ROGER REYMOLDS ALICE SHIELDS ARTHUR KREIGER Nonesuch, Turnabout, New World and Lovely Music, as well as on CRI. Reynolds' works may be heard on CRI recordings: 1Blind Men on CRI SD 241; Ping and Faces on CRI Roger Reynolds SD 285. " . . .the serpent-snapping eye" (1978) Reynolds writes: " . . .the serpent-snapping eye" was composed for trumpet, percussion, piano and Edwin Harkins, trumpet; Daryl Pratt, percussion; 4-channel tape. The phrase quoted in the title comes Cecil Lytle, piano; 4-channel tape part realized at from "The Quarterdeck'' chapter of Moby Dick, CCRMA, Stanford University where Ahab, distributing grog to the crew, draws all into a directed abandon. My intention, then, was to Alice Shields explore those situations in which a loss of orientation Coyote (1981) leads us more deeply into the moment itself. There l- is a certain aquatic feel to the music, in which the Tape realized at the Columbia-Princeton Electronic performers are joined with a complex and sonorous Music Center fabric of computer-synthesized sound. The work is nineteen minutes long, divided Arthur Kreiger into three roughly equal sections. In the first, the Variations on a Theme by Davidovsky primaty aim of the performers is to match, submit to and intensify the taped sounds. The second, in Tape realized at the Columbia-Princeton Electronic which the synthesized sounds are sparse, introduces Music Center a feeling of independence as the performers respond, reflecting on models provided by the tape. In the final Roger Reynolds (b. 1934) works in a wide variety of section, the live performers complement and media: vocal, orchestral, electronic, instrumental elaborate upon-they attempt to augment-the and theatrical. In the late 1970's, his long-standing synthesized sound. interest in quadraphonic tape (which offers a means The structure of "...the serpent-snapping eye" of achieving the larger scale an American enjoys) led is based upon various series of gradually expanding to an involvement with computers. The extended and contracting durations. In addition, the shape of composition Archipelago (1982), commissioned by each component instrumental phrase parallels one of IRCAM in Paris, represents his most ambitious use the three models used to program the computer in of digital processing. Reynolds' music is often synthesizing the sounds that appear on the tape. concerned with the dramatic or supra-real image as Thus, the models for the electronic sounds find a a compositional impetus, as a "text" that underlies or second, more flexible expression in the activities of is set in a work. Theatre and technology both offer the live performers. There is, I hope, at every level, opportunities for enlarging the scope of musical an evident concern for matching and conformation." experiences in these ways and, thus, they frequently appear as elements in his work. Other, strictly Edwin Harkins holds degrees in both performance instrumental compositions, such as Shadowed and composition. He has been a performing member Narrative (1977-811, may also reflect the influence of of the Contemporaty Chambers Players in Chicago, textual images (in this case, of Gabriel Garcia the Center for New Music in Iowa City and the Center for Music Experiment in La Jolla. For the last Marqu:&nolds has been honored by the National several years he has been touring Europe, the Institute of Arts and Letters, the bi~~al-Endowment United States, Japan and Canada with Harkins & for the Arts, the Rockefeller, Ford and Guggenheim Larson and the Extended Vocal Techniques Ensemble. Foundations, and the Institute of Current World Affairs. He is presently on the faculty of the University Daryl Pratt is interested in world percussion music of California at San Diego. His music is recorded on and has performed African Ewe music, Javanese gamelan and South Indian classical music on mridangam. He is a freelance percussionist in the 1 has been recognized by the League of Composers- ISCM, American Composers Alliance Recording Award and the Groupe de Musique Experimentale de Bourges. Recent honors include the Prix de Rome and San Diego area and has performed as a jazz grants from CAPS and from the National Endowment vibraphonist/composer and with the San Diego for the Arts. Kreiger is presently on the faculty of Symphony. Columbia University and is affiliated with the Columbia-Princeton Electronic Music Center. His Dance Cecil Lytle has performed or recorded with nearly for Sarah and hriations may be heard on CRI SD every major jazz artist today, has received several 483. National Endowment for the Arts awards, and in Kreiger writes: "Electronic sound is a remarkably 1979 was appointed Senior Visiting Scholar to the fluid medium. One is enticed by the unlimited University of Keele, England. He is currently recording possibilities in instrument designs, the infinite the complete piano works of Scriabin for the Sonic capacity for subtle shadings in timbre, and the Arts label. With violinist James Negyesy Mr. Lytle potential richness of musical gesture found in the premiered Reynolds' 1983 composition, Arthur, at the material. Variations on a Theme by Davidovsky Libraiy of Congress in Washington, D.C. . . exolores an extensive aalette of electronic tones and noises. Delicately shifting colors characterize Alice Shields (b. 1943) earned a Doctor of Musical this homage to one of the classic works in the Arts degree from Columbia University in 1975, electronic field. The composition recalls the opening studying primarily with Vladimir Ussachevsky and ten measures of Mario Davidovsky's Synchronisms Otto Luening. Until 1982, she was Associate Director No. 6 for Piano and Electronic Sounds (1970) as a of the Columbia-Princeton Electronic Music Center. thematic subject. The theme appears 45 seconds She has been a professional opera singer, performing into the piece "reorchestrated" for tape alone. It is as a soloist with the New York City Opera, the preceded by a short introduction and is followed by Washington Opera Sociew and elsewhere. She now a series of widely differing variations. Classical analog is in private practice as a vocal music therapist, tape techniques (cutting, splicing and mixing) together specializing in performance anxiety with complex synthesizer patches have served in Shields has received numerous grants, including producing and shaping the variety of musical settings. awards from the National Endowment for the Arts The version presented on this recording is a stereo and CAPS for her opera Shaman, of which the piece reduction of the 4-track master. The composer Coyote is a part; the National Opera Institute and acknowledges the John Simon Guggenheim Memorial the Presser Foundation for a performance of Odyssey Foundation for its generous support." for the Lake George Opera Festival. Shields' music is recorded on the Finnadar (Atlantic) and Opus One This recording was funded by the Jerome labels. Her work The Transformation of Ani may be Foundation and by the Alice M. Ditson Fund of heard on CRI SD 268. Columbia University. Shields writes:"The piece Coyote is the prelude to Shaman, which is about American Indian shamanism " . . .the serpent-snapping eye": Peters Coyote represents a shaman turning himself into a 1 20'02"-- .- coyote and back to human form again. It is made from Recorded by Josef Kucera, July 3,1984 in the transformations of the composer's voice, coyote calls, Recital Hall of the Mandeville Center at the University male chorus and electronic sounds, and was made at of California at San Diego. the Columbia-Princeton Electronic Music Center in New York City." I-Coyote: American Composers Alliance (BMI) 13'07" Arthur Kreiger (b. 1945) holds degrees in English Variations on a Theme by Davidovsky: American Literature and in Music from the University of Connecticut. He earned his D.M.A. degree, with Composers Alliance (BMI) 9'50 distinction, in composition from Columbia University in 1977. While still a student, Kreiger was the recipient Art Direction: Dekker Freundlich Babian of fellowships from the Berkshire Music Festival Director of Production: Rachel S. Siegel and the Composers' Confelence. His electronic music Library of Congress: 84-743089 Liner O 1984 Composers.Recordings lncorporated @ & O 1984 Composers ~ecordingslncorporated

