(Based on the Etudes of Franz Whilhelm Ferling). By John Walker, Franz Wilhelm F...(+)
(Based on the Etudes of
Franz Whilhelm Ferling).
By John Walker, Franz
Wilhelm Ferling. Edited
by Amy Porter. Arranged
by Cyrille Rose. For
flute and piano. Carl
Fischer Classic Studies.
Book and CD. 44 pages.
Published by Carl Fischer
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult
SKU:
HL.49046544
For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544).
ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches.
I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti).
For Clarinet in B-flat. Includes a newly engraved, authoritative printed solo pa...(+)
For Clarinet in B-flat.
Includes a newly
engraved, authoritative
printed solo part, and
two compact discs,
containing a complete
version with soloist, in
digitally recorded
stereo; then a digital
stereo version of the
accompaniment, minus the
soloist. Published by
Music Minus One.
The Developing Clarinetist (31 Clarinet Studies). By Leon Lester. Edited by Leon...(+)
The Developing
Clarinetist (31 Clarinet
Studies). By Leon Lester.
Edited by Leon Lester.
For Clarinet. Softcover.
Standard notation. 32
pages. Published by
Theodore Presser Company
Composed by Sean Osborn. Score and part(s). With Standard notation. 32 pages. Du...(+)
Composed by Sean Osborn.
Score and part(s). With
Standard notation. 32
pages. Duration 17
minutes. Theodore Presser
Company #114-41866.
Published by Theodore
Presser Company
(PR.114418660).
Chamber Music Clarinet, Piano SKU: PR.144406020 For Bb Clarinet and Pi...(+)
Chamber Music Clarinet,
Piano
SKU:
PR.144406020
For
Bb Clarinet and
Piano. Composed by
James Primosch. Premiered
by Jean Kopperud,
clarinet, and Stephen
Gosling, piano, at
Sacramento State
University, Sacramento,
CA. Contemporary. Set of
performance scores. With
Standard notation.
Composed 2008. 12 pages.
Duration 8 minutes.
Theodore Presser Company
#144-40602. Published by
Theodore Presser Company
(PR.144406020).
UPC:
680160621217. 11 x 14
inches.
Times Like
These was commissioned
and premiered by
clarinetist Jean Kopperud
and pianist Stephen
Gosling, who also
included the work on
their Albany Records CD
Extreme Measures. The
work was also adopted by
clarinetist Lisa
Oberlander, who performed
it at the 2014
ClarinetFest of the
International Clarinet
Association and recorded
it on her debut album,
Times Like These. A
YouTube video performance
by Oberlander is
available, with pianist
Yien Wang.
Chamber Music Clarinet, Piano SKU: PR.14440602S 144-40602S. Compos...(+)
Chamber Music Clarinet,
Piano
SKU:
PR.14440602S
144-40602S.
Composed by James
Primosch. Premiered by
Jean Kopperud, clarinet,
and Stephen Gosling,
piano, at Sacramento
State University,
Sacramento, CA.
Contemporary. Performance
Score. With Standard
notation. Composed 2008.
12 pages. Duration 8
minutes. Theodore Presser
Company #144-40602S.
Published by Theodore
Presser Company
(PR.14440602S).
UPC:
680160622023. 11 x 14
inches.
Times Like
These was commissioned
and premiered by
clarinetist Jean Kopperud
and pianist Stephen
Gosling, who also
included the work on
their Albany Records CD
Extreme Measures. The
work was also adopted by
clarinetist Lisa
Oberlander, who performed
it at the 2014
ClarinetFest of the
International Clarinet
Association and recorded
it on her debut album,
Times Like These. A
YouTube video performance
by Oberlander is
available, with pianist
Yien Wang. For advanced
performers.
Elegy Flûte traversière et Piano Theodore Presser Co.
For Flute and Piano. Composed by Lowell Liebermann. Contemporary. Solo part wi...(+)
For Flute and Piano.
Composed
by Lowell Liebermann.
Contemporary. Solo part
with
piano reduction. With
Standard notation.
Composed
2012. Opus 119. 16 pages.
Duration 8 minutes.
Theodore
Presser Company
#114-41683.
Published by Theodore
Presser
Company
(For Clarinet and Piano). Composed by Lowell Liebermann. For clarinet, piano. Co...(+)
(For Clarinet and Piano).
Composed by Lowell
Liebermann. For clarinet,
piano. Contemporary. Solo
part with piano
reduction. Standard
Notation. Op. 119. 14
pages. Duration 8
minutes. Theodore Presser
Company #114-41605.
Published by Theodore
Presser Company
Chamber Music SKU: PR.416413010 Concerto da Camera III. Composed b...(+)
Chamber Music
SKU:
PR.416413010
Concerto da Camera
III. Composed by
Shulamit Ran. Full score.
With Standard notation.
Duration 19 minutes.
Theodore Presser Company
#416-41301. Published by
Theodore Presser Company
(PR.416413010).
UPC:
680160605682.
Under
the Sun's Gaze as a title
for a musical composition
conjures up many
possibilities. It is, in
fact, an imagined line
from an unwritten poem,
invented with the idea of
capturing something of
the visual aura the
sounds and energy of this
work invoke in its
composer' mind. An
omnipotent presence in
all of nature, a source
of life yet also capable
of its destruction, the
sun affects the light and
dark in our physical
existence as it defines
the daily and seasonal
life. The music of this
work, in three
interlocking parts, takes
turns being exuberant,
caressing, scorching,
receding, hazy, lazy,
blazing, dissolving into
darkness, blinding in its
intensity. Subtitled
Concerto da Camera III,
this work is written for
what has become known as
the standard Pierrot
instrumentation of flute,
clarinet, violin, cello,
piano plus percussion.
