Codex

Release Date: 19th Jan 2018
Catalogue No: IF1040
Label: Infine Music
Length: 51 minutes

anon.: Constantia

Work length4:05

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Bruce Brubaker

Riley: Keyboard Study, No. 2

Work length2:31

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Bruce Brubaker

anon.: Indescort

Work length4:15

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Bruce Brubaker

anon.: Che Pena Questa

Work length3:24

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Bruce Brubaker

Riley: Keyboard Study, No. 2

Work length1:13

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Bruce Brubaker

anon.: Hont paur

Work length4:47

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Bruce Brubaker

Riley: Keyboard Study, No. 2

Work length3:40

$1.05

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Bruce Brubaker

anon.: J'aime La Biaute

Work length1:59

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Bruce Brubaker

anon.: Tupes

Work length4:13

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Bruce Brubaker

Riley: Keyboard Study, No. 2

Work length1:14

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Bruce Brubaker

anon.: Jour Mour Lanie

Work length1:18

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Bruce Brubaker

anon.: Elas Mon Cuer

Work length4:57

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Bruce Brubaker

Riley: Keyboard Study, No. 2

Work length1:25

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Bruce Brubaker

anon.: Bel fiore danca

Work length1:11

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Bruce Brubaker

anon.: De Tout Flors

Work length5:08

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Bruce Brubaker

Riley: Keyboard Study, No. 2

Work length1:52

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Bruce Brubaker

anon.: J'ay Grant Espoir

Work length4:33

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Bruce Brubaker

About
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About

A dialogue between Terry Riley's Keyboard Study No. 2 (1964) and the Codex Faenza, a 15th century manuscript considered to be one of the very first collections of keyboard music. By putting forth the work of the performer/creator above that of the composer, this back-and-forth takes the listener on a journey that is at once timeless and eminently current.

In 1964, in the American West Coast city of San Francisco, composer Terry Riley invented American repetitive music. Based on improvisation, his studies are loosely articulated around the free combination of a series of melodic cells of different lengths, giving the pianist the freedom to use them following a freeform protocol. Codex includes the very first acoustic piano versions of Terry Riley´s seminal piece.

The Codex Faenza created circa 1420 and rediscovered in the 1930s, became an object of fascination for harpsichordists, organists and pianists the world over, as one of the oldest keyboard scores to have survived.

The American pianist intertwines them on one album, working out their textures to bring out their differences - the Codex Faenza's quasi-declaratory, rhythmically-unstable dimension contrasting with Riley's metronomic ostinatos - as well as their similitudes, in particular their rhythmic ambiguity.

Codex

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