CD Program Notes

Contents tique du CEMAMu), the graphic mu- the final tape version was done at sic computer system developed by the Stichting Klankscap and the Xenakis and his team of engineers at Sweelinck Conservatory in Am- Part One: James Harley, Curator the Centre d’Etudes de Mathe´ma- sterdam. I would like to thank tique et Automatique Musicales (CE- Paul Berg and Floris van Manen for MAMu). The piece by Cort Lippe, their support in creating this work. completed in 1986, is mixed, for bass Sound material for the tape was Curator’s Note and sounds created on the limited to approximate the con- It probably would not be too far computer. My own piece, from 1987, fines one normally associates with wrong to state that most is also mixed, for flute and tape; in individual acoustic instruments in of the past 40 years have been influ- the excerpt presented here, the pre- order to create a somewhat equal enced in one way or another by the produced material, a mixture of re- relationship between the tape and music or ideas of . corded flute and computer-generated the . Although con- The composers presented on this sounds, is heard without the live trasts and similarities between the disc have been touched more directly flute part. Richard Barrett’s piece tape and the instrument are evi- than most. It was my intention to was entirely produced on the UPIC. dent, musically a kind of intimacy gather a disparate collection of music The sound-world Xenakis created was sought, not unlike our to show the extent to which that in- in his music owes much to natural present-day ‘‘sense’’ of intimacy fluence has crossed styles. These also phenomena, including the raucous with machines in general. happen to be composers I admire, shrilling of the Mediterranean cica- There are five major sections in and I am grateful they have all das. One hears remnants of this the work. The opening dialogue agreed to contribute to this release. sound at the beginning and end of between tape and instrument is Although these composers all his electroacoustic work, La le´gende followed by a section in which the place Xenakis in the top rank of their d’Eer (1977), as well as at the end of tape part dominates. This, in turn, mentors, their program notes do not his orchestral work, Jonchaies (1977). gives way to a bass clarinet , necessarily speak to this influence Zbigniew Karkowski has created a whereas in the fourth section the directly. This is probably as it should noise-based work based on record- tape part is dominated by the bass be. Xenakis has no desire to be imi- ings of the Japanese cousins of this clarinet. In the final section, the tated or adulated. He did want to be creature. tape and instrument are again understood, though, and these com- Paul Steenhuisen contributes a somewhat equal, reminiscent of posers, each in their own way, have purely instrumental work to this col- the opening section. deeply assimilated aspects of his lection. In this case, it is a brief, but Music for Bass Clarinet and work into their own aesthetic. concentrated, piccolo solo. He ap- Tape received an honorable men- Gerard Pape and Agostino Di plies the Xenakian notion of arbores- tion in the 1987 15th Annual Elec- Scipio both contributed articles to cence to cryptographic material. tronic Music Competition of Bourges, France. the In Memoriam Iannis Xenakis is- 1. Music for Bass Clarinet and sue of Journal (Vol- Tape—Cort Lippe ume 26:1, Spring 2002), and there Cort Lippe (Birmingham, Alabama, they discuss in more detail some of Music for Bass Clarinet and USA; b. 1953), has been active in the the issues that inform their composi- Tape (1986) was commissioned for field of interactive computer music tions presented here. Mr. Pape’s the 1986 International Computer for more than 20 years. He studied piece applies the notion of continua Music Conference (ICMC) by the composition with Larry Austin in to a work for multiple , here Dutch Ministry of Culture, and the USA, spent a year in Italy study- presented in a stereo mix of an eight- was written for the bass clarinetist ing Renaissance music, and three track recording. Mr. Di Scipio com- , who premiered it years in The Netherlands at the In- bines live percussion with live at the ICMC in The Hague in Oc- stituut voor Sonologie working with processing and pre-recorded material, tober 1986. The tape part was cre- and Paul also originally on eight channels. ated at CEMAMu, in Paris, using Berg in the fields of computer and There are three works in this col- the graphic-oriented computer- . He also lived for lection that were created on the music system, UPIC, designed by 11 years in France, where he spent UPIC (Unite´ Polyagogique Informa- Iannis Xenakis. The digital mix of three years at CEMAMu, directed by

