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	Glenn Branca - Wikipedia, the free encyclopedia
		Glenn Branca (born October 6, 1948 in Harrisburg, Pennsylvania) is an avant-garde composer and guitarist.
		Branca also plays duets for excessively amplified guitars with his wife, and conducted his 13th symphony for 100 electric guitars at the base of the World Trade Center in New York City in 2001.
		Symphony #2 (The Peak of the Sacred) (Atavistic, 1992)
	en.wikipedia.org /wiki/Glenn_Branca (654 words)

	Symphony No. 6 - Wikipedia, the free encyclopedia
		Ludwig van Beethoven's Symphony No. 6, the Pastoral
		Glenn Branca's Symphony No. 6, Devil Choirs at the Gates of Heaven
		This is a disambiguation page: a list of articles associated with the same title.
	en.wikipedia.org /wiki/Symphony_No._6 (122 words)

	Interview with Glenn Branca
		Branca's First Symphony was premiered in 1981, and it began a series of works for his extended guitar ensemble that culminated in 1988's Symphony #6 - Devil Choirs at the Gates of Heaven.
		The earlier symphonies were broadly consistent in their aim to reach a state of climax as quickly as possible, and stay there as long as possible, and an positive, blissful state frequently resulted.
		Branca's Symphony #3 deals extensively with the series, and with the effects that can arise when the instruments are tuned to suit the harmonic series, but for all his enthusiasm for the concept, it doesn't play such a dominant role in his music any more.
	media.hyperreal.org /zines/est/intervs/branca.html (2933 words)

	Symphony No. 6 (Devil Choirs at the Gates of Heaven), MP3 Album Music Download at eMusic (Site not responding. Last check: 2007-10-31)
		Symphony No. 6 isn't a symphony in the stuffy classical sense -- it's not written for a traditional orchestra, and it doesn't obviously adhere to symphonic form.
		Symphony No. 6, like many of Branca's works, has one foot in the late-'70s New York no wave scene that inspired Sonic Youth, and the other in the experimentalism of late-20th century composers like Iannis Xenakis.
		Branca is one of the few avant-garde composers with the nerve to subtitle his work "Devil Choirs at the Gates of Heaven," and one of even fewer whose music is discordant, engrossing, and scary enough to make the listener take such a subtitle seriously.
	www.emusic.com /album/10735/10735086.html (422 words)

	Future Events (Site not responding. Last check: 2007-10-31)
		Branca’s music requires room for the sound of his instruments to swell up and create cumulus clouds of overtones that hang over the notes and chords and generate completely different sonic effects.
		When he debuted his Symphony No. 6, the aptly titled Angel Choirs at the Gates of Hell, at Harvard’s high-ceilinged Sanders Theatre in the late 1980s, the result was astonishing.
		So it’s surprising that Branca, who is now seven more symphonies into his career (his most recent was written for 100 guitars and debuted at the former World Trade Center), is playing a pair of small clubs in the area.
	www.bostonphoenix.com /boston/events/future/documents/02857478.htm (716 words)

	TrouserPress.com :: Glenn Branca
		Symphony No. 2 (The Peak of the Sacred) (Atavistic) 1992
		Played by large ensembles, Branca's symphonies incorporate a plethora of amplified instruments of his own design (primarily dulcimer-like things strung with steel wire and hammered with mallets) in addition to guitars, horns and a battery of percussion.
		No fewer than ten guitarists, ranging from Swans/Of Cabbages and Kings bassist Algis Kizys to conservatory-trained classicists, plug away at a million and one riffs, leaving space for fairly prominent keyboard parts.
	www.trouserpress.com /entry.php?a=glenn_branca (971 words)

	homestudio - revue audiolab (Site not responding. Last check: 2007-10-31)
		Written and record in 1984 SYMPHONY NO. 5 has been composed for a ten-pieces ensemble with an instrumentation including electric guitars, keyboards, bass and drums, all home made and tuned on the natural harmonic scale.
		Symphony No. 5 is surely one of the peak of the BRANCA's compositive carrier.
		Later on BRANCA is fascinated and influenced by his encounter of Minimalism, in both his streams the repetitive (Philip Glass) and the drones one (La Monte) and in particular by the music of Steve Reich.
	homestudio.thing.net /revue/content/branca3.htm (330 words)

	CERES Music - Georgetown University Library
		Symphony no. 2 in B minor; In the steppes of central Asia; Prince Igor
		Symphony no. 1 in C minor: Bells of Zlonice; The Hero’s Song: op.
		Symphony no. 6 in E flat minor, op.
	www.library.georgetown.edu /dept/collect/lists/russianmusic.htm (1096 words)