Write for a Complete Listing of Recordings on CRI AMERICAN COMPOSERS ALLIANCE RECORDING AWARD

ARTHUR KREIGER WILLIAM MAlTHEWS DANCE FOR SARAH (1976) AURORA, A WALTZ (1981) THEME AND VARIATIONS (1977) Tape realized using computer music equipment Tapes realized at the Columbia-Princeton Elec- of the Structured Sound Synthesis Project at the tronic Music Center University of Toronto AMERICAN COMPOSERS ALLIANCE ARTHUR KREIGER (b. 1945, New Haven, CT) attended the WILLIAM MATHEWS (b. 1950, Toledo) studied composition I I University of Connecticut where he received an undergraduate at Oberlin, the University of Iowa, the Institute for Sonologie in Each year, the American Composers Alliance chooses several degree in English literature and master's degree in music. He Holland, and the Yale School of Music. His principal teachers member composers to receive the ACA Recording Award. These include Richard Hervig, Gottfried Michael Koenig, and Jacob awards are given either to stimulate the career of a talented earned his doctorate in composition with distinction from Co- young composer or to call attention to the recognized achieve- lumbia University. While still a student, Kreiger received fellow- Druckman. Among his awards and prizes are three BMI Awards ment of a mature musician. Occasionally, the birthday of an ships from the Berkshire Music Festival and the Composer's to Student Composers, several grants for study abroad, a outstanding composer is celebrated with the Award. In all cases, Conference. In 1974 his electronic music won an award.from.the Charles E, lves Scholarship from the American Academy and the selection is made by a jury of the composer's peers, whose lnstitute of Arts and Letters, two ACA recording awards, and a principal criterion is artistic excellence. League of Composers-ISCM. Subsequent honors include the Frank Wigglesworth ! Rome Prize (1979) and a Guggenheim Fellowship (1980). In composer-fellowshipfrom the NEA. He has composed music of President 1982 he was living in New York City and teaching at Columbia several types, including solos, orchestral, electronic and ! University. He writes: chamber music, as well as music for the theater. Since 1978 he "DANCE FOR SARAH (1976) and THEME AND VAR- has taught at Bates College in Maine. He writes: IATIONS (1977) were designed to explore a rich palette of elec- "AURORA, A WALTZ, uses a few distinctly electronic timbres, tronic sounds. Timbres are often presented in a state of flux, but mostly uses sounds with sharp attacks and immediate de- approximating the opulence of acoustic instruments without im- cays, similar to those of the piano. These sounds were chosen to emphasize the energetic rhythmic life of the musical struc- This record was made possible by a grant from the American Compos- itating their specifib colors. The sounds manipulated in these ers Alliance. compositions were generated on the now-standard assemblage tures employed. DANCE - Association for the Promotion of New Music (BMI):8'40n of classical analogue tape equipment bolstered by an early "I would like to express my gratitude to William Buxton, the THEME - Association for the Promotion of New Music (BMI): 9'10" AURORA - ACA(BM1): 6'36" model Buchla Synthesizer. Cutting, splicing, and mixing - Director of the SSSP in Toronto, for the invitation to work there and for technical assistance." CONTRADICTIONS - ACA(BM1): 10'48" techniques handed down from the first makers of tape-recorder Producer: Carter Harman music - were used to extend short segments into longer ELlAS TANENBAUM Associate Producer: Carolyn Sachs melodic lines and m&e dense textures. CONTRADICTIONS (1974) Art Director: Judith Lerner "Flamboyant, raucous gestures characterize portions of Tape realized at the electronic music studio of Cover @ Judith Lerner 1982 LC#: 82-743312 DANCE FOR.SARAH. The material presented in the opening the Manhattan School of Music undergoes considerable change as the work progresses and @ 1982 Composers Recordings, Inc. ELlAS TANENBAUM (b. 1924, Brooklyn) studied trumpet at THIS IS A COMPOSER-SUPERVISED RECORDING new elements appear, creating two broad sections. In 1977 Printed in the U.S.A. DANCE FOR SARAH received honors at the Fifth International an early age. His first musical experiences were in the field of Electroacoustic Music Awards held in Bourges, France. The jazz, and his music reflects the openness and spontaneity of the composition celebrates the birth of the composer's niece and is jazz experience. After serving in World War II, he entered the Juilliard School of Music; upon graduation as a trumpet major his infused with the noisy energy of her first years. "The formal scheme of THEME AND VARIATIONS is more interests turned to composition. He studied privately with Dante tightly defined. This later piece consists of a set of 17 variations Fiorillo, Bohuslav Martinu, Otto Luening and Wallingford Rieg- ger. Tanenbaum, who has composed extensively in all on the opening tune. The variations differ in length, timbre and CRI WRITE FOR A COMPLETE LISTING OF ALBUMS ON CRI texture, and in the degree to which they reflect the character of mediums, is the recipient of many prizes and awards. He is the director of the electronic music studio, a member of the composi- the original. The theme can be heard quite clearly in the first and COMPOSERS RECORDINGS, INC. third variations; in later statements the relationship is not as .tion-faculty, and conductorof.the Composers' Improvisation En-. 170 WEST 74TH STREET, NEW YORK, NY 10023 readily apparent. The final statement, however, contains semble at the Manhattan School of Music. He writes: A NOT-FOR-PROFIT.TAX-EXEMPT CORPORATION "The material used in CONTRADICTIONS is varied. There phrases that sound similar to those of the original theme. are both electronically generated and concrete sounds. The THEME AND VARIATIONS won second prize at the Sixth Inter- national Electroacoustic Music Awards in Bourges in 1978." work opens with a man's voice saying, 'Sounds are.' That phrase expresses my feelings about this work; sounds are whatever they are and stand by themselves." (MODERN AMERICAN MUSIC SERIES)

U - First Recordings The League of Composers-ISCM International Competition

Richard Cann, Joel Gressel, Arthur Kreiger, Paul Lansky, Daria Semegen, Maurice Wright, Menachem Zur In the autumn of 1974, the League Mario Davidovsky, Pulitzer prize- in the competition. Each judge material have been provided by of Composers-International winning composer, Co-Director listened to each tape individually, the composers. Society for Contemporary Music, of the Electronic Music Center and then the judges met as a U.S. Section, organized an Inter- of Columbia and Princeton Uni- group to make their final selec- As President of the League- national Electronic Music Com- veisities, and Professor of Music tions. During the entire judging ISCM and coordinator of the petition, the first undertaken by at City College of New York. process, the tapes were placed International Electronic Music the organization. Tapes of Jean Eichelberger Ivey, composer in unlabeled boxes and identified Competition, I feel that these electronic music compositions and teacher of composition and only by numbers., works, besides being excellent were solicited from composers . electronic music at Peabody Con- pieces of music; represent a wide . .and'electroni'c inusic~studiosall servatory of Music. The winning compositions are spectrum of approaches, attitudes, over the world. A distinguished presented in this album. It should styles, and technical procedures panel agreed to select the winners. J. K. Randall, composer and Pro- be noted that no distinctions that will give the listener much fessor of Music at Princeton were made between the winning enjoyment and, also, an under- The judges were: University. compositions, and that the order standing of the breadth and Bulent Arel, composer and Profes- of works presented on the re- sophistication of current electronic sor of Music at the State Univer- 129 tapes representing composers cording does not signify a ranking. music. . sity of New York at Stony Brook. from 15 countries were entered Program notes and biographical -Hubert S. Howe, Jr First Recordings The League of Composers - ISCM International Competition Electronic Music Winners

