TheAvant Garde Project is an effort to make available some of my favorite piecesof experimental music from the late20th century. The extremist intellectual climate of that time gave birth to some of the wildest and most challengingsound combinations yet produced by human artistry. The pieces selected for this project were released on LP but havenever been released on CD, and so theyare effectively inaccessible to the vast majority of music listeners today. Using an analog rig and pre-amplificationthat is near state-of-the-art, I am able to extract the sound from the grooves with almost none ofthe surface noise and tracking distortion normally associated with LPs. Iam hoping you will find this material as fascinating and beautiful as I do. Myhard disk is absurdly small, and so Iam seriously limited as to how many torrents I can host at one time. If you find any value in your downloads, I askyou please to seed them yourself for as long as possible, so they will continue to be available to other people.In just the first few days, the firstAGP torrent (featuring the electroacoustic music of Josef Anton Riedl) has beendownloaded over 100 times--check it outif you haven't already. ========================== Thesecond AGP torrent comprises the four parts of Mauricio Kagel's Acustica, forexperimental sound-producers andloudspeakers. This piece features some of the most astonishing timbres I have ever heard. As far as I can glean fromreading the record notes, the first two parts are live performances by five musicians (recorded atStudio Rhenus, Godorf bei Köln, on January 28-31, 1971) and the second two parts are electroacousticcompositions produced in 1969. The live performances use a crazy collection of homemade instruments (see the includednotes for details), some purely acousticand others incorporating loud-speakers, tone generators, or cassette recorders. Thetwo electroacoustic sides are well worth listening to, but I particularlyrecommend the tremendously complexsounds on the first two sides. They have a texture somewhat like electronic music, but with more timbral detail owing tothe acoustic sound sources. Personally, I find these sides awe-inspiring. If you are instead horrified by what strikesyou as unspeakable cacophony, we willhave to agree to disagree. Ashort biography of Kagel from the Universal Edition website: "Mauricio(Raúl) Kagel was born in Buenos Aires on 24 December 1931 into a polyglotArgentine- Jewish family with strongly leftist political views. He studiedtheory, singing, conducting, piano, celloand organ with private teachers, but as a composer was self-taught. At theUniversity of Buenos Aires, where JorgeLuis Borges was among his lecturers, Kagel studied philosophy and literature. In 1949 he became artisticadvisor to the Agrupación Nueva Música of Buenos Aires; he began composing in 1950, seeking musicalideas that opposed the neoclassical style dictated by the Perón government. After an unsuccessfulattempt to establish an electronic studio, in 1955 he became chorus director and rehearsalaccompanist at the Teatro Colón and editor on cinema and photography for the journal nueva visión. In1957 Kagel traveled to Germany on a DAAD student grant, settled in Cologne, and became immediately and permanentlyinvolved in the contemporary musicnetwork as a member of the so-called "second generation" of Darmstadtcomposers. "InGermany he participated in the Darmstadt summer courses (from 1958), where helater lectured (1960–66, 1972–76), andconducted the Rheinland Chamber Orchestra in contemporary music concerts (1957–61). Between 1961 and 1965, he alsomade several concert and lecture tours in the USA. In 1969 he was named director of the Institute of New Music at theRheinische Musikschule in Cologne and,as Stockhausen’s successor, of the Cologne courses in new music (until 1975);in 1974 he became professor of newmusic theater at the Musikhochschule in Cologne. Kagel was one of the founders of the Ensemble for New Music inCologne and has worked at the electronic studios in Cologne, Berlin, and Utrecht. He continues to conduct many of hisworks and directs and produces all ofhis own films and radio plays." Equipmentused for A/D conversion: Lyra Helikon phono cartridge, Linn LP12/Lingoturntable, Linn Ittok tonearm,AudioQuest LeoPard tonearm cable, PS Audio PS2 preamplifier, Kimber PBJ interconnect, M-Audio Audiophile USB A/Dconverter. 01- Acustica, first part [23:46] 02- Acustica, second part [19:53] 03- Acustica, third part [17:44] 04- Acustica, fourth part [17:22] NOTE:To the best of my knowledge, these recordings are currently out of print. Ifyou know otherwise, please let me knowASAP, as I do not wish to deprive any artists of their much-deserved royalties (however paltry).