	NYFA Interactive - New York Foundation for the Arts
		Branca played in Theoretical Girls and The Static—significant bands that helped define the No Wave period centered in downtown New York in the late 1970s—before moving into, ahem, “serious” music for ensembles and symphonies.
		While Branca is certainly best known for convening assemblies of electric guitars, his incorporation of drums and percussion has always provided much of the propulsive—if unheralded—force and rhythmic thrust in his music, beginning with his breakthrough early 1980s compositions such as Lesson #1, Dissonance, and The Ascension.
		Hallucination or not, the militarized movements of the symphony suggested a guitar army at war, assembled from 85 weekend warriors milling around Hollywood Guitar Center—a volunteer army, as the musicians were not paid for the discount performance.
	www.nyfa.org /level3.asp?id=470&fid=6&sid=17 (1313 words)

	Review/Music; A Festival Where Art and Rock Collide - New York Times
		The concert ended with Glenn Branca's Symphony No. 6 (''Devil Choirs at the Gates of Heaven''), the latest of the composer's raucous extravaganzas for massed guitars and drums.
		Branca's aims have not evolved much over the years.
		Except for the second movement, which grew out of the first, each of this symphony's five components began as an alluring microtonal haze, and grew inexorably into a toneless malestrom of sound - either a solid wall or a vital but abrasive rhythmic roar, driven by Stephen Wischerth's virtuosic drumming.
	query.nytimes.com /gst/fullpage.html?res=950DE7DB1F30F93BA25756C0A96F948260 (541 words)

	Glenn Branca - Symphony no. 6 / Devil Choirs at the Gates of Hea - The Pirate Bay
		Glenn Branca (born 1949 in Harrisburg, Pennsylvania) is an avant-garde composer and guitarist.
		In the early 1970s, Branca began experimenting with sound as the founder of an experimental theater group in Boston called Bastard Theater.
		He soon thereafter began composing symphonies for orchestras of electric guitars and percussion, which blended droning industrial cacophany and microtonality with quasi-mysticism and advanced mathematics.
	thepiratebay.org /details.php?id=3394094&fl (201 words)

	Browse by Artist: BRANCA, GLENN
		Glenn's prior work in the seminal no wave bands The Static and the Theoretical Girls represented some of the most aggressively avant-rock sounds of the New Wave era, while his work in the two decades since has taken on a decidedly 'classical' approach.
		However, for a brief moment, Branca and his band were able to transcend such classifications as High Art vs. Pop Culture, Classical Music vs. Rock and Roll, and release a record that, amongst all the debate, at least had all the critics agreeing on one thing: The Ascension is truly awesome.
		Atavistic has quietly erected the near complete recorded works of Glenn Branca, whose vision of guitar-generated power-symphonic sound is, in simple terms, one of the most exhilarating and important musical gestures of the contemporary era.
	www.forcedexposure.com /artists/branca.glenn.html (1049 words)

	CDeMUSIC
		Glenn Branca's 'Symphony No. 5' is orchestrated fo 5 guitars, mallet guitar, violin, drums, bass, and keyboards.
		Glenn Branca's legendary 'Symphony No. 2' for 10 guitars and percussion featuring among others, Thurston Moore and Lee Ranaldo from Sonic Youth on Branca's special mallet guitars.
		Glenn Branca's 'Symphony No. 3' is for the first 127 intervals of the harmonic series.
	www.cdemusic.org /store/cde_search.cfm?keywords=ai1 (649 words)

	Glenn Branca MP3 Downloads - Glenn Branca Music Downloads - Glenn Branca Music Videos
		The purely visceral punch of his sound and the extreme effects that the overtones generate deep within one's ear (which can sound like a microscopic, though incredibly intense, devil's choir) are impossible to duplicate in recording media.
		As with several prior works, the "guitars" in question appear to be homemade models consisting of guitar strings and pickups attached to wooden planks, laid in tiers horizontally and played with mallets or sticks.
		By using several different tunings (all, knowing Branca's methodology, presumably related in some obscure mathematical fashion), the chords created are both complex and ambiguous, and virtually always fascinating.
	www.mp3.com /albums/213740/summary.html (427 words)

