chapel - I think of as his greatest ‘Work.’ Surfaces to meditate on and I feel that abstraction. I borrow their phrase “A Stillness that moves” - with thought and caution - not in Art - as in my earlier life but ‘now in a time of music’ [me 2006]. Perhaps in error I added the subtitle ‘Symphony no. 2’ but it stands now as a part of my life - that notion is part of the furniture. Symphony - history - agency and sound - I challenge myself to it.
[] Album MSEP 28 Sinphonia Vitae - Symphony no. 3. My ‘Symphony of Life’, is dedicated to Julian, Lucas and Flori Araya Eacock - the beautiful children of my beautiful friends Emma and Jorge. Julian - the Lamb was named after me. Part of it was played at my father’s funeral though in life he never heard it. Although it follows directly from no. 2 it is in complete contrast. Clearly in the wake of its forerunner - but opposite temperament. Here, waves of serenity wash over you. Cover Art and photo by the wonderful Jim Tetlow. A serene shot over northern Australia.
[] Album MSEP 29 Symphony no. 4 - Rh 445 - a Symphony in Name [where nos. 2 & 3 were only subtitled as such]. A symphony in Substance - in imagination and in presentation. I humbly dedicate this brooding miasma to The Master - Hans Werner Henze This is my offertory, in the String tone I adore - my meditation on music. Maybe as near to my ideal as I ever got. Here then is my soul - Rh 445. I emerge with a symphony in more than just name.
[] Album MSEP 30 Codasolo - another exploratory vision of that most cherished notion of mine an ‘Elemental String Music.' Indeed the initial lines were recorded during the D'juil sessions with Cellist David Dhonau, in his studio, for our album 'Elemental String Music'. This is then a solo offspring from those D’juil sessions. The main body of the work was done back at my Isabel studio awhile later.
[] Album MSEP 31 Symphony no 5 - fiery, thunderous, pounding, unrelenting - disturbing - the Isabel Ensemble did a fine job ! To even dare to call this a Fifth Symphony, one has a lot to live up to ‘fifth symphony’ wise. This is it though - I have nothing more. There cannot be a sixth.
[] Album MSEP 32 Organum - for self - solo cello and percussive imperative. Elemental music for the elements prescribed. I sat in a Chair in a prepared room at Isabel, somewhat in the manner of Brian Ferneyhough’s ‘Electric chair.’ The complexity though is not electronic - it is alive in my thought and response. A black chair - a grey room - the Cello - myself and my fingers. The process is in the room. Ladies and Gentlemen for one time, for once and forever.
[] Album MSEP 33 They Make Music - an opera in two acts - for voices instruments and electronics. Two children a dressing up box and instruments. New music for an old collaboration - Flautist Maureen Anderson and I as Anderson Morning - ‘AM’ - our fourth production but with a difference. This time because so much of the Concept and realisation is mine I call it a work of mine - staring Maureen, flute and Voice as Christingle to my Vladimir. I also title the work MP 4 in acknowledgement of her. I draw the process into fantasy and formality as we made music. It is a play for disguised voices where you see them dress up and play in your minds eye. Enjoy the bouncing percussion and how the voices stretch into melody. What do they say - well let that be a secret between ourselves.
[] Album MSEP 34 A little less than Kind - a second suite for Cello. Like the first suite - ‘Never Not Actually Arriving’ - it is comprised of separate movements called intonations - four this time to eight in the First Suite. The third suite however is a set of independently numbered works. A point perhaps to note.
[] Album MSEP 35 Gregorious A & B - Music for Strings Electronics and Percussion, MSEP 35 - my 142nd album. A 21st centaury take on Gregorian Chant - the A and B studio edits. Ably performed by the Isabel Voices. This is the once and forever recording of it.
[] Album MSEP 36 Entangled A B & C. In effect my 3rd suite for cello - suite in a very loose sense in that they form a collection - an Opus number if you like but they have the independence of three Rh numbers - three Acknowledged works. With this set I close my MSEP Genre or Tranche. It has served its purpose and got me where I wanted to be.
- Outer Blue Group - MSEP []
DCM 096 Em 38 -- Blue Dark Marine
[] DCM 097 MSEP 22 -- Sn for Solo Vc 1, 2 []
DCM 098 Dm 15 -- Dm Sn no 9. 9
[] DCM 099 MSEP 23 -- Sn & St for S. Vc []
DCM 100 Dm 16 -- W Dan. 8 -14
DCM 101 Em 39 -- Dodecette
DCM 121 Dm 22 -- 5th Inv for Dj
DCM 122 Dm 23 -- Drum Mantra
[] DCM 123 MSEP 31 -- Symphony 5 []
DCM 124 Dm 24 -- 6th Inv for Dj
DCM 125 MPm 14 -- Footfall A & B
DCM 126 MPm 15 -- Inv for Steel Casing
DCM 127 MPm 16 -- Imp in 4 and 3 Pts
DCM 128 MPm 17 -- Six Sns. for Metal P.
DCM 129 MPm 18 -- Inv for Industrial Unit
DCM 130 MPm 19 -- Now is N. t. T. f Dan
DCM 131 MPm 20 -- Parellelia
[] DCM 132 MSEP 32 -- Organum []
DCM 133 MPm 21 -- Perfor in Plastic
DCM 134 Em 43 -- Geut - B Version
DCM 135 Em 44 -- Vib. Blue Light
DCM Ark Em Arkiv -- What nu. Added to
DCM 136 Dm 25 -- Sn for S. Dm 11 &12
[] CM 137 MSEP 33 -- They Make Music []
DCM 138 Dm 26 -- Double Up + Per PP
DCM Ark Dm Arkiv -- Sometime Live
DCM 139 Dm 27 -- In an English Pa Ch
DCM 140 MPm 22 -- Quarlium
[] DCM 141 MSEP 34 -- A Little Less than K []
[] DCM 142 MSEP 35 -- Gregorious A & B []
[] DCM 143 MSEP 36 -- Entangled A.B & C []
The DCM album numbers list volumes in a [for the most part]
chronological edition - the ‘DCM Broadhurst Edition’ - Prepared for the British Library in 2020. The volumes or albums themselves were actually released as and when it was possible. The Edition though, was planned from the start to stand on the 'foundation Stone' of the Blue Cherry group.
The Rh catalogue, numbers my individual works in order of Completion.
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