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inside cover cover Concerto: States of Being (2009). The program- Ritual of the Dawn (1984, rev. 1998), a chamber The album title, soundworlds, refers to various areas of the world in which McLean has resided, composed, matic thread of three distinct attitudes toward life as work for six players, was originally written at the recorded, or researched. From the earliest work (“Ritual of the Dawn,” composed in 1982) influenced by one progresses through it inform the overall thrust MacDowell Colony, and extensively revised and ancient Nahuatl (Central American) culture, to “Demons of the Night” (1988-9), depicting the wildness of the work. “Wonder” explores the state of mind premiered in its new version by the Syracuse Soci- and darkness of nature in a rural New York summer’s evening, to “Rainforest Images II,” (1993) utilizing where everything is fresh and new, and a brightness ety of New Music in 1998. Its philosophical idea natural sounds recorded by McLean in the lush rainforests of the Amazon and Australia, to the austere and excitement abound with each new discovery. is the distillation of a ritualistic ceremony depicting and crystalline sounds of the Muir Glacier in British Columbia (“Ice Canyons”), a literal world music con- “Attainment” symbolizes the strong, mature vibra- the dawn of the new millennium, inspired by my notation can be ascribed. Similarly, the Xanadu tone poem inspired by Samuel Taylor Coleridge’s fantasy tions of a mindset that involves lifepaths entered research into ancient Nahuatl (pre Columbian Cen- poem “Kubla Khan,” and the “Concerto: States of Being,” depict the no less real world of the dreamer, who and challenges met. “Tranquility” symbolizes ac- tral American) poetry. conjures up at will his own inner worlds of sound. ceptance and peace that accompanies the final stage. The opening thematic fragment is heard throughout The unique feature of Ritual of the Dawn is its at- On a more significant compositional level, the album title refers to the breadth of McLean’s sound palette, all three movements in various disguises. mosphere, which is both rhythmically pulsed and as he moves effortlessly from traditional live ensemble “Ritual of the Dawn” to live performance processed evocative. Although tightly-written in the sense electronically (“Concerto: State of Being” and “Rainforest Images II”) to his own software-enhanced per- All heady stuff, and all of which is unnecessary to that it will sound the same at each performance, it formance on synthesizers (“Magic at Xanadu” and “Ice Canyons”) to studio-generated electronic means of grasp the work’s musical content. Although “States of is also extraordinarily free in its notational proce- sound production (“Rainforest Images II and Demons of the Night”). Like many composers of our time, Being” adopts many of the stylistic and performance dures, which often include bits of phrases in boxes, McLean delights in moving effortlessly between diverse means of sound production and compositional aspects of the typical concerto model (virtuosity, the performer to choose the specific order at each strategies. But McLean’s ends are always consistent, with an unmistakable personality that fuses the natural cadenza, textural aspects), and it in fact SOUNDS performance. It is the last major work of mine us- world, gestural expression, and timbral idea into a spiritual whole. With many previous orchestral, vocal, like a concerto, I performed it under electronic stu- ing modern or traditional notation. The evocative and chamber works under his belt before 1985, McLean has subsequently eschewed traditional or non- dio multitrack conditions. I found this to be neces- yet rhythmically-pulsative nature of Ritual of the traditional notation (in the sense that someone who never worked with him could perform the composition sary since the piano is often extended into unknown Dawn is largely produced through the rhythmic from the notation), the reason being that he considers these scribal means of communication inadequate and heretofore unheard realms, such as the “ghost” technique of several performers playing pulsed ma- for transmitting his ideas, which often combine timbral/gestural expressions outside the traditional grid of material often accompanying it sounding as softer terial simultaneously but not coordinating beats in notation as is commonly understood. delays in quasi-randomly controlled pitch areas. At any way -- as if several tape recorders were playing this point in my creative life I need to fix my musical at the same time but not in sync. The harmonic ideas much as a painter fixes the paint directly on structure is chosen carefully to accommodate this his canvas. technique. This means that each sonority must be neutral enough to withstand infinite variations The Concerto:“ States of Being” was composed using of the order of the short melodic phrases that are a standard music sequencer program with two Korg randomly played together by the ensemble, but Wavestation and two Alesis QS 6.2 keyboards as at the same time be