Side 1 . b Maurice Wright: Schuman Prize for Music from Duke are defined by changing instrumental background-foreground distribution Menachem Zur: University in 1972 and the Joseph combinations. of sounds and their stereophonic pre- Electronic Composition Bearns Prize for Music from Columbia The title is derived from the lexi- sentation may be readily perceived Chants, for magnetic University in 1974. con of the United States Senate by the listener in various sections of (1973) (BMI) tape (1974) (ASCAP, Watergate hearings, which were in the composition. The work was Electronic Composition was com- Joel Gressel: progress during the time the piece realized in 1971-72 at the Columbia- Chants, for magnetic tape was pleted in the spring of 1973. The piece Points in Time (1974) was composed. The realization was Princeton Electronic Music Center. realized in the electronic studio of is centered on the pitch Middle C. The completed in February 1974 at the - Daria Semegen Columbia University in March 1974. In Points in Time, the ratio relation- timbre space is created by assigning Princeton University Computer The work is shaped by a series of ships that characterize the equal- Daria Semegen (b. 1946) began component musical lines to various Center. phrases divided by small pauses, tempered pitch system (division of the - Joel Gressel writing music at age seven, concur- synthetic "instruments" that are com- somewhat resembling a Gregorian octave into 12 equal semitones) are rently with her piano studies. She prised of simple combinations of Joel Gressel was born in 1943 in chant. The pitches are organized applied to rhythm. These result in a studied composition at the Eastman oscillators and amplifiers and then Cleveland, Ohio, attended Brandeis around a nine-tone series: F Bb G, A D recording these lines with careful series of attack points that accelerate School of Music. Yale and Columbia and Princeton Universities, and B, C# F# D#. The main melodic cell control of reverberation and phase. regularly (approximating the sound Universities, at Tanglewood, and in presently lives and teaches in New is the figure F ascending to Bb and Certain elements of the piece, namely pattern made by a freely bouncing Warsaw, Poland, as a Fulbright scho- York City. descending to G. the sounds that some listeners have ping-pong ball) or, conversely, lar. Her composition teachers include compared to "a distant chorus," or decelerate. While human performers Samuel H. Adler. Robert Gauldin. - Menachem Zur "a mutant brass band," as well as the can approximate such rhythms, the Daria Semegen: Burrill Phillips (Eastman),Witold time-pointed clip-clop of electroni- computer uniquely affords the oppor- Electronic Composition Lutoslawski (Warsaw), Biilent Arel cally pitched horses' hooves in the tunity to explore their combinations (Yale), and Vladimir Ussachevsky Menachem Zw was born in 1942 in brief Coda, are developed further in and interactions. Several series NO.1 (197.1 11 972) (BMI) (Columbia). She has received numer- Tel Aviv, Israel. He studied theory Cantata, a composition for tenor, per- unfold simultaneously, converging at Electronic Compos~tionNo. 1 was ous awards in composition, including at the College for Teachers for Music cussion, and synthesized voices and points of arrival (attack points com- composed specifically for the utiliza- two BMI Student Composer Awards. in Tel Aviv and in the Rubin Academy instruments. mon to two or more series), which, in tion of "classical" studio resources in Chautauqua. MacDowell Colony. and of Music in Jerusalem. In 1969 he - Maurice Wright turn, are members of longer-range development and modification of Tanglewood fellowships, Fulbright came up to New York to complete his rhythmic accelerations (or decelera- electronically derived source-sound Grant, National Endowment for the B.M. degree in Composition at the Maurice Wright was born in Front tions) progressing to higher-level sequences. These are first presentee Arts commissions, and prizes from Mu Mannes College of Music. Mr. Zur re- Royal, Virginia. He was a Mary Duke points of arrival. The resulting di- in a comparatively simple, linear Phi Epsilon and Yale University. Since ceived his M.F.A. degree in Composi- Biddle Scholar at Duke University and rected motion is loosely analogous to manner and then are passed through 1972 she has been on the teaching tion at Sarah Lawrence College in Presidents' Fellow at Columbia Uni- the resolution of harmonic and series of increasingly more complex staff of, the Columbia-Princeton Elec- Bronxville, N.Y. His