	KTRU Playsheet
		12:40 AM- Glenn Branca / Symphony No. 6-- Devil At the Gates of Heaven [Symphony No. 6-- Devil At the Gates of Heaven] on the Atavistic label.
		5-- Describing Planes of an Expanding Hypersphere [Symphony No. 5-- Describing Planes of an Expanding Hypersphere] on the Atavistic label.
		10:38 PM- Glenn Branca / Symphony No. 2-- The Peak of the Sacred [Symphony No. 2-- The Peak of the Sacred] on the Atavistic label.
	noise.ktru.org /ktru/sheet.nsf/15aa60c8727df106802568e90056b4d1/b1262a6043c656df8625715b00104941?OpenDocument (117 words)

	Organum/David Jackman Discography (Site not responding. Last check: 2007-10-31)
		The cassette housing itself has no label and no information except the title and is semi-transparent yellow.
		No track title Snatch Tapes - no catalogue number; UK - 1982 Quantity unknown Credits given: Compiled & engineered by P.S. and D.J. Other information: This compilation comes in a plain fl photocopied sleeve with no labels on the plain fl cassette.
		Exit No label- no catalogue number; UK - around 1983 or shortly after Quantity unknown Other information: Black & tan printed fold-out card cover featuring a collage of a monkey used in experimentation and some crosses.
	www.brainwashed.com /organum/disco.txt (8798 words)

	Glenn Branca - ateaseweb.com \| radiohead message board (Site not responding. Last check: 2007-10-31)
		His early music was performed in No Wave bands of the late 1970s in New York, namely The Static and Theoretical Girls.
		He soon thereafter began composing symphonies for orchestras of electric guitars and percussion, which blended droning industrial cacophany and microtonality with quasi-mysticism.
		Brian Eno would be a much better choice than Glenn Branca, because the vast majority of post rock is not composed of dissonant or atonal/avant garde stuff, i.e.
	www.ateaseweb.com /mb/index.php?showtopic=10802 (824 words)

	Amazon.com: Symphony No. 3 (Gloria): Music: Glenn Branca (Site not responding. Last check: 2007-10-31)
		Symphony No. 3 "Gloria", music for the first 127 intervals of the harmonic series.
		The only aspect of Branca's music which really makes it appropriate to deem any of it as "classical" is the sheer grandiosity of his works and what Steve Reich once referred to as a fascist conductorial style.
		Anyway, this was the first Branca record I ever actually purchased, as I'd been familiar with his Symphony No. 6, the Ascension, and Symphonies 8 & 10 prior to hearing this.
	www.amazon.com /Symphony-No-Gloria-Glenn-Branca/dp/B0000060P4 (793 words)

	village voice > music > by Kyle Gann
		Loosely organized by Creative Time and with no place to sit, this was one of those events whose youth-oriented hipness threatened to drown out aesthetic considerations.
		Kline followed his symphony with a string quartet, played by the Sirius Quartet with delays and other electric effects, so tonal and contrapuntal as to bring to mind Branca's string quartet from a few years ago.
		As for the evening's intended climax, Branca's new 12th Symphony, played here for the first time in America and scored for electric guitars despite his oft stated determination to abandon that medium—it was really too loud to be heard.
	www.villagevoice.com /music/0036,gann,17923,22.html (868 words)

	A Chronology of the Symphony 1730-1998
		I compiled the works by date of completion, giving the date of premiere (if different) in parentheses; some works (the Berwald and Ives symphonies, for example) were premiered long after they were composed, and it seemed more appropriate to associate them with the point at which they entered the world.
		Symphonies are listed by dates of completion (or final compositional work in the case of unfinished symphonies); if different, premiere date listed in parentheses; premiere date unlisted if unknown.
		1982: Branca 2 The Peak of the Sacred, Ellen Zwilich 1 (1983), Harrison 3
	home.earthlink.net /~kgann/Symphony.html (1895 words)

	Amazon.com: Lesson No. 1: Music: F.L. Schröder,Jeffrey Glenn,Stephan Wischerth,David Rosenbloom,Lee Ranaldo,Ned ... (Site not responding. Last check: 2007-10-31)
		Symphony No. 2 (The Peak of the Sacred) ~ Glenn Branca
		with Glenn Branca, Stephan Wischerth, Anthony Coleman, F.L. Schroder
		"lesson no. 1 for electric guitar" is relatively calm and short and is completely tonal and consonant.
	www.amazon.com /exec/obidos/tg/detail/-/B0001N6M8U?v=glance (669 words)

