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SOUND & VIDEO Updated 18 December 2020 Ariadne's Thread [1'59"] A passage from Ariadne's Thread (1994), for string quartet and quadraphonic computer sound. This work takes the phenomenon of "line" as its basis. The computer element was done on Xenakis's UPIC system. It was recorded by the Arditti Quartet for a double-CD of Reynolds's string music by Auvidis in Paris. Aspiration [6'51"] A passage from Aspiration (2004-5), a violin concerto jointly commissioned by the Oslo Sinfonietta and the Nouvel Ensemble Moderne for violinist Irvine Arditti. Available on Double-CD "Aspiration". Autumn Island [7'28"] A complete performance of Island II from Archipelago: Autumn Island (1986), for solo marimba as performed, brilliantly, by percussionist Brian Archinal. … b. a. …” [4'35"] A brief work for solo piccolo, a tribute for Robert Aitken on the occasion of his retirement from the Hochschule für Musik Freiburg. Related to “… brain ablaze, she howled aloud” for 3 piccolos by Reynolds. The Emperor of Ice Cream [1'02"] An excerpt from Reynolds's notorious chamber theater work created for the ONCE Festival in Ann Arbor, but first performed at Nuova Consonanza Festival in Rome (1965). This recording is by the Gregg Smith Singers, conducted by Smith. FLiGHT Movement II, "Preparing" Performed by the Jack Quartet This is Movement II from the String Quartet version of the multimedia FLiGHT. An expanded trailer documenting the first complete performances of the multimedia work, FLiGHT, at the Park Avenue Armory in 2016, involving the commissioners, JACK Quartet, Visuals by Ross Karre, Audio by Paul Hembree, Direction by Robert Castro. FLiGHT Development Process [5'16"] george WASHINGTON [4'16"] A trailer compactly sampling the five scenes from Washington’s life – Origins,
Martha, Engagement, Lafayette, Reflections – that make up the complete work. Performed by a symphony orchestra, three narrators, computer-processed sound, and a triptych of projected visual imagery, the work aims to portray the ideas and experiences that characterized Washington's Mount Vernon days. Here and There [3'15"] This is a brief excerpt from a workshop performance by dedicatee Steven Schick, who proposed that Reynolds create a work for “speaking percussionist”. Based upon a text by Samuel Beckett, it involves virtuosity not only in the realm of percussion but also of extreme vocal behaviors. imAge/flute [6'23"] In recent years, Reynolds composed relatively short, contrasting pairs of solos for particular instruments. The imAge/flute is of an Articulative and Assertive nature. It explores a set of forceful, periodically repeated behaviors characteristic of the flute. imAge/violin [3'0"] In recent years, Reynolds has composed relatively short, contrasting pairs of solos for particular instruments. imAge/violin is of an Articulative and Assertive nature. It was developed, collaboratively, with Irvine Arditti. Justic [49'25"] Part of the larger “The Red Act Project”, this staged work features computer processed sound accompanying a soprano, an actress and a percussionist who meld as a 3-dimensional representation of Clytemnestra. The text describes her conflict with Agamemnon over the fate of their daughter, Iphigenia. This conflict is at the root of a series of works all stemming from a BBC Proms commission for THE RED ACT ARIAS. JUSTICE's partner work on the Agamemnon-Clytemnestra theme is ILLUSION. last things, I think, to think about [11'52"] This song cycle, based on the poems of John Ashbery, involves wide-ranging vocal production and a virtuosic piano accompaniment. "Faust", a mock, mini-opera, is one of eleven songs in the work. Marked Music [17'34"] The second in the SHARESPACE Series, this duo was developed collaboratively with contrabassist Mark Dresser and computer musician Jaime Oliver. It involves notated music, and also an improvisatory interplay between instrumentalist and the real-time algorithmic transformation of instrumental sounds. OpporTuniTy [6'12"] A response to John Cage’s notorious 4’ 33”, this solo for vocalizing pianist presents the performer with a web of constantly compounding difficulty, and a virtually impossible density of simultaneous tasks, all to be managed – ideally – within the same, iconic, period of time. Passage 7: "John Cage – incidents, texts, conversations, and music" (2012) [58'39"] Intermedia Performance by Roger Reynolds Passage Number 9 [60'21"] Passage entails performances by the composer that bring together computer-spatialized readings of original texts (live and pre-recorded), projected imagery, occasional guest instrumental performances, and other pre-recorded materials that form a dense fabric of information without narrative intention. Piano Etudes, Book 1 [17'27"] A Fromm commission, Reynolds's Piano Etudes comprise two Books of 6 works each. Each Book has a “linking” etude used to bind the various others in its Book into a continuity chosen by the performer. Here Eric Huebner combines three etudes from Book I. SEASONS: Cycle 1 [50'07"] Two cycles of four movements explore the seasons of the year and of a human life. In each movement, a trio of instrumentalists is linked by a fourth element: in Cycle I, there is real-time spatialization of their sounds, and, in Cycle II, the central performers are joined by an itinerant duo of soprano and oboe which meanders through the performance space, creating unexpected connections. Live performance. Shifting/Drifting [9'01"] The fourth of the SHARESPACE works, this is a collaborative product of violinist Arditti, computer musician Paul Hembree, and composer Reynolds. Its notated materials allow for some flexibility on the instrumentalist’s part, while interacting with the computer musician’s real-time algorithmic sound transformations. Submerged Memories [35'55"] Preceded by Reynolds Introductory Talk Commissioned by the Paul Dresher Ensemble, this work involves a quartet of musicians (violin, bass clarinet, electronic percussion and electric guitar) that accompanies a vocalist who extravagantly realizes a text montage selected by the composer from writings by W.G. Sebald. Thoughts, Places, Dreams [28'16"] Commissioned by the French Ministry of Culture for cello soloist Alexis Descharmes and Philippe Hurel’s Ensemble Court Circuit, this chamber concerto features a demanding central line that is fed, in part by materials from the imAgE/cello pair of complementary works. The soloist’s “thoughts” are constantly recontextualized by the chamber ensemble’s Dreams and Places. Toward Another World: Lament [25'07"] A work for solo clarinet and real-time algorithmic transformation. Anthony Burr, Clarinet, Jacob Sundstrom, Real-time algorithmic transformation. Premiered at a Society for Music Perception and Cognition Conference in the Calit2 Auditorium, University of California San Diego. Transfigured Wind I [10'45"] A set of separate works explore the four contrasting movements for solo flute that comprise Transfigured Wind I. An elaborate set of computer transformations and spatializations of these “seed” movements form a sonic tapestry against which the solo flutist is heard: with quadraphonic sound (TW IV), with chamber orchestra (TW III), or with symphonic orchestra (TW II). All are large-scale, rhapsodic forms. Transfigured Wind I comprises only the unaccompanied solos. Whispers Out of Time, movement VI [10'17"] While on a Visiting Professorship at Amherst College, Reynolds found a powerful and elusive poem by John Ashbery: Self-Portrait in a Convex Mirror. Seeking to understand its ruminations on time, portraiture and the artist, he composed a six-movement work for string orchestra. The Portrait’s Will to Endure is the 6th and last. 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