Fall 2008 CASA Concert
Sunday, November 23, 2008, at 3pm at the
McNay Art Museum’s Leeper Auditorium
Admission is free with admission to the museum.
There will also be open rehearsals for the works on Friday, November 21, 2008 from 1:00-4:00pm in the Leeper Auditorium. Please drop by!
There will be a preconcert talk about the pieces with the composers at 2pm before the concert on November 23, 2008 in the Leeper Auditorium.
As always, the composers will be available after the concert to talk with you about the pieces.
A concert of brand new works by CASA members
Timothy Kramer, Ken Metz, William Ross, Jack Stamps and Charles Goodhue
performed by
Rita Linard, flute; Stephanie Key, clarinet; Jeff Garza, horn;
Trevor Fitzpatrick, cello; and William Ross, piano
Key Fragments by Timothy Kramer
performed by Stephanie Key
Science of Side View Commuter, by film maker Bogdan Perzynski and composer Jack Stamps
Southwestern Sketches for flute solo, by Ken Metz
performed by Rita Linard
Three Rivers by Charles Goodhue
performed by Stephanie Key, clarinet; Jeff Garza, horn; and Trevor Fitzpatrick, cello
Music for November for flute, horn, cello and piano by William Ross
performed by Rita Linard, flute; Jeff Garza, horn; Trevor Fitzpatrick, cello and William Ross, piano
PROGRAM NOTES:
Key Fragments was written for and dedicated to clarinetist Stephanie Key. I composed a work for her ensemble, SOLI, in 1996 and have relied on her advice throughout the years on number of pieces of mine. Embedded in this work are some key fragments from my many discussions with her. The principal motive heard at the beginning of this piece, however, is a new fragment: one that cements itself in our memory at different levels of perception, including a reference to a musical key. Broadly cast in three sections – slow, fast, slow – this piece takes us through a landscape where the concept of “key” is pushed to its limit
Science of Side View Commuter
Notes from the film maker: Bogdan Perzynski's video titled The Science of Side View Commuter is an attempt to explore the relationship between the signifying mandate of Jack W. Stamps' music as well as the contents of the large storage room at the historical Hotel Ostende, in Pinamar in Argentina. This video, as if guided by the Lacanian "Why am I what you're telling me that I am", points to the power of the gap between demand and deny that one observes between the hotel's actuality and its past decorum. "The Science of Side View Commuter," was initially conceived as an ON and OFF structure to deliver the video image and music. Over the period of a month, the entire work evolved into a more dynamic relationship for its image and music connected at a different level as two spaces aware of each other, light and acoustic waves organically meshed.
Notes from the composer: I had been fascinated for a while by those random text SPAM messages that can litter an email in-box. One particular strain of them involves what seems to be lifted fragments of famous novels, all strewn together, creating a kind of semi-familiar world of muffled madness, always on the edge of expressing something, yet never getting there. These short SPAM and beat poetry inspired vignettes attempt to explore an alternate world-view through a kind of Dadaist karaoke. The text, written by the composer, comes from a series of Gmail chats with a dear friend who can wax dadaistically with the best of them. In true SPAM fashion, some of the sound sources are sampled, or 'lifted', with much appreciation, from the Buchla synthesizer work of Sam Pluta.
Text:
channel 1: i jog frightened but ben saved the situation. he scraped brass-damage until his brother felt like fur laid down on a frozen seal at the steps of the courthouse squelched the repulsive shattering of the anti-abortion activists with a bucket of uneven capers and wheatameal plums.
channel 2: ensconce-schwa.
channel 3: blimey if she floats. ain't a torn monkey clinker. put it there profit citizen.
channel 4: we all neatly watched the wing's rhythm and reverted war to mr. garden accompanied by a choir of 6 cold-hundred flower-river voices.
channel 5: the brachial debate which ensued became a person wild in his scope. who's sty are you taught to laugh at? blimey if she floats. ain't a torn monkey clinker.
channel 6: enact the 12 dynastical. the mustish priestly annals. nevermind the science of side view or of viewing nefertiti's titties. there is a soup in the air fashioned by moonbats and carmex. in a flash the universe is all sent back to a hood ornament meant to stand for something.
channel 7: a frothy pillow touched my lips not knowing how bad it was slung. someone injured her elbows. It looked like ginger. the onlookers gawked with newlyminds. from 2.8 million square miles of sunshine, too many blunders were ferreted through these brooding tweeters, forgetting the many evenings coated with a fever of laughing at the invisible sugar hives foreshown.
channel 8: whisked close to the earth. longing to huddle close to haploids and diploids for it has been a well planned day for a nestled nap in early embryos amassing dark methodologies for a night-time slow soil epidemic void of any noise whatsoever and fastened to a journey-cell rocketing to the center of the most auspicious of parabled wonder-hells.
Southwestern Sketches: These pieces celebrate the Native American spirit that is a special part of the Southwestern United States. Aztlan is a mythical, but perhaps actual city that was a part of Native American legend. Trail of Tears reflects the sadness of the forced migrations which led to some tribes dwelling in the region. Drought refers to the period that may have led to the decline of the pueblo cultures that thrived there at one time. Rain Dance celebrates the joyous energy of the rain when it comes to the desert. These pieces are dedicated to Dr. Susan Goodfellow upon her retirement from the University of Utah.
Three Rivers: This title occurred to me while kayaking on the Guadalupe this fall with my wife. Where some stretches of the river were flowing gently, the ride was mostly peaceful. Where rapids were encountered we took a few spills and bumps. The trio's second movement recalls our experiences in the rapids (and going over a four-foot dam). The mostly peaceful ride could be recalled in the first movement. Downstream the water of the Guadalupe merges with waters of the Blanco and the San Marcos River; three rivers, three music lines in the trio, each combining to make the whole: thus the title, Three Rivers