imaginative enough to evoke sound generators all under MIDI control, as I per- the special atmosphere of the work. At important formed live with the luxury of repeated takes. structural points in the work, such as the beginning and ending of sections, the conductor does provide vision that reaches toward that special paradise of vertical (harmonic) metamorphosis of what had Rainforest II is a modified distillation from this Barton McLean innova is supported by an endowment from the hand cues to coordinate the ensemble. ecstatic wonder always beckoning but out of reach. been a horizontal (melodic) one. A unifying ele- larger Rainforest Images recording, using sections McKnight Foundation. The “Composers Playpen,” a computer music pro- ment is the recurrent ground bass, which is heard composed by me alone (although Priscilla certainly Having been taught and mentored by Henry Cow- Philip Blackburn: Director, design Demons of the Night (1988-9) is the fourth in a gram written by me in MAX (hence the title) in throughout, finally collapsing at the end as glaciers had an important role in this, as she has in all of my ell and having studied electronic music techniques Chris Campbell: Operations Manager set of five electronic tone poems entitledVisions of a 2005 is the software vehicle for this work and the ultimately do when they reach the sea. work, as critic and advisor, and in this instance, as in studios under the direction of Ianis Xenakis, www.innova.mu Summer Night depicting various esthetic qualities of one following as well. Central to the “Playpen” con- performer as well on voice and violin). The begin- Barton McLean has experienced both the academic a typical sultry summer night in the Northeast U.S. cept is the idea of initiating and changing melodic/ Rainforest Images II (1993). My composer/ ning, after a sultry introductory invitation by the and the professional worlds of the composer, hav- Supported in part by a grant from To understand Demons of the Night is to come to harmonic/rhythmic loops in real time. In ”MAX,” performer wife (and soulmate) Priscilla and I Musician Wren and other Amazon birds, is primal ing undertaken a 20-year career as a pioneering the National Endowment for the terms with the subconscious primitive fears we all most of these loops are prerecorded, while a few are began the Rainforest project as an installation in and rawly pulsed, with Priscilla and I performing director of major university electronic/computer Arts. Innova’s NYFA Series cel- have buried deeply within us. While directing the recorded and modified as the work is playing. In ad- 1989, premiering at the University of Wyoming, on soprano recorders and me also performing on a music programs. In 1983 he and Priscilla left ebrates music by the New York Electronic Music Center at the University of Texas dition, a third stream of music is produced live on involving walk-in performance by the audience at clariflute (soprano recorder with a clarinet mouth- academia to develop a full time career with their Foundation for the Arts Fellows in in Austin, I was privileged to work with saxophone the keyboards. Although not always evident, the any of our five music stations, using synthesizers, piece). After a quiet interlude where the birds are electroacoustic duo The McLean Mix, which has Music Composition. virtuoso Albert Regni, who recorded the vari- live performance is very difficult, as I must modify amplified bicycle wheel, and microphones, plus the prominent, the last powerfully reflective section proven itself in hundreds of concerts and installa- ous saxophone “terror” licks. Other recognizable up to fourteen separate musical ideas all playing at evocative drones and rainforest sounds we had re- closes with singing by Priscilla and chants by Pa- tions throughout the Americas, Europe, and the samples were derived from my double bass and so- once! The MIDI instruments used are two Alesis corded in the field and arranged on our composed naiotis, vocalist and sound technician, who also Pacific Rim. His major interests have been the inte- prano recorder performances. This was produced QS6.2 synthesizers, and two Korg Wavestations. drone tape. provided much of the sound processing, realized in gration of natural sounds into the web of traditional on an early version of Opcode Vision software using the Oliveros Foundation studio with its “Expanded and non-traditional structures, the use of technol- MIDI synthesizers such as the Yamaha TX 81 Z and Ice Canyons (2010). The title “Ice Canyons” seeks After dozens of installations and our Australian- Instrument System.” The source sounds were re- ogy to articulate ideas based on environmental and the Prophet 2000 sampler. The constant fluctuation to capture the crystalline beauty of sound encap- New Zealand-Hawaii tour in 1990, we began think- corded by Priscilla and myself in the Amazon jungle cultural concerns, and the development of new between extreme tension and release was a powerful sulated within an austere and grandiose landscape, ing of an actual composition involving voices from and throughout Australia.