122 Computer Music Journal

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320991428 by guest on 26 September 2021 Iannis Xenakis, while attending Xe- Tarkovsky, the Russian film- James Harley (Vernon, British Co- nakis’s course on formalized music maker who died of cancer in De- lumbia, Canada; b. 1959) worked at the Universite´ de Paris. He cember 1986. Tarkovsky’s work with the UPIC system at CEMAMu worked for eight years at the Institut communicates a deeply personal between 1985 and 1987 while at- de Recherche et Coordination Acous- struggle to break through the con- tending Xenakis’s seminars at the tique/Musique (IRCAM), founded by straints of a material(istic) world Universite´ de Paris. His four-channel , where he developed to ‘‘an awareness of the eternal UPIC work, Voyage, is available in real-time musical applications and within the finite, the spiritual its stereo version on the PeP label, gave courses on new technology in within matter, the limitless given and his mixed work, Per Foramen composition. He has attended com- form . . . Art affirms all that is best Acus Transire, for flute/bass flute position and analysis seminars with in man—hope, faith, love, beauty, and pre-recorded material (including various composers, including: Pierre prayer’’ (Tarkovsky, Sculpting in electroacoustic sounds created on Boulez, , Klaus time). the UPIC), is forthcoming on Metier Huber, , Krzysztof Per Foramen Acus Transire, Records (recorded by Nancy Ruffer). Penderecki, , which translates as ‘‘through the Mr. Harley has edited an issue de- and Iannis Xenakis, and has written eye of the needle’’ (Gospel of Luke, voted to Xenakis Studies for Con- for most major formations. 18:25), attempts to portray this temporary Music Review and has a His works have received numerous struggle in music through the for- book, The Music of Iannis Xenakis, international composition prizes, in- mal structure, the development of forthcoming through Routledge Pub- cluding first prizes: the Irino Prize the musical material, and the rela- lishing. (Japan), Bourges Electroacoustic Prize tionship between the live per- Mr. Harley teaches music technol- (France), El Callejon Del Ruido Com- former and the tape. The ogy at Minnesota State University petition (Mexico), USA League-ISCM electronic material was realized on Moorhead, and serves as an associate the UPIC computer music system Competition (USA), and the Leonie editor for Computer Music Journal. at CEMAMu in Paris. The pre- Rothschild Competition (USA); sec- His electroacoustic works have won recorded flute material was pro- ond prize at the Music Today Com- awards in Austria (Ars Electronica), duced at the petition (Japan); third prize in the Canada (SOCAN Young Composers Studio of City University in Lon- Newcomp Competition (USA); and Competition), France (Bourges), Ja- don in collaboration with Nancy honorable mentions in the Prix Ars pan (Irino Prize), and USA (McKnight Ruffer and Javier Alvirez. The mix- Electronica, 1993 and 1995 (Austria), Composition Fellowship). the Kennedy Center Friedheim ing was completed at the Studio Awards (USA), Sonavera Interna- Eksperimentalne of PRiTV (Polish 3. The Unthinkable— tional Competition (USA), and the Radio and Television) in Warsaw Richard Barrett with Ewa Guziolek. Luigi Russolo Competition (Italy). The Unthinkable was commis- His music has been premiered at ma- The composition was begun in December 1986 and completed in sioned by the Arts Council of jor festivals worldwide, and is re- Great Britain and composed in Jan- corded by ALM, ADDA, Apollon, October 1987. It was written for uary 1989. It was begun at Les At- CBS-Sony, Centaur, Classico, SEA- Nancy Ruffer who gave the pre- eliers UPIC in Paris and completed MUS, MIT Press, Hungaroton Clas- miere on 27 July 1988 at the Elec- a few weeks later at the Barbican sic, Harmonia Mundi, EMF, ICMC tric Music Festival in Newcastle, Centre in London during a UPIC 2000, and Neuma. Presently, he is on England. The piece was awarded educational residency in which I the composition faculty and is direc- 2nd prize in the 1988 Irino Compe- was teaching. In those days, work- tor of the Hiller Computer Music tition in Japan. ing with the UPIC involved not Studios of the University at Buffalo, The excerpt presented here in- only computer-processing speeds New York. cludes the tape part up through the end of the first section, carrying which would seem prehistoric by 2. Per Foramen Acus Transire— through to the end of the today’s standards (although on the James Harley computer-generated material. The other hand I don’t remember the continuation of the tape part con- computer ever crashing) but also Per Foramen Acus Transire, for tains only pre-recorded bass flute recording the sound from each solo flute/bass flute and tape, is music. The live flute part is not ‘‘page’’ on the graphics tablet sepa- dedicated in memoriam to Andrei heard. rately onto analog tape and splic-

