Escapement features pianist Daniel Koppelman performing multichannel electro-acoustic works by eight composers with diverse musical aesthetics, interests, and backgrounds. The set includes a CD and a DVD-V disc playable on all standard DVD players, including those on a computer. Featured composers include Mark Applebaum, Benjamin Broening, Christopher Dobrian, William Kleinsasser, Daniel Koppelman, Eric Lyon, James Mobberley, and Wayne Peterson.
This disc is an excellent compilation of works that have become ‘classics’ of the literature along with more recent compositions that break new ground….It is hoped that this disc will be at once entertaining, edifying, and enlightening. —F. Gerard Errante (foreward)
Locke’s performance and interpretation was impressively natural and effortless. In fact throughout the CD, Dr. Locke rises to all technical and musical challenges with aplomb. His big, chunky sound never interfered when lightness and sparkle were needed. —David Thomas, Principal Clarinetist, Columbus Symphony Orchestra
[dvd-audio + dvd-video two-disc set]
[re] includes multichannel DVD-Audio and DVD-Video discs featuring electronic music by thirteen composers with diverse musical aesthetics, interests, and backgrounds. All works were commissioned by the Third Practice Festival of Electroacoustic Music at the University of Richmond.
Composers were asked to reflect on, reinterpret, comment on, recompose or reconsider past musical compositional techniques, specific works, genres, styles, forms, and practices. The result is a striking assemblage of music that reflects the majesty of our shared musical past while embracing technology to point toward the musical future.
Featured composers include Stephen Vitiello, Benjamin Broening, Mark Applebaum, John Gibson, Larry Polansky, Mark Wingate, Colby Leider, Scanner, Kristine H. Burns, Matthew McCabe, Ricardo Climent, Mason Bates, and Alessandro Cipriani.
Mr. Coffey writes: Lullabies & Protest Songs, Vol. 1 is a collection of five pieces for found and made instruments, voice, recordings of natural environments, and electronic sound. All but the first were premiered as instrumental pieces featuring real-time computer processing of acoustic sound, with fixed electronic elements diffused live. On this disc, some performances have received additional treatments in the studio. The approach to material and form is inspired by assemblage in the visual arts, a key example for me being Rauschenberg s combines of the 1950 s. The music, to riff on Monk, is in search of the right wrong materials, in the right wrong proportions. As it moves from monolithic minimalism to dense, highly structured, kinetic moments to folk song, the disposition of the next scene can be unpredictable. At the same time, the music is unified by acute attention to sonic detail, an idiosyncratic but ultimately reliable syntax, and an overall vibe. My hope is that, with a little use, these compositions turn out to be formal primitives.
Arthur Campbell, Clarinet
Virtuoso clarinetist Arthur Campbell performs newly commissioned works by composers Benjamin Broening, Maurice Wright, Kui Dong, Elizabeth Hoffman, and Colby Leider. Exploring the interface between live instrument and computer, Through Ripple Glass features a variety of novel and engaging musical metaphors in which the clarinet and computer enter a novel dialogue.Hailing the artistry of Arthur Campbell, Fanfare Magazine writes: “That brings us to the American school, which has managed to produce, in my opinion, the finest clarinetists of all—Stanley Drucker, David Shifrin, Richard Stoltzman, Harold Wright, and let us not forget Benny Goodman; and now Arthur Campbell can be added to this prestigious list.”
Miller and Schlesinger have created a “contemplative, engaging and very beautiful collaborative installation with surround-sound environment” (Diane Karp, Executive Director, Santa Fe Art Institute) depicting the rugged terrain of a 20.5 stretch of the Pecos River from its headwaters to the town of Terrerro. In this primarily dessert area of the US, water is relatively scarce, thus adding to the stark splendor of this DVD.
[cd + dvd two-disc set]
[in] reveals fascinating worlds of underwater life forms and related non-living phenomena, weaving them into a rich fabric of auditory data. These are intrinsically mysterious worlds, largely as remote from human experience or signification as the ultima thule revealed through the mirrors of our most powerful telescopes. Erik DeLuca not only allows us to experience these hidden worlds beyond the physical reach of our sensory perception, he does so with impeccable respect for the diverse things that share our multiverse. —David Dunn
Jaroslaw Kapuscinski is an intermedia composer and pianist whose work has been presented at New York’s MOMA, Zentrum für Kunst und Medientechnologie in Karlsruhe, Museum of Modern Art Palais de Tokyo in Paris, National Reina Sofia Museum in Madrid and many other venues. He has received numerous awards, among others, at the UNESCO Film sur l’Art Festival in Paris in 1992, VideoArt Festival in Locarno in 1992 and 1993, Manifestation Internationale Vidéo et Art Éléctronique in Montréal in 1993 and International Festival of New Cinema and New Media in Montréal in 2000. Kapuscinski’s primary interest is creation and performance of works, in which musical instruments are used to control multimedia content. He was first trained as a classical pianist and composer at the Chopin Academy of Music in Warsaw and expanded into multimedia at a residency at Banff Centre for the Arts in Canada (1988) and during doctoral studies at the University of California, San Diego (1992-1997). Kapuscinski is actively involved in intermedia education. As of 2008 he is Assistant Professor of Composition and Director of Intermedia Performance Lab at Stanford University. He has taught at McGill University in Montreal, Royal Academy of Arts and Music in the Hague, Art Conservatory and Music Academy in Odense, Conservatory of Music at University of the Pacific and lectured internationally. He has published among else “Composing with Sounds and Images,” an article outlining his intermedia theory.