Gruppe Nuova Consonanza - Improvisation

Ex/m- | This is the legendary "Improvisationen" vinyl of Gruppe Nuova Consonanza on the legendary Avant Garde series of Deutsche Grammophon(that released also records from Cornelius Cardew, Leo Kupper, Vinko Globokar, Roman-Haubenstock Ramati, Heinz Holliger, Sylvano Bussotti, Mauricio Kagel, Karlheinz Stockhausen, Gyorgy Ligetti and others). Released back in the late 60's. Il Gruppo was founded in 1964 in Italy and since its' appearence a lot of things have changed in experimental music expression. In the beggining the main reference was electroacoustic music, while the ensemble in the passage of time received great stimulation from jazz and indian music. Wide use of tape manipulation together with "electronic improvisation"!! Reminds Musica Elettronica Viva. A BIG BIG MUST!! Highly recommended!!

What I can tell you about Il Gruppo di Improvvisazione Nuova Consonanza is that they were an open-door collective of composers-performers formed in 1964 at their core by founder Franco Evangelisti, Mario Bertoncini, Walter Branchi, John Heineman, Roland Kayn, Egisto Macchi, Ennio Morricone and Ivan Vandor. Also floating through their ranks at various times and dates were Frederic Rzewski (present on several notable recordings), Carmine Pepe, Larry Austin, John Eaton, William O. Smith, Giovanni Piazza, Jesus Villa Rojo, Antonello Neri, Giancarlo Schiaffini, Alessandro Sbordoni and probably a whole bunch more I don't know about. Il Gruppo continued a few years after Evangelisti's death in the 80's but seemingly fell apart with no one willing (or able) to take the reins of the project. Most involved however seem to agree that Il Gruppo's true period of growth and innovation was from 1968 to 1972, so this set is bound to contain some seriously choice cuts.
Despite the fact that the musicians work with conventional instruments (piano, strings, brass and percussion), they play them in such unconventional ways that it's perpetually difficult to be entirely sure of what you're hearing. Add to that the prevalent use of non-traditional instrumentation (sheet metal) and it really is a mixed bag. GINC's sound falls somewhere between Harry Partch's noisemaking inventiveness and AMM and MEV's pioneering electro-acoustic chatter. Dig the percussion seemingly devised from hitting anything within striking distance, or the sound of somebody blowing into some kind of reed mouthpiece, or Heineman's strangled horns, or the heavily prepared and abused piano, or the oddly charming birdsong near-solo. The ending sounds almost cartoony, walrus hornwork, skittery percussion and bowed strings colliding playfully in a mini-tornado of improvisational wizardry. Also, very reminiscent of AMM and Keith Rowe's work with shortwave radio frequencies. The group benefit greatly from the added space as they appear to play cat-and-mouse with the audience, launching a full scale attack on their instruments before receding into the shadows and preparing their next onslaught. This up-and-down style of playing offers no real beginning, middle, or end - perfect on the whole not only to Il Gruppo's sound, but seemingly their philosophy as an entity as well. It's interesting to listen the composers interact and perform spontaneously as it is to see them preparing the piano by tying horsehair around the strings and rubbing the interior with empty plastic bottles and vaccuum cleaner attachments.

A ... E Poi?
B1 Quasiraga
B2 Light Music
B3 Ancora Un Trio
B4 Credo

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