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Igma— You have often focused on Ludwig van Beethoven as the source for your plundering. We now come upon two examples; the first was originally from a larger work, and the second is your earliest Beethoven foray, at least of your published works.
Oswald— In 1991, following their relative success with spectre, Kronos commissioned me to write a multi-movement string quartet. It was the year of Mozart, for some reason i, but my suggestion to make a work related to this was not met with enthusiasm. But, in my discussion with them, Beethoven seemed to be an acceptable potential source. I wasn’t particularly enthusiastic about creating something that had discern- ible sections, but i had a lot of ideas related to Beethoven’s music, string quartet conventions, and the use of amplification by Kronos. I made a modular structure of several pieces, and called the whole thing Lieu dWig Wand/Bay/Tow v&, with the intention that sections could be dropped, or presented in an alternate order — each movement was a piece onto itself. Perhaps the whole composition was as awkward as its title — after a handful of performances, none of which i had a chance to see or hear, Kronos dropped it completely. The only section i had a chance to rehearse with them was preLieu, and i regret they didn’t keep it, only because i like it a lot, and wish their audiences could hear it.

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from Ludwig : vol​.​2 — benign, released December 12, 2020
after Ludwig van Beethoven by john oswald
performed on the 14th of november 2015 by the Bozzini Quartet
mastered by Stephan Mathieu @ Schwebung

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rascali klepitoire

John Oswald is best known as the the creator of the Plunderphonics genre, an appropriative form of recording studio creation which he began unfolding in the late ’60’s. This got him in trouble with, and also garnered invites from major record labels and musical icons. In the early ’90’s he began, with three commissions from the Kronos Quartet, to compose in what he calls the Rascali Klepitoire. ... more

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