solo clarinet. Recent (2005)
recording by Sam Torrisi. One of the four pieces in the "all
things" series (including all
things, beings, equal (alto sax), two minute warning (trumpet),
and cinderella (flute).
Anna Robinson, french horn; Pak
Djoko, gender; Hirotaka Inuzuka, slentem; Jessica Ross and Tyler
Yamin, kemanak. April 7th, 2010. Cal Arts. Arranged by Anna
Robinson for fr. horn from the Goode/Polansky version of this
piece (solo clarinet, gender, kemanak
Rory Cowal, UC Santa Cruz, second performance of the complete piece,
April, 2012. Three sections
(video). Christian Music.
Broschinsky (trombones), Brooklyn, NY, Music for Contemplation
9b was released on my Artifact CD
Change, and the
Cold Blue collection of these canons.
a set of short tape pieces made
using five vocal sounds of my four year old daughter Anna
as the source. FVC#9 is a set of mensuration canons in the
manner of my eight previous Four Voice Canon s
(1975-present), and is composed using my computer language
HMSL (co-authored with Phil Burk and David Rosenboom).
FVC #9 uses HMSL to generate a
CSound score, which is then used in conjunction with
Soundhack to create the canon. The CSound score is for one
voice only, and the canon is a strict one of pitch shift
and time compression.
study for the four channel piece Epitaph (Four Voice Canon #21) (tmfg) 2006.
Written for Third Practice. (aiff file, 4 minutes long). An
improved and remixed version of this appeared on my CD The
Theory of Impossible Melody, New World Records.
violin; David Dunn, violin; LP, guitar; recorded in performance at the
College of Santa Fe, April, 2004
version, performed with Odd Appetite (me, Nathan Davis, Ha
Yang Kim), Dartmouth College, November, 2005 Trio
version, Mills College, Feb. 2012, CCM Staff Concert. LP
(fretless), Krys Bobrowski (horn), Giacomo Fiore (LH National JI
guitar). Three different computer versions running together. Quntet
version, UCSC, April 12, 2012, April in Santa Cruz. LP
(fretless), Krys Bobrowski (horn), Giacomo Fiore (LH National JI
guitar), Ma'ayan Tsadka, accordion, Amy Beal, piano.
solo version, Giacomo Fiore, video, on
Lou Harrison JI National (2012)
Copy of the
original Opus One LP recording (117), from around 1986.
Kenneth Cramer, flute, John Casten, viola, Douglas Hensley,
guitar. The Hensley Variations score and parts is published by
Frog Peak Music. (Live
performance of the same piece, in Santa Cruz)
Holding Patterns for George
Concert by George Marsh, with LP guitar, UC Santa Cruz,
Nov. 2014. Part
for David(for David Wessel; tape, drums, guitar); Part
2: Lecture/performance by George on drumming history; 3)
Blues (drums, guitar); 4) Holding Patterns... (by LP,
joined by Ittai Rosenbaum, piano).
12 cellos, winds. Commissioned by
the Flexible Orchestra. Live performance of the premiere, April,
2005, NYC. Also included is the cello tooaytood at the end, iiivxii. The score and more information about
this piece. Performance by
the Flexible Orchestra, Wroclaw, Poland,
7/15/2012, Robert Kurdybacha, director
lp, douglas repetto. java/jsyn
electronics, light sensors, who knows what else. Live performance
at Cal Arts, January, 2000. Some extra time at beginning. douglas
has a note
about this performance on his site.
For Javanese gamelan. Gamelan Lipur
Sih, Jody Diamond, voice, LP, gender. An arrangement of "The
Golden Vanity" for gamelan, which was performed a couple of times
in 1991. This performance was at the Sheffield, Vermont, Town
Hall, on Malcolm Goldstein's summer pot-luck concerts, July 26,
(Variation 1) used in a video in an unusual way Roulette
Performance, 4/95, by Thomas Bachli, Urs Eggli, and Martin
Christ (1st, 2nd and 3rd section respectively). Thanks to David
Weinstein for finding this recording and making it available to me
Performance by the Downtown Ensemble, 6/7/90, NYC. Daniel Goode,
clarinet; Peter Zummo, trombone; Joe Kubera, piano; (?, viola).