master's thesis in versity. He has studied composition melodic tendencies at cadence evolutions of themselves, resulting in tronic Music Center, where she also Composition was a piece for choir, with Jack Besson, Chou Wen-Chung, points in tonal music. highly ornamented contrapuntal worked as technical assistant to both magnetic tape, brass quartet, and Paul Earls, lain Hamilton, Jacques Pitches are derived from a set (F F# textures. The structure outlines sev- Otto Luening and Vladimir Us- percussion that won first prize in a Mnod: and Charles Wuorinen; corn C B A D# E G G# D C# A#), the eral main sections linked together by sachevsky. In January 1974, she contest in Jerusalem in 1973. He is puter music and synthetic speech properties of which eventuate in short transitions. Each section is joined the Department of Music fac- currently completing his D.M.A. de- with Charles Dodge. He received a tritone-related structures and long- characterized by its own particular ulty of the State Universityof New York gree at Columbia University in New master's degree in 1974 from Colum- term associations of pitch-class tet- manner of projecting timbre, duration, at Stony Brook, where she teaches York City, and teaches music at bia University, where he teaches rachords (e.g., F F# C B), trichords and pitch structures in widely varying composition and electronic music at Queens College, City University of Music Theory. He received the Henry (D# E G), and dyads. Formal sections proportions. The multi-layered, the Electronic Music Studio. New York. Side 2 Richard Cann: Bonnylee (1 972) Arthur Kreiger: sity and the Music 360 synthesis - spreading out, and program written by Barry Vercoe. I contracting, registrally, (This song was sung by an IBM 360 model 91) Short Piece (1 974) want to thank my former student to simple rhythms, A .content In Arthur Kreiger's composition, Short Richard Cann, composer of - becoming complex Bonnylee,for his help in learning how Piece, careful attention has been rhythms, (within to use this program, and the Princeton listen to combinations of different inversion) given to the construction and treat- University Computer Center for its ment of phrases. These phrases, often ways of doing things, articulated in a highly pungent generous allocation of computertime. listen to starts and stops as by This work is dedicated to Godfrey manner, setve as contrast to those breathing points and column, Winham. places where new twists I (in normal form) sections of the work which are more begin an old maierial, i.e. C#-D-F&C#-E-C (0.1.4)'s sustained and static in character. I would like to advise the Iistenerto: listen to each part of the piece as E-Eb-B&D-Eb-G (0.1.5)'s Both types of gestures explore the listen easily and slowly - this an evolving, growing, C-G-Gb &F-8-Gb (0.1.6)'s richness of percussionlike timbres. work takes its time, &Then a remaining 3 Short Piece was realized at the listen to changing timbres, and.more complicated GI-A-Bb (0.1.2) Columbia-Princeton Electronic Music to changing chords, form of earlier parts - There are (many) such arrays - of the piece, - & the remainina 3 can be of different structure - Center, where it was completed in to changing timbres with- November of 1974. Kreiger's works in chords, -as a new way of doing include compositions for standard in- to changing chords within things which has only strumental ensembles in addition to timbres, gradually become Consider: 12-tone sets a ea carrying possible. consisting of a music for electronic tape. listen to repetition, four trichords. listen carefully, and easily. h3h9 to changes within repetition, - Paul Lansky In the beginning all & only 9's Paul Lansky: In the middle fat-chords 3's to increasingly more com- In the end single notes 3's mild und leise plex forms of the same Library of Congress catalog card number 76-750186 under repetition, a~pfiesto this album. &The rhythm too!------(comes from arrays). music Cover design: Paula ScherlPrinted circuit assembled smallpoints: listen to different ways of doing. bv Lars BeroICcver Dhot~:~rthur Maillet 1) Am currently working for a PhDat Princeton University. mild und leise was written and synth- things, 6 1976 CBS lnc.10'1976 CBS Inc./Manufactured by Columbia RecordsICBS lnc.151 West 52nd Street. 2) Paul Lansky (qv) was my advisor on Bonnylee. (good friend) esized during 1973-74 using the IBM to linear shapes, New York. N.Y. 3) B.0.P.p is coming! - Richard Cann 360191 computer at Princetori Univer- to repeated chords, ,~'~olumbia..'@"~dyssey."~arcasReg. Side One Side Two