CD Program Notes 123

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320991428 by guest on 26 September 2021 ing the results together. This work Peter van Bergen, Mary Oliver, Mi- them or with the tape, but in a process became embodied in the chael Vatcher and the ‘‘Music in constant interaction with the live music, which consists of 23 short Movement Electronic ,’’ as computer processing. This latter ‘‘sketches,’’ drawn while exploring, well as with the Elision, Champ exploits textural side-effects of as it were, a strange and bewilder- d’Action, Reservoir, Hermes, Cikada, real-time granulation. The com- ing environment. What was fasci- and Mikrophonie ensembles. puter processing parameters nating and frustrating in the same change depending on nuances of Natura Allo Specchio measure was the extent to which 4. —Agostino the percussion performance and on the UPIC system reflected Xe- Di Scipio a number of aspects of the overall nakis’s own priorities; the process Natura Allo Specchio (1998, re- sound in the concert venue. (See of composing with it felt some- vised 2000), is scored for two or technical description and composi- times like having an argument more percussionists, interactive tional concept in the ’s with him, from which, no doubt, I signal processing, and eight digital article: Computer Music Journal, ended up learning something. audio tracks. It was produced by Vol. 26:1, Spring 2002). The overall The Unthinkable is the fourth the composer in his own studio. timbral image features an essential and last in a series of (otherwise This performance was recorded ambiguity, as the sound is often vocal/instrumental) works collec- live, by the Istituto Gramma tech- overtly artificial but still preserves tively entitled After Matta, and nical crew, 3 September 2000, in cues reminiscent of natural (in- like the others takes its title from the Auditorium of the 16th- cluding animal) agents and envi- a painting by Roberto Matta. It is century Castle of L’Aquila, with ronmental phenomena (including dedicated to Paul Obermayer. Alessandro Tomassetti and Fulvio artificial environments). This is The Unthinkable is published Fuina on percussion and the com- due to the internal dynamic behav- by United Music Publishers poser programming the Kyma Sys- ior of nonlinear system equations (www.ump.co.uk) and is included tem. Thanks are due to Simon in the algorithmic music compo- here with kind permission. Emmerson and Peppe Servillo for nent and the synthesis method, Richard Barrett (Swansea, Wales, lending their voices. and to the continuing feedback be- UK; b. 1959), studied composition Natura Allo Specchio was con- tween performers, machine, and principally with Peter Wiegold. Dur- ceived as the Introduction to the ‘‘ambience’’ (the real, acoustic ing 2001–2002 he has been a guest of music-theater work, Sound & Fury place hosting the performance). the DAAD Berlin Artists’ Pro- (1995–1998), but in fact it was the The title is Italian for ‘‘Nature gramme. His most recent work (pre- last piece composed among those (watching itself) before a mirror’’ miered in Brisbane, Australia, that form Sound & Fury, and can (the final section of Sound & Fury November 2001) is the evening- be performed independently. is titled Specchio Alla Natura, length vocal/instrumental/electronic The tape was synthesized using ‘‘raising a mirror before Nature’’). composition DARK MATTER, a col- iterated nonlinear functions both The two voices included on the laboration between the Cikada and as sound synthesis engine and as tape (Simon Emmerson and Peppe Elision ensembles and installation tool. The Servillo) read the following lines of artist Per Inge Bjørlo. Current proj- percussion (roto-toms, wood- Shakespeare’s The Tempest: ects include works for Ian Pace and blocks, and small tom-toms, all Hang, cur! hang you whoreson, the , for the Kairos- played with brushes only) enter a insolent noise-maker. Quartett, and an electro- couple of minutes after the begin- instrumental collaboration with the ning of the tape, and disappear af- [. . .] there they hoist us, cellist Arne Deforce. ter playing for approximately two to cry to th’ sea that roar’d to us; As a performer of live electronic minutes (traces of their presence to sigh music, Mr. Barrett has worked since remain, however, long after they to th’ winds whose pity, sighing 1986 in the duo FURT with Paul Ob- take their leave). The percussion- back again, ermayer and since 1994 in duo per- ists (two in the performance re- did us but loving wrong. formances with vocalist Ute corded here, but there could be Wassermann. He has also performed three or more) play from one and Agostino Di Scipio (Naples, Italy; with many improvising musicians the same musical notation, with b. 1962) has lived since 1985 in such as George Lewis, Evan Parker, no precise synchronization among L’Aquila, Italy. His music includes

