Morton Subotnick

In collaboration with
NYU Interactive Arts

Lars Graugaard

Morton Subotnick

Monday, February 28, 8pm

Frederick Loewe Theater
35 West 4th Street
Admission free

↓ Program

PROGRAM

Bloom..................................................................................................................Lars Graugaard
    For flute/alto flute, clarinet and piano

Palpitations...........................................................................................................Lars Graugaard
    For piano and interactive computer

A Sky of Cloudless Sulphur with The Other Piano: Revisited.......................................Morton Subotnick
    For laptop, keyboard and Buchla 200e synthesizer





ABOUT THE ARTISTS



Lars Graugaard
Lars Graugaard is a composer and flautist whose work involves digital experiments in interactive music, cross-modal forms, and compositions in the modernistic European tradition. He has composed numerous works, performed internationally, released over 40 CDs on various labels including EMI, SONY Classical, CBS, and others, and lectured internationally.


Morton Subotnick
Morton Subotnick is a pioneer in electronic music and interactive computer music systems. He is best known for Silver Apples of the Moon [1966-7], and he is the composer of many other groundbreaking works. He is a cofounder of the San Francisco Tape Music Center and the California Institute of the Arts. He tours extensively throughout the U.S. and Europe as a lecturer and composer/performer.




ABOUT THE MUSIC

Bloom, a world premier, was performed by Esther Lamneck, Keith Underwood and Hsiang John Tu. An important feature of the compositional process was the use of the emoter-composer compositional tool. This tool was based on empirical research into emotion-related score and performance features, conducted since the 1930s, and significantly pervaded the creative stance towards the work. A framework for important score features that characterize commonly recognized emotions in music are provided by this tool. It allowed for specific moods, and transitions between moods, to be observed. Not being a part of the compositional material, it nevertheless provided delimitations and suggestions for compositional-technical decisions, enhancing the musical focus of the work in combination with the established compositional procedures for material integrity.

Palpitations was premiered by Manuel Laufer. The computer established its interplay with the soloist mainly through body movements. The well-known (in)voluntary torso movements were used in a deliberate manner to animate the sonic response, since it is known that such movements have a significant impact on the audience’s perception of a musical performance. The writing for the piano was quite attentive to the instrument's nature and history, using constant movements in steps, ordered melodic cells and quasi-tonal chordal arpeggios. These procedures are rarely intertwined, but are employed as sequences of different musical stages. At times the player was requested to repeat a particular fragment, and this was where the body movements are explored by the computer.

 

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A Sky of Cloudless Sulphur with The Other Piano: Revisited was performed by Kathleen Supove along with Subotnick. It was another in a series of performances where Subotnick revists older works. In A Sky of Cloudless Sulphur with The Other Piano he deconstructed both works by breaking them up into available material for impromptu reassembly at the concert. New materials and processing of the reassembled fragments were performed on the laptop using Ableton Live and the Buchla 200e. The two devices were inter-connected. Preparation for the performance was a matter of getting used to the process, but each revisit was a unique performance.