Band 1 Band 1 PASSACAGLIA ON"SPRING AND ALL" (5:02) LIKE AN AUTUMN SKY (8:si) By ARTHUR KREIGER By MAURICE WRIGHT Text by William Carlos Williams Texts by Tom Rabbins, Shakespeare, I Ching Tape part realized at the Columbia-Princeton Electronic Music Center, New York, NY. Michael Skelly, piano; Lori Henig, alto; Ronald H. Lee, tenor; Deborah P. Chodoff, soprano; Recorded in April 1986. Paul Goodman, engineer. Borbaro Tager, producer. Howard Meltzer 8 Jorge Martin, piano 3-6 hands; Tracie Lozano & Frank Cassara, percussion; Teresa Wager 8 L. Dean Todd, kazoos; Bands 2 thru 4 Elliot Schnopp, Ronald H. Lee, Peter Schubert, speakers; Marcia Miller, Adrio Quiiiones, VERMONT POEMS (~otaltime: 7:33) Linnba C. Johnson, Sally Durgerian, pitchpipes. By SUSAN HURLEY Recorded in May 1985. Joe Lopes, engineer. Richard Einhorn, producer. Bonds 2 thm 4 Texts by Barbara Howes Band 2. Looking Up at Leaves (355) ILLUMINATIONS (6:oo) Band3. Landscape, Deer Season (1:26) By STEVEN R. GERBER Band4. Leaning into Light (2:56) Texts by Arthur Rimbaud Poems #1 & #3 were recorded in May 1985. Joe Lopes, engineer. Richord Einhorn, producer; Poem W2 was recorded in May 1986. Gary Chester, eggineer. Barbara Tager, producer. BO~~Z.Marine (i:i7) Band 3. DQvotion(3:27) Band 5 Band 4'. Dbp~rt(l:03) Margery Porker, soprano; Lori Henig, alto; Mukund Marathe, tenor; Kenneth Livingston, bass. (2:23) ELEGY (Sung in French) By JACQUES-DUlS MONOD Recorded in May 1985. Joe Lopes, engineer. Richard Einhorn, producer. Margery Porker. soprano ~~~d5 Recorded in May 1986. Gary Chester, engineer. Barbaro Tager, producer. LINES FROM "A SONG PETER SCHUBERT, conductor Band 6 FOR OCCUPATIONS" (6:13)