124 Computer Music Journal

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320991428 by guest on 26 September 2021 tape works, works for instrumental- 5. Le Fleuve du De´sir VI— transitions are smooth and grad- ists and computer systems, and Gerard Pape ual, but between section three and sound installations. He has been four there is an abrupt transition Le Fleuve du De´sir VI, for eight composer-in-residence at various in- to chaos. As turbulence sets in, violas, is concerned with the evo- stitutions (University of Padua, changes lose their smooth, contin- lution in time of different sound 1987–1992; Simon Fraser University, uous quality and become perceptu- structures. It is conceived on mul- 1993; Sibelius Academy, Helsinki, ally unexpected or jarring. tiple levels of perceptual structure. 1995). Mr. Di Scipio teaches Elec- In sections five and six, as the On the micro-level of percep- tronic Music at the Conservatory of sound becomes ever more disor- tion, there are eight trajectories or Bari and Latina. He is a member of derly and unpredictable and gradu- paths of change of sound parame- the board of directors of the Italian ally disintegrates into unstable ters in time: pitch, vibrato, ampli- Association of Musical Informatics noise, one has perceptual chaos tude, bow accentuation, position, (AIMI). Awards and mentions in- proper, that is, sound that is simul- color, speed, and pressure. clude: Bourges (Event for flute, clari- taneously continuous and discon- On the meso-level, which is the net, and tape, 1991; 5 piccoli ritmi tinuous. These are regions of level of perceived resultant timbre 5 interazioni cicliche perceptual contradictions: impossi- for tape,1996; or net harmonic structure, the for and interactive sig- piece moves between the detuned ble and unstable combinations of nal processing, 2000), Ars Electron- unison tone to the harmonic series order and disorder. The transition ica, Linz (7 piccole variazioni sul to the cluster to noise to unstable back to order, between sections six freddo for and interactive noise, and then back to the har- and seven, is again chaotic as there signal processing, 1995), and CIME, monic series, the detuned unison can be no smooth transition be- Sao Paulo. Recordings of this com- tone, and finally, at the very end, a tween unstable noise and an or- poser’s works are available on perfect unison tone in octaves. derly sound structure such as the Neuma Records, NoteWork, Cap- This level of the work is equiva- harmonic series. At the end of the stone Records, and ICMA (ICMC lent to harmonic modulation in work, between sections seven and 2000). Recent projects include Tire- traditional tonal music. eight, there is again a smooth tran- sia, a 30-min set of short electronic The macro-level of the piece is sition between the harmonic series pieces overlapping with poems writ- the level of order and disorder, but and the detuned unison gradually ten and read by Giuliano Mesa. In here conceived perceptually, not coming to rest on a perfect unison this work, Mr. Di Scipio seeks to mathematically. On a formal level, sound structure. capture a strict experiential link be- the piece moves from order to dis- The inspiration for Le Fleuve be- tween rhythm and (in) timbre while order and back to order. However, gan with observation of various at the same time providing a sono- what is perceivable to the listener kinds of fluids: rivers, water boil- rous image of these days of destruc- are order and disorder at the levels ing in a pan, and fluid of a different tion and death. of intra-section and inter-section sort, what Sigmund Freud called Mr. Di Scipio has authored essays transitions. ‘‘libido,’’ which is the mythologi- and research papers (on unconven- There are micro-transitions cal fluid he used to describe the tional synthesis methods and on is- which are smooth, continuous, ebb and flow of human desire. My sues of music theory and technology) and thus orderly for the ear, and ‘‘river of desire’’ was, thus, in- that have appeared in several inter- there are micro-transitions that are spired by fluid flow, real and fan- national journals. A collaborator of discontinuous, that is, not smooth, tasy—that is, it was not a question various musicological reviews in Eu- that jump from one discrete value of a tone poem that would describe rope, he has edited Italian volumes to another, without gradually con- in realistic detail the flow of a nat- such as Teoria e prassi della musica necting the scalar points. These ural river, but, rather, a river of nell’era dell’informatica (G. Laterza, are intra-section transitions from sound that would flow as my mu- Bari, 1995) and a number of Italian order to disorder. However, the sical imagination would require. translations, including Gottfried Mi- level of ‘‘catastrophe’’ (Rene´ The macro-form of my ‘‘river of chael Koenig’s Genesi e forma (Se- Thom) or chaotic perceptual tran- desire’’ came to me as a kind of mar, Rome, 1995) and Michael sition occurs at a middle level, fantasy of a river as a sound sub- Eldred’s Heidegger, Ho¨ lderlin & John that is at inter-sections. Between stance in free transformation. My Cage (Semar, Rome, 2000). the first two sections of the piece, sound-river starts out cold, icy, al-