This piece was originally written for choreographer Paula Ravitz
in Toronto, in the 1970s, and has been performed a few times
since. This is a very quietperformance at the Greenwhich House
The first performance
of the piece, in a slightly different version (the piece was later
revised in a number of ways), June 23, 1978, at the Toronto
Composer/Choreographer Workshop, York University. Conducted by
Adam Gatehouse, Carlos Maranda (piano), James Stephens (viola),
Joan Herlihy (horn), Paul Hodge (clarinet). This is a dub from a
cassette of the first performance, with the dance by Paula Ravitz
going on at the same time.
Performance by the New Kanon New Music Ensemble, Bard College,
April, 1981. Arrangement by me (and Gary Schmidt, the composer and
pianist in the group) of my piano rag, for flute, mandolin, piano,
bass. Performance a bit sloppy (especially me, on an old
mandolin), but energetic. This piece was usually the group's
Two arrangements of Ruth Crawford
Seeger "songs", (often called the Two Ricercari) for plucked string ensemble and
soprano. The group included LP (mandocello), Alexis Alrich
(troubadour harp on CL
and conducting on SV),
John Imholz (guitar, SV),
Dana Rath (mandolin), Paul Binkley (mandola), and Susan Narucki,
soprano. Live performances from the March 28, 1987 concert I
curated of Ruth Crawford Seeger's music. The arrangements
are recompositions (the vocal line is the same as the
originals). Both are published in
New Music for Plucked Strings, Frog Peak Music. This ensemble gave
a number of performances of these pieces in the Bay Area in the
mid-1980s (also: Santa
from 1975 or 1976, made with a
four-track analog machine at UCSC
voices are Corky, Craig,
and Sascha Harris (Sascha was a little kid, and made the
source recording on a little plastic "mail" recorder)
there's also an instrumental
version of this piece, which is performed with the tape,
for a small ensemble (premiered at San Diego with Vincent
Plush conducting). It was on the Chile...Ten Years On concert in 1983,
and there are two versions, one with Dolby
B, one with Dolby
C (I can't remember which NR the master tape had).
Other musicians on this performance were Erica Duke, Miles
Anderson, and Bert Turetsky.
Performed at Mills College, April
24, 1982. David Rosenboom (conductor), William Winant
(percussion), Amy Radunskaya (cello), others. Dub of cassette copy
of live performance. This is the only one of two performances of
this work (the second in NYC, in 2008), written in 1976, published
in Soundings 11.
songs and toods. Excerpts,
versions of Sweet Betsy... and Eskimo Lullaby, 4/20/15, Tom
Pauwels (guitar) and Liesa Van der Aa (singer/violinist),
theatrical version with violin and electronics steinmehrhund.
Solo piano. Commissioned by the Beethoven Festival Project,
Chicago, Summer, 2013 (and premiered there).
Harrison National Just Intonation guitar; Nora Jacobson,
accordion and voice. Arrangement of the tune using Ruth
Crawford Seeger's collected lyrics, a kind of
"extemporaneous" version related to one of the movements
from songs and toods.