The difference here is
that the winds are
doubled - the two
flutists alternating with
piccolo and alto flute
and both clarinetists
also doubling on bass
clarinets. The ninth
member of the ensemble, a
soprano saxophone,
appears well into the
piece, its lyrical,
plaintively expressive
quality dominating the
musical terrain for a
while. While occasionally
joining the others for
some tutti outbursts, it
maintains its position as
something of a guest
throughout. Of the
various thematic ideas
that populate this work,
a six-note descending
line played by the
clarinet appearing right
at the work's opening
then arching back up
reveals itself, as the
music unfolds, to be the
principal melodic
building block of Under
the Sun's Gaze. Its
various transformations
include the plaintive
soprano saxophone melody
appearing in the middle
section. Just under 20
minutes in length, the
work in its totality can
be heard as being in a
loose arch form, its
ending receding into a
distant darkening horizon
which carries in it the
seed of the new dawn that
lies beyond. Under the
Sun's Gaze was
commissioned by the Serge
Koussevitzky Music
Foundation in the Library
of Congress for the San
Francisco Contemporary
Players, David Milnes,
conductor.
Wildflowers Flûte, Clarinette, Piano (trio) Theodore Presser Co.
(A Trio for Piccolo (or Flute), Clarinet, and Piano). By Eric Ewazen. Piano trio...(+)
(A Trio for Piccolo (or
Flute), Clarinet, and
Piano). By Eric Ewazen.
Piano trio. For Piccolo
(or Flute), Clarinet in
Bb, Piano. Contemporary.
Score and part(s).
Standard notation. 40 12
pages. Duration 22
minutes. Published by
Theodore Presser Company
For Bb Clarinet and Piano. Composed by Amanda Harberg. Premiered in the M...(+)
For Bb Clarinet and
Piano. Composed by
Amanda Harberg. Premiered
in the Music in Montclair
Series with clarinetist
Benjamin Fingland and
pianist Amanda Harberg,
at the Unitarial
Universalist Congregation
At Montclair.
Contemporary. Solo part
with piano reduction.
With Standard notation.
Composed 2015. 28 pages.
Duration 12 minutes.
Theodore Presser Company
#114-41747. Published by
Theodore Presser Company
(PR.114417470).
(Clarinet and Piano Charles Neidich 21st Century Series for Clarinet). By Gioach...(+)
(Clarinet and Piano
Charles Neidich 21st
Century Series for
Clarinet). By Gioachino
Rossini (1792-1868).
Edited by Charles
Neidich. For Clarinet,
Piano Accompaniment
(Score and Solo Part).
LKM Music. 31 pages. Hal
Leonard #S131012.
Published by Hal Leonard
It Takes Four to Tango Quatuor de Clarinettes: 4 clarinettes [Conducteur et Parties séparées] Theodore Presser Co.
For 3 B-Flat Clarinets and Bass Clarinet (Quartet or Ensemble). By Daniel Dorff....(+)
For 3 B-Flat Clarinets
and Bass Clarinet
(Quartet or Ensemble). By
Daniel Dorff. Wind
quartet. For Clarinet I,
Clarinet II, Clarinet
III, Bass Clarinet. Score
and parts. 4 pages.
Duration 2:30. Published
by Theodore Presser
Company.
Mastering the Middle Register of the Clarinet. Southern Music. Instruction. S...(+)
Mastering the Middle
Register of the Clarinet.
Southern Music.
Instruction.
Softcover. 28 pages.
Southern Music Company
#B588. Published by
Southern
Music Company
Composed by Carl Maria von Weber (1786-1826). Arranged by Kathryn Vedder. For ba...(+)
Composed by Carl Maria
von Weber (1786-1826).
Arranged by Kathryn
Vedder. For bass clarinet
and piano. Classical;
romantic period. Piano
score and part. 26 pages
(score); 10 pages (part).
Published by Alea
Publishing
Clarinet (Clarinet) SKU: HL.48186518 Composed by Hyacinthe Klose. Leduc. ...(+)
Clarinet (Clarinet)
SKU: HL.48186518
Composed by Hyacinthe
Klose. Leduc. Classical.
CD. 17 pages. Alphonse
Leduc #AL6400. Published
by Alphonse Leduc
(HL.48186518).
UPC:
888680795849.
9.0x12.0x0.113
inches.
French
clarinetist and composer,
Hyacinthe Klose
(1808-1880) is
predominantly known for
his design improvements
to the Clarinet and
Flute. However, his
passion for the Clarinet
is also apparent in his
aids to the learning of
the instrument, as in
this book, Etudes et
Exercices. With revisions
made by clarinetist and
composer Paul Jeanjean
(1874-1928), Etudes et
Exercices for Clarinet
covers articulation,
breath control,
ornamentation, range,
scales and arpeggios,
among other aspects.
Featuring input from two
well-established
clarinetists, this study
and exercise book cannot
be missed by aspiring
Clarinet players..
10 Great Studies in the Style and Language of Bebop. Composed by Jim Snidero. ...(+)
10 Great Studies in the
Style and Language of
Bebop.
Composed by Jim Snidero.
Improvisation;
Method/Instruction; Play-
Along; Technique
Musicianship; Woodwind -
Clarinet Method or
Collection. Advance
Music.
Jazz. Book; Digital
Download. Advance Music
#01-
ADV14115. Published by
Advance Music
Orchestra SKU: PR.11641867L Composed by William Kraft. Spiral. Large Scor...(+)
Orchestra
SKU:
PR.11641867L
Composed
by William Kraft. Spiral.
Large Score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867L. Published by
Theodore Presser Company
(PR.11641867L).
UPC:
680160683215.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.