CD Program Notes 125

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320991428 by guest on 26 September 2021 most immobile. It takes a while composition faculty members on Mode, including works played by for it to melt and to flow more George Cacioppo and William Al- the Arditti String Quartet, the Prism freely. This sound-river, which for bright. Mr. Pape studied electronic Orchestra of New York, and William a certain time seems to evolve music with George Wilson in the an- Albright. In September 1998, Mode slowly, smoothly, and continu- alog and digital studios of the Uni- released a second monographic disc, ously, all of a sudden takes an un- versity of Michigan. performed by the Arditti String expected, turbulent turn. It begins Mr. Pape has composed more than Quartet, Ensemble 2e2m, Ensemble to boil, becoming chaotic. When 50 works for orchestra, chamber mu- Voxnova, saxophonist Daniel Kien- the energy becomes too great, it sic, and electronic works for instru- tzy, singers Nicholas Isherwood and disintegrates into steam. However, ments, voice, and/or tape. His music Janet Pape, and flutist Ce´cile Dar- the cooling off of the steam causes has been performed in numerous fes- oux. Mode has recently released a a re-condensation into a more or- tivals in the USA, Canada, France, double CD anthology, CCMIX Paris: derly sound structure. A moment Italy, Germany, Spain, Austria, Xenakis/UPIC/Continuum, includ- of rest and contentment is reached Greece, Romania, Sweden, Australia, ing Mr. Pape’s Le Fleuve du Desir III as my sound-river fantasy ends. Mexico, Hong Kong, and Japan, and for string quartet and tape, as played Le Fleuve du De´sir VI demon- was presented in the International by the Arditti String Quartet. strates the fractal nature of this Computer Music Conference (ICMC) Mr. Pape is working on an operatic composition as the entirety of the in Tokyo, 1993, and Hong Kong, project based on Antonin Artaud’s macro and meso form of the origi- 1996. He has been granted ASCAP play The Cenci in a collaboration nal work for string quartet and standard awards each year from 1992 with actor-director Michel de UPIC (Le Fleuve du De´sir III)is through 2001. Maulne and his theater company, contained within a single solo in- Among his most important com- Maison de la Poe´sie (Paris). His most strumental part re-recorded eight positions is the work Feu Toujours recent work, The Ecstasy of St. The- times to create a rich, hetero- Vivant, for large orchestra and four resa, for nine singers and live elec- phonic texture. sampler keyboards, commissioned by tronics, commissioned by the Each of the eight re-recordings the electronic ensemble Art Zoyd Donaueschingen Festival, will have was played at a slightly different and the National Orchestra of Lille, been premiered in October 2002. tempo without the performer lis- conducted by Jean-Claude Casade- Mr. Pape has directed Les Ateliers tening to his previously recorded sus. After its world premiere in Lille, UPIC, recently renamed CCMIX versions. Each of the parts is, thus, 9 March 1997, the work was re- (Center for the Composition of Mu- desynchronized from the other played twice more, including in sic Iannis Xenakis) since 1991. This seven while retaining the overall Paris. organization, under the honorary duration (i.e., exact proportions) of Pape has written numerous psy- presidency of Iannis Xenakis, is a the individual sections of the work choanalytic articles. A book of his located in as a whole. All eight parts of Le literary works, including short sto- Paris. Besides being a composer and Fleuve du De´sir VI were recorded ries, plays, and poetry, was published administrator, Mr. Pape is a practic- by the Italian virtuoso violist, in the USA in 1984. More recently, ing Lacanian psychoanalyst. Maurizio Barbetti, who premiered he has published articles on musical the work in its concert version for complexity and on the music of 6. Pomme de Terre—Paul soloist with live electronics and (in Contemporary Music Steenhuisen eight-channel tape. Review). He has written and lectured extensively on the subject of ‘‘Com- Pomme de Terre (‘‘potato,’’ or Gerard Pape (Brooklyn, New York, posing in the Continuum’’ and is literally, ‘‘earth apple’’), for solo USA; b. 1955) graduated with a de- currently editing a book on this sub- piccolo, consists of segmented ar- gree in psychology from Columbia ject, Le Continuum, due to be pub- borescences mapped using mate- University in 1976, while simulta- lished in Fall 2002 (Paris). His article rial selected from three parallel neously beginning private composi- ‘‘Iannis Xenakis and the Real of Mu- cipher-based pitch systems. The tion lessons with David Winkler. He sical Composition’’ was published in cryptographic sets are similar to obtained a PhD in clinical psychol- Computer Music Journal Vol. 26:1 those devised by Michael Haydn, ogy in 1982 from the University of (Spring 2002). Arthur Honneger, and Olivier Mes- Michigan, and continued private Mr. Pape’s discography consists of siaen, and herein render state- composition lessons with music a monographic disc released in 1992 ments of hunger.