(3.251 MEDITATION B~ OTTOLUEN~NG Funding for this record was provided by The National By RUSSELL PINKSTON Text by wa~tWhitman Endowment for the Arts, The New York State Council on the Text by Henry Loosemore Kenneth Livingston, boritone. Arts, The Alice M. Ditson Fund, and many private donors. Recorded in May 1985. Joe Lopes, engineer. Richard Einhorn. producer. Recorded in April 1986. Paul Goodman, engineer. BarbaraTager, producer. Grants coordinator: Sally Durgerian. Texts on the insert. All selections recorded at RCA studios, NYC, except Elegy and Londscape. Deer Seosan recorded at Edison Studios, NYC. Overdubs on Like on Autumn Sky done at Vanguard Studios, NYC, Richard Einhorn, producer, Jonathan Thayer, engineer. Passacaglia on "Spring and AN" and Like an Autumn Sky mixed by Gary Gottlieb. Illuminationsedited by Eric Chasalow, Cover art: and Like on Autumn Sky edited by Jonathan Thayer. All other selections edited by Arthur Kreiger, a 1986 Artists' Fellowship Recipient of the New York Foundation for the Arts. from "Upstanding Twiggy Stuff" by Deborah Phillips Chodoff His participation as editor is co-sponsoredby Artists and Audiences, a public service program of the New York Foundation for the Arts. Art director: Caml BoboIh ARTHUR KREIGER (b. 1945) holds degrees in English Elegy (1976, published by Mobort Music) is dedicated Babbitt, Earl Kim, J. K. Randall, and Harvey Sollberger. One of the aims of THE NEW CALLIOPE literature and music from the University of Connecticut. to Jockand Nora Beeson, and was first performed by The He has written over forty works for orchestra, chamber SINGERS, founded in 1975, has been to sing new music He eamed his doctorate in composition from Columbia New Calliope Singers in 1978. His Cantus contra Cantum ensembles, solo instruments and voice; his choral music with the kind of energy, enthusiasm, and even abandon University. His electronic music has been recognized by IV for mixed chorus, trombones, and bass solo was pre- includes Dylon Thomas Settings (recorded on Opus One) that chorocterizes performances of Messiah. The mem- the League of Composers-ISCM, ACA Recording miered by the group in early 1987. His Cantus contra and Ceremony ahero Fire Raid, both for o coppella SATB bers of the group, amateur and professional, hove been Awards, and the Groupe de Musique Experimentole de Cantum 111 for mixed chorus a cappella has been chows. extraordinarily talented ond patient as they pioneered Bourges. Ricent honors include the Rome Prize and recorded on CRI. Mr. Gerber was inspired by the first performance of this exciting and unfamiliar territory. The chorus, in grants from CAPS and NEA. Mr. Kreiger presently illuminations (1972, published by APNM) to compose annual recitals in major halls in New York, has presented RUSSELL PINKSTON (b. 1949) iscurrentlyon thefac- teaches at Columbia University and at Baruch College. Une Saison en Enfer on texts by Rimbaud for cho~swith premiere performances of over 40 pieces in a wide vari- ulty of The University of Texas at Austin, where he teaches Passacaglia on "Spring and All" (1981, published by tenor and piano. This work, which in contrast to Illumina- ety of composing and performing styles. Those on this composition and electronic and computer music, and co- APNM) is the third work for chorus and electronic tape tions is largely diatonic, was premiered by the New record are ones which have lasted especially well. High directs the Electronic Music Center. He is a graduate of written by Kreiger for Peter Schubert ond The New Calliope Singers in early 1987. points of the group's career, under the able management Dartmouth College and received his MA and DMA Colliope Singers. The electronic portion strives to create of Penelope Parkhurst Boehm, include o performance of degrees from Columbia University, where his principal Born in Milwaukee, OTTO LUENING (b. 1900) studied an homogeneous blend with the singers. It is closely syn- Back St. John Passion with baroque orchestra, a per- teachers were Jack Beeson and Mario Davidovsky. His in Germany and Switzerland, notobly with Jamach and chronized with the vocal lines, producing many coinci- formance of Webem's Das Augenlicht with Manticore, o awards include the Charles lves Fellowship from the Busoni, while earning o living as a flutist. He then dental attacks of chords and noises. The composer guest appearance with the Group for Contemporary American Academy and Institute of Arts and Letters. returned to the United States in 1920 to begin a career as acknowledges the generous support of the John Simon Music, a live broadcast of Schubert and Brahms on Meditation (1978, published by Galaxy Music Corpo- a composer, conductor, flutist and teacher at the Eostman Guggenheim Memorial Foundation during the creation WQXR with New York Philomusica, the resuscitation of a rotion) is on the same text as the famous anthem Oh Lord, School, University of Arizona, Bennington College, the of this work. rare oratorio by Anton Rubinstein, the premiere of a increase my faith by Orlando Gibbons. It was written for Juilliard School, Bamard College, and Columbia Univer- work with computer-synthesized tape by Charles Dodge, SUSAN HURLEY (b. 1946) is on the facplty of the the choir of The First Presbyterian Church of New York, sity. He is one of the pioneers in the