I'm streaming the recording by Andy Lee via Irritable Hedghog and their cast of characters ("select recordings of minimalist and postminimalist repertoire"):
- David D. McIntire: electroacoustics, soundscapes, irritability
- R. Andrew Lee: pianism, internets, vertical time
- Scott Unrein: aetherial beauty, graphic wizardry, twins consultant
- Rachel McIntire: video, images, global perspective
- Eileen McIntire: hedgehogs, marketing, forensic psychology
- Michelle Allen McIntire: catalyst
I just pulled out my copy of Talking Music: Conversations With John Cage, Philip Glass, Laurie Anderson, And 5 Generations Of American Experimental Composers by Duckworth. I likely read it in 1995 and at that point, I don't think I had actually heard the music of La Monte Young, although I had first heard of Young in a downbeat magazine article in the Seventies. The interview was fascinatingly esoteric:
Duckworth: What kind of work did you do to improve?
Young: Well, anytime I heard music I would analyze it as I listened. Of course, I couldn't analyze everything I heard, nobody can, but I would analyze as much as I could. I always listen analytically now. There's never a time I'm listening without trying to formulate as much as I can about what I'm hearing--to analyze exactly what intervals I'm hearing.
Musically, The Time Curve Preludes focus on one principal melody, which is based on the Dies Irae, and include hints of Satie, Bluegrass banjo picking, and, on occasion, the piano playing style of Jerry Lee Lewis, all held in musical space by a durational architecture based on proportional time.