126 Computer Music Journal

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320991428 by guest on 26 September 2021 Pomme de Terre was composed 7. Mushin—Zbigniew Karkowski 11. Jones: Figure 6. , in Adelaide, Australia, in 1998. It page 6, lines 1–2. is performed here by Margaret Lan- Mushin is a piece composed en- 12. Jones: Figure 10. Nomos Alpha, caster. tirely from the sounds of semi (Jap- page 6, line 5. anese cicadas), which I sampled in 13. Jones: Figure 14. Nomos Alpha, different temples around Tokyo page 1, line 4. Paul Steenhuisen (, British during the summer of 2001. 14. Jones: Figure 15a. Nomos Alpha, page 7, line 4; page 8, line 1. Columbia, Canada; b. 1965) received Zbigniew Karkowski (Cracow, Po- his doctorate from the University of land; b. 1958) is a nomadic composer Sound Examples to Accompany the British Columbia, and also studied at and performer who has lived in Swe- Article, ‘‘FMOL: Toward User- the Koninklijk Conservatorium (The den, Holland, France, Germany, and Friendly, Sophisticated New Musical Hague) and IRCAM (Paris). His pri- Japan. His music has been performed Instruments’’ by Sergi Jorda` (Volume mary teachers were , in more than 60 countries all over 26, Number 3) , Michael Finnissy, the world. and Tristan Murail. During his stu- 15. Jorda`: Six examples from the dent years his music received more 1998 FMOL Faust Online Proj- than a dozen national and interna- ect. tional awards, including the Gover- Part Two: Sound Examples 16. Jorda`: Three examples from the nor General of Canada Gold Medal 2000 FMOL DQ Online Project. as the outstanding student in all fac- 17. Jorda`: Excerpt from FMOL Work- 8. Announcement of Part Two ulties. Since then, he has been shop performance, Barcelona, Composer-in-Residence with the To- Sound Examples to Accompany the Spain, 7 March 2002. Partici- ronto Symphony Orchestra, and has Article, ‘‘An Acoustic Analysis of pants: Anton Ignorant, Ester Xar- been commissioned by the Vancou- Col Legno Articulation in Iannis Xe- gay, Joan Saura, Anki Toner, ver Symphony, Klangforum Wien, nakis’s Nomos Alpha’’ by Evan Liba Villavechia, Adolf Alcan˜ iz. Benny Sluchin, Marc Couroux, Lori Jones (Volume 26, Number 1) 18. Jorda`: Excerpt from FMOL Trio Freedman, and New Music Concerts, performance of Noise, Metronom among others. At the 44th Tribune 9. Jones: Figure 1. Rhythmic col Gallery, Barcelona, Spain, Janu- Internationale des Compositeurs, legno attacks, beat-count succes- ary 2000. Performers: Pelayo F. Wonder, for orchestra, sound-files, sion: Nomos Alpha, page 8, lines Arrizabalaga, bass clarinet, alto/ and soprano, was a recommended 2–3. tenor , turntables; work, and was subsequently broad- 10. Jones: Figure 2. Nomos Alpha, Cristina Casanova, FMOL; Sergi cast in 23 countries worldwide. page 5, line 6. Jorda`, FMOL.

CD Program Notes 127

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892602320991428 by guest on 26 September 2021