development of and a staged performance of Banchieri's madrigal InterlochenArts Acodemy, where she teaches, heads the directed by Dr. Robert Baker. Meditation, a finalist in the tape composition. His autobiography, The Odyssey of comedy Lo Pozzia Senile in a comic translation by Composition, Theory, and History Department, and 1979 lthaca College National Choral Competition, is an American Composer, was published in 1980 by MauriceWright. MembersofThe New Calliope Singers in organizes new music concerts. Since receiving her B. part of a four-movement Sacred Service for a cappella Charles Scribner's Sons. the two seasonsduringwhich this record was made (each Mus. from the University of Massachusetts, she has stud- chows. Lines from "A Song for Occupdons" was written for selection has between 12 and 25 singers): ied at the Eastman School of Music with Samuel Adler Bamard Convocation in 1964 and is published by C. F. A Virginian by birth, MAURICE WRIGHT (b. 1949) and at the Indiana University School of Music with Peters. In 1984, The New Calliope Singers commissioned currently resides in Philadelphia, where he is ossociate Frederick Fox. She has completed commissions for the the composer ond premiered Lines from Bloke's "Urizen" professor of composition at Temple University's Boyer Sopranos Tenors Sage City Symphony ond the Ballet Folklorique de and "Vola. or a Dream of Nine Nights." College of Music. He studied with lain Hamilton at Duke Anne-Marie Bouche Bruce C. Johnson Mexico, and has published in Symphony Magazine. University and with Mario Davidovsky and Jack Beeson PETER SCHUBERT, founder and director of The New Deborah P. Chcdoff Ronald H. Lee Vermont Poems (1984, published by Ludwig Music) was Betsy Johnsmiller Mukund Marothe at Columbia University. He has received awards from Calliope Singers, has studied conducting with Nadia commissioned by the Muse of Eloquence with the idea Jacqueline A. Jones Dond Matarasso the American Academy of Arts and Letters, The Boulonger, Helmuth Rilling, Jacques-Louis Monod, and that it be able to be performed by a vocal quartet as well Gwen Larron Mitchell Morris Guggenheim Foundation, The National Endowment for Dovid Gilbert. He bringsa strong theoretical background as a full chorus. Ms. Hurley's other choral works include Ellen Lerner Elliot Schnopp the Arts, and the Mary Duke Biddle Foundation. In addi- to his performances, having received his Ph.D. in Music Visions, a setting of a mystical text by Babakuhi of Shiroz, Robin Levine Gary Stephens tion to his activities in concert music, Wright has com- Theory from Columbia University. Since 1970, Mr. Jennifer Miletta for a cappello chorus. posed music for a number of film biographies of con- Schubert has been on the faculty of Barnard College, Barbara E. Morgan Bosses JACQUES-LOUIS MONOD (b. 1927) studied at the .temporary artists. where he teaches music theory and conducts the chorus. Margery Parker Hayes Biggs Conservatoire National de Musique in Paris, the The adjunct instrumental parts in Like an Autumn Sky He has conducted three feature film scores and worked Pearl Powell David Chcdoff Vicki Watson Michael Fine Hochxhulefiir Musik and the Stettisches Consewatonurn (1981, published by APNM) are intended to be per- on an opera, The Bus to Stockport and Other Stories, with Jonathan E. Fuller in Berlin, and the Juilliard School. He studied privately formed by members of the chorus. The New Colliope John Cage for Opera Uptown. Altos Ed Kelly with Olivier Messiaen and Ren6 Leibowitz, and holds a Singers hove also given first performances of three MICHAEL SKELLY is o graduate of Columbia Univer- Sally Durgerian Kenneth Livingston DMA from Columbia University. He is currently on the other Wright pieces: Listen (Cantata #2), The Fat Man John McDonald sity, where he studied piano with Niels @stbye. In addi- Lori Henig faculty at Columbia and at the Juilliard School. He has (Cantata #3), and Modrigols. Linnda C. Johnson Steven Silberblatt tion to his work as an accompanist, he presents frequent received awards from the Koussevitzky Foundation, the Karen K. Krueger John Uehlein Composer and pianist STEVEN R. GERBER (b. 1948) solo recitals throughout the New York area and in New Naumburg Foundation, CAPS, the Radcliffe Institute, Marcia K. Miller was bom in Washington, D.C. and now lives in New York England. He made his recording debut in a performance and the National lnstitute of Arts and Letters. Anne Marin Rehearsal accompanist: City. He holds a B.A. from Hoverford College and an of Landscapes of the Mind I1 by Margo Richter with the Adria Mary Quiiiones Michael Skelly M.F.A. from Princeton University, where he wos awarded violinist Daniel Heifetz (Leonarda Records). He is now Marie Cawso Stauffer a four-year fellowship. He has studied with Milton teaching at Columbia, where he ioined the piano faculty Lisa Udel in 1985. FINNADAR RECORDS, Distributed by ATLANTIC RECORDING CORPORATION, e'A Warner Communications Company, ;75 ROCKEFELLER PLAZA, NEW YORK, NY 10019 y$iq Q 1987 The Muse of Eloquence O 1987 Finnadar Records All Rights Reserved. Printed in U.S.A. Wg:Unauthorized reproduction of this recording is prohibited by 90850-1 Federal Iw and subiect to criminal prosecution. Side One Band 1 PASS- - --- ACAGLlA ON "SPRING AND ALLfi By ARTHUR KREIC Text by William Carlos Williams

