Cover: one-color print with photos of a store window-action of Colette on 24. September 1979 in Graz, Austria. 30cm, 33RPM, 1000 copies of the issue signed, Colette is Dead Co. Ltd. Contents: Beautiful Dreamer. Still You. Music: Peter Gordon. Perf: Love of Life Orchestra, Justine(voc).

Contents: Breath: Rubbimg Rock. Boiling Water. Terra Cotta(Heated Stone). 30cm, 33 RPM, 1985, limited edition of 100 signed and numbered copies, Editions Lebeer Hossmann / Hamburg.

Cover: b/w, gatefold, according to a drawing by Philip Corner. Special issue of 20 copies contains besides the record 11 pages(21.5 x 35.5cm) of score(photostats), handcolored, numbered and signed by Philip Corner and 10 etchings(53 x 67cm), b/w, signed and numbered by KP Brehmer. 30cm, 33RPM, 1988, Edition Block, Berlin, EB 106.

Modest Moussorgsky wrote Pictures at an Exhibition in 1874, inspired by his impressions of an exhibition of visual works by his deceased friend Victor Hartman. Brehmer's 10 etchings transpose Moussorgsky's music back into visual terms. The Promenades, the recurring motif that unites the individual pictures, are left out. The titles of the etchings are identical with those of the 10 pictures set to music.

The transposition of the music was effected at the Institute for Communication Studies at the Technical University, Berlin. The respective motifs for each piece were translated into a sonograms onto etching plates and copied in the titles. Philip Corner reactivated the 10 graphics once again in his musical compositions.

Record: 25cm, 33RPM, as supplement in Source, music of the avant garde, Sacramento, California, No.9, 1971.

The original Magic Carpet consisted of two basement rooms of the Gallery Arco D'Alibert(Rome, Italy) which were threaded with about 300 meters of colored strings in cotton, wool, gut, nylon and steel, creating a web of geometric patterns which changed with the viewer's perspective. Eighty metallic sliding intersections enabled the viewer/participant to modify the structure at will. Suspended from an independent set of strings were twelve groups of chimes with from five to seven elements each. They were made of bars and tubes of hard and soft aluminium, brass, and steel, 8 to 35 centimeters in length. A wooden frame and sound box was fitted into the passage-way between the rooms and supported thirty-five steel strings maintained in tension by piano-tuning pegs. The whole formed a kind pf walk-through harp. There were no chimes in the first room, and only one waxed wool strings was made to sound(if rubbed). In corners of the second room, strings converged into small metallic "sound boxes", which also housed contact microphones. The sound of these "wall guitars", as well as those of the "harp", were picked up by eight microphones in all, amplified and heard on speakers in two other rooms in the gallery. No conscious attempt was made to tune these instruments or to indicate what to do with them. The public was quick to move from the novelty of making sounds to the pleasure of making its own "public music".
-Excerpt from Sourse.