Several "movements," performed by the ensemble Non Sequitur
(with nathan davis, ha yang kim, and several other great
musicians), at dartmouth, around 2002 (see the score, from frog peak music, for
Several "movements," performed by the Downtown Ensemble,
4/17/00, NYC, on a concert with music by me, Barbara Benary and
Christian Wolff. LP, fretless electric guitar; Margaret
Lancaster, flute; Daniel Goode, clarinet; Joseph Kubera, piano;
Peter Zummo, trombone; James Pugliese, percussion.
realized on a diskclavier, by kyle gann (who entered the first few
into sibelius from my original pencil scores). the first 12 (piano,
some guitar realizations) are available from frog peak
(the numbering may have changed for these pieces in the published
version. these recordings were made by kyle in june 2004, in his
office at bard college). There are now morepieces (including the
four abetoods, and iiivxii for 12 cellos and
winds, and guitar arrangements by Toon Callier)
performance (premiere) of tooaytoods
#1, 2, 3, 5, 8, 9, 11, by Reiko Harigaya, Dartmouth
College Festival of New Musics, April 26, 2005. live
performance of the complete first "book" (1-11) by Kentaro
Noda, Japan, Fall, 2006, and on YouTube live performance
by philip thomas, 11/24/09, Phipps Hall, University of
Huddersfield, England as part of the Huddersfield Contemporary
Music Festival. (Note, the tooaytoods
are at the very end of these audio files, preceded by some of
Christian Wolff's Small
(four electric guitars) Video of a performance by Toon Callier's
group in Belgium, 2007.
Two recordings done
in the mid-1980s, at the Mills College Center for
Contemporary Music. Toyoji Patch was a
piece/software/installation written originally for Toyoji
Tomita to play trombone with. It was a real-time feedback
system, which fed live audio into the transfer function of
a set of digital waveshaping oscillators. The hardware was
an S-100 68000 based computer system running the original
protoptype of HMSL, including a GUI and set of instrument
drivers and utiilities for controlling Don Buchla's 400
series digital waveshaping oscillators.
The system could be
used with or without a live input, since the system also
uses an external mic to feedback into itself. The audio
time-domain signal is used a transfer function to modify
itself, but one could also in real time alter Chebyshev
coefficients, redraw the waveform, and control a number of
LaBerge. In the first version, Ann is playing, but not
recorded. She is in another room, and the output of the
system is fedback into itself thru a microphone. By
playing, Anne could drastically effect the sound (since
her flute went immediately into the transfer function). In
the second version, Anne is in front of the same mic
that's used for feedback, which is both the recording and
the feedback mic.
In both versions, I
controlled the mix and the feedback gain, as well as
performing with the computer.
Recorded live March 8 and 9th, 1999,
Western Illinois New Music Festival, Paul Paccione director. Molly
is the only other clarinetist besides Dan Goode to play Bedhaya... (which is on my
Artifact CD Change), and thanks to
Roger Vetter for lending us the gender. The version of Tetherball is very nice, and
spirited. Performers on Tetherball:
Josh Duffee, Brad Feeny, Jerry Stanford, Brian Koch, Kevin
McNulty, Jake Zantout: percussion.
Harrison-Colvig transfer harp. The transfer harp is tuned in a
17 tone to the octave 13-limit tuning.
performance is from around 1978, University of Illinois. It
is quiet because the piece is itself quiet, and
the recording was made from the back of the hall. The first
half is all transfer harp, the second half the song.
This is an early solo version of the
piece, which later became an ensemble piece (see below) for
untrained voice, transfer harp, flute and bass (and has
since been performed in that way a number of times). This
solo version was only performed twice, once as a kind of
guest lecture for Ben Johnston's class in tuning at the U.
of Illinois, and the second, documented in this cassette
recording, at a small recital at the U. of I.
It is an arrangement of the
well-known Carter family song, and this performance is
re-dedicated to the late composer Herbert Brün, who happened
tobesitting quite close and directly in
front of me while I sang/played this over twenty years ago
(a vivid memory).
Performance by the New Kanon New
Music Ensemble, Bard College, April, 1981. This piece was
performed many times by this group, but this may be the most
reliable recording. For transfer harp (me), untrained male voice
(Gary Schmidt), bass (Dan Thomas), flute (Patricia Mundy). Andy
Newell was the fifth member of this group. (Score available from frog