	BSR : 88.1 FM : WELH Providence, RI :: Field Day for the Sundays : Glenn Branca
		So I decide to play a complete Glen Branca symphony, along with some other songs to round out this sparse and poorly annotated portrait.
		symphony no. 6 (devil choirs at the gates of heaven)
		symphony no. 2 (the peak of the sacred)
	www.bsrlive.com /archives/playlist.php?p=567&h=5418 (137 words)

	Floridian: Rocking the orchestra
		Then the San Francisco Symphony joined Metallica for a live concert recording that is surprisingly listenable, even to ears unaccustomed to heavy metal power chords.
		San Francisco Symphony members, used to polite applause in the concert hall, were bowled over by Metallica's fans.
		Glenn Branca: Symphony No. 6 (Devil Choirs at the Gates of Heaven) (Atavistic) -- Symphony for 10 electric guitars by avant-garde composer and guitarist Branca.
	www.sptimes.com /News/110500/Floridian/Rocking_the_orchestra.shtml (2305 words)

	Bagatellen: Cien Guitarras
		The Symphonies mostly have their moments, some (No. 6, I think) pretty strong, but he hits a peak of sorts with Nos 8 & 10, which I also saw performed at the Kitchen, a very intense experience.
		Recently discovered your website and kinda like it so far FYI this version of Branca’s Symphony No. 13 that you’re talking about is apparently a new version of a piece of his that was commissioned by some French cultural institution in 2001 (never appeared on CD or anything yet).
		An environment in which no one appears to welcome the audience to their night, thank them for coming, no publicly visible acknowledgement that there IS an audience out there, can be an environment that is unpleasant and detached.
	www.bagatellen.com /archives/frontpage/001215.html (5419 words)

	New Materials - Georgetown University Library
		Symphony no. 7 (8) in B minor, D. 759 : "Unfinished" ; Symphony no. 8 (9) in C major, D. 944 : "The great" Franz Schubert
		Symphony no. 101 in D "clock" ; symphony no. 102 in B flat Haydn
		Symphony no. 102 in B-flat major Symphony no. 104 in D major, "London" / Haydn
	www.library.georgetown.edu /newmaterials/archive/dec2004/musiccd.htm (931 words)

	Glenn Branca - Free Music Downloads - MP3 Downloads - Download.com Music
		Beginning in the 1970s and continuing into the present day, New York composer Branca has taken 20th century neo-classical composition in wildly new directions, using 'armies' of chugging, clanging guitars to fuel his complex, powerful material.
		Later versions of the ensemble added mallet guitar, keyboards, and an additional drummer. Glenn has recently been writing for symphony orchestras, but continues to work with his guitar ensemble.
		The group performed "Symphony No.12" on October 31, 1998 at the Barbican Centre in London, England.
	music.download.com /glennbranca/3600-8270_32-100024898.html (237 words)

	Bagatellen: Glenn Branca - Lesson No. 1
		In a recent email Branca took issue with Alan Licht's mentioning an anecdote of keyboard player Anthony Coleman to the effect that the composer at the time was "listening heavily to Joy Division's "Love Will Tear Us Apart" ("you can almost sing Ian Curtis' melody over it", Licht states..
		As a big, long-time Branca fan and a proud owner of the original vinyl of 'The Ascension' (from which Lesson No. 1 is culled) and the split LP with Giorno, it's nice to see this stuff getting another go-round.
		I was also fortunate enough to be present at the recorded performance of Symphony #2 (1982, I think) with Z'ev's amazing performance, including the swinging of metal basins on 10' lengths of chain.
	www.bagatellen.com /archives/reviews/000506.html (2443 words)

	LA Weekly - Stratocaster Collage (Site not responding. Last check: 2007-10-31)
		By the end of the afternoon, Branca was haggard from hours of wild gesticulations, yelled instructions, frequent smoking breaks and earsplitting beauty.
		Branca fits squarely in the tradition of American composers like Charles Ives and John Cage.
		In the words of festival director John Adams, “It has escaped no one’s attention that celebrating Minimalism in the context of a symphony orchestra is a problematic fit.
	www.laweekly.com /music/12938/stratocaster-collage (1957 words)

	[No title] (Site not responding. Last check: 2007-10-31)
		It is by no means a ‘finished work,’ something I’d present to the public-at-large; rather, it reflects the period in which I learned my way about the Ensoniq ASR-X Pro I bought this summer.
		That’s not to say that this music is simply the sum of its parts (no music is, is it?), but nor is that to say that it cannot be dissected and analyzed a little.
		This is the one piece on the tape that uses no samples whatsoever.
	www.wm.edu /charlescenter/monroe/projects01/summaries/boehling.html (1581 words)

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