Musica Elettronica Viva

Also known as M.E.V., MEV
Members of Musica Elettronica Viva: Allan Bryant, Alvin Curran, Birgit Knabe, Franco Cataldi, Frederic Rzewski, Gunther Carius, Ivan Coaquette, Ivan Vandor, Jon Phetteplace, Patricia Coaquette, Richard Teitelbaum
This performer (group) in the Internet: http://musicaelettronicaviva.blogspot.com/

Discography of Musica Elettronica Viva:

# Release title Total tracks Type of release is Imprint date Label
1 The Sound Pool 4 Audio 1970 BYG Records
2 Live Electronic Music Improvised 2 Audio 1970
3 The Sound Pool 4 Audio 2002 Get Back
4 Leave The City 2 Audio 2002-08-29 Get Back
5 Leave The City 2 Audio 1997
6 Leave The City 2 Audio 1970 BYG Records
7 The Original 5 Audio 1996 IRML
8 Friday 2 Audio 1969 Polydor
9 Spacecraft / Unified Patchwork Theory 2 Audio 2001 Alga Marghen
10 The Sound Pool 4 Audio 1998 Spalax Music
11 United Patchwork 10 Audio 1978 Horo Records
12 MEV 40 8 Audio 2008 New World Records
13 7 2 Berlz 6 Audio 2008-09-00 IRML
14 The Sound Pool 4 Audio 1970-11-00 BYG Records
15 Live Electronic Music Improvised 2 Audio 2009 Wergo


Musica Elettronica Viva (MEV) was begun one evening in the spring of 1966 by Allan Bryant, Alvin Curran, Jon Phetteplace, Carol Plantamura, Frederic Rzweski, Richard Teitelbaum and Ivan Vandor in a room in Rome overlooking the Pantheon. MEV’s music right from the start was also totally open, allowing all and everything to come in and seeking in every way to get out beyond the heartless conventions of contemporary music. Taking its cue from Tudor and Cage, MEV began sticking contact mics to anything that sounded and amplified their raw sounds: bed springs, sheets of glass, tin cans, rubber bands, toy pianos, sex vibrators, and assorted metal junk; a crushed old trumpet, cello and tenor sax kept us within musical credibility, while a home-made synthesizer of some 48 oscillators along with the first Moog synthesizer in Europe gave our otherwise neo-primitive sound an inimitable edge. In the name of the collectivity, the group abandoned both written scores and leadership and replaced them with improvisation and critical listening. Rehearsals and concerts were begun at the appropriate time by a kind of spontaneous combustion and continued until total exhaustion set in. It mattered little who played what when or how, but the fragile bond of human trust that linked us all in every moment remained unbroken. The music could go anywhere, gliding into self-regenerating unity or lurching into irrevocable chaos—both were valuable goals. In the general euphoria of the times, MEV thought it had re-invented music; in any case it had certainly rediscovered it. —Alvin Curran


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