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Leonardo Music Journal

Ghosts and Monsters

Leonardo Music Journal is published once every year. It contains not only articles on many fascinating subjects, but also a compact disc, usually a compilation of music that relates to the theme of the journal. For the first time, this year's compact disc, curated by Matthias Osterwold, subtitled 'Technology and Personality in Contemporary Music', is available independently.

Osterwold writes: "Ghosts and monsters are products of imagination ... the ghosts of the past encounter the monsters of the future ... The pieces on this CD bring together examples of musical work that trace some aspects of the fields in which today's ghosts and monsters reside: politics, ideologies, the cult of personality, the mystery of technology ... from Lenin to Lennon, from gramophone to interactive audio software ... it is an imaginary, jumpy 'tour de force' through the century."

The music includes:
  • Alexander Abramovitch Krejn's 'The Memorial Ode on the Death of Vladimir Ilyich Lenin' (1925)

  • An excerpt from John Cage's 'Voiceless Essay' (1912-1922)

  • Paul De Marinis' 'The Lecture of Comrade Stalin of the Extraordinary 8th Plenary Congress about the Draft Concept of the Constitution of the Soviet Union on November 25, 1936'

  • An excerpt from Robert Ashley's 'Automatic Writing' (1979)

  • Cornelius Cardew's 'There is Only One Lie, There is Only One Truth' (1936-1981)

  • Henning Christiansen's 'reality is a ghost in my mind (cruelty & terror) op. 174' (1998)

  • John Lennon and Paul McCartney's 'Nothing is Real (Strawberry Fields Forever)' arranged by Alvin Lucier, played by Margaret Leng Tan (piano)

  • An extract from Peter Cusack and Nicolas Collins' 'A Host, Of Golden Daffodils' (1996)

  • Shelley Hirsch's 'For Jerry' (1998)

  • Frieder Butzmann's 'Music for Salome' (1998)

  • Oval / Markus Popp's 'Vario'

  • Michael Snow's 'Blues with Beer, Magazines, Table and Chair' (1998)
Altogether, this is a wonderful 20th-century collection, conceptually as well as musically strong, it is indeed, as Osterwold puts it, "an essay in musical form," and a very intelligent and fascinating essay at that.

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