By the Iroad to thle contagi,>US hospit under tlie surge o,E the blul mottled clouds dr,iven from the northea!st - a cold wind. 1Beyond, th -. . waste of broad, muddy Fiell brown with dried weeds, st.

patches of standing water the scattering of tall tre,

ng the roaid the red(dish I, forked, upstandi~"9 twiggy . .. f bushes and small trees with.. - - .. dead,- - . brown leaves under them leafles:s vines -

Lifeleu:s in appea gish dazed slpring appr

They enter the ne!w world n.aked, cold, uncertain aI€ all save that they entter. All about the the cold, familiaIr wind -

Now the grass, tcmorrow the stifE curl of ' wildcarr,ot leaf One by one object:s are def ined - . It auiclKens: clarlLy,. ou~lineof le

But now the stark dignity of entrancte - Still, the prof,ound chane has corn,e upon them: rooted, they wn and begin to awa,,..La..

liam Carl'os Wi1 l ianRS, THE C01LLECTED PO EMS OF IAM CARLO! i. WILLIAMS . Copyrigh~t 1938 by New ct. ions . Put)lishing C 7. Used bY perrnlsslon ot the publisher.] DNG FOR OCCUPATIONS" TTO LUENING 31t Whitmon ,.., ,-.. of all known reveren,, , ,,J up in 1," ,..-,., r you i are. The Pre: iident is there in the White House for you, it i not j lou who are here for him. The Sec~:etaries a ct in their bureaus for you, not you nere tor. rnem... :ress convenes every Twelfth-month for wrts, the forming of States, the chart !s, the going and coming of commerce a1 111 for you.

List clc)se my scholars dealr, Doctrine!S, politics and ci! ~ilizatior1 exurge f rom you, Sculptu1re --. and . mon . ~umentsan1 d anythinp: inscribe1d anywhere are t:allledIn, vou. , The gist: of histories and statistics as far back as the recor.ds reach is in you this hour, and myths and tale!5 the same, Tf you uiere not breathing and walking here, where would .I.^.. .I.^.. Lucy all be? The mosl: renown'd poems wou 11d be ashes, orations and play!3 would be vacuums.

All arc'hitecture is what you do to it when you look upon it, (Did you I think it was in tt white or gray stc lines3 of the alrches and ornices?'1 nlL muslc 1s wnar awanav LrOm you wnerl you are remLllueu le instruments. ,t the violins and the cornet:s, it is Inot the nor the beating driJms, nor t he score <>f the :one singer, singing: his sweet romanza, nor that >e men's chorus, no1r Vh.P,..,, ,.nF the women's chorus, !arer and farther tiian they.

Will the! whole come back t l Can eactI see signs of thc? 1 look in tlie looking glass!" 1s. tnere.. notnine.. , greater or more! Does all sit the1 le mystic Iunseen soul?

Strange and hard .,L,u,A ,.,, give, Objects gross and the unseen soul are one.