Scott Miller: Self Portrait

Self Portrait (2005)
by Scott Miller

For me, the poem is by essence a non-narrative adventure: a playful kaleidoscope of filtered images, sounds, rhythms, and colors; a lucid desire to unify the apparent opposite forces of life in a vibrant dance of languages. Life and death, light and darkness, spirituality and sensuality, music and silence yearn to be woven together. The poem might be their fabric.

–Notes by Philippe Costaglioli

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Scott Miller: Sainte Victoire

Sainte Victoire (2005)
by Scott Miller

Sainte Victoire, translated literally as Holy Victory, is a mountain in Provence. It became for Paul Cézanne a sweet obsession. Day after day, the painter tried to apprehend the ever-changing rhythms, colors, and lights of that imposing shape. With time, toward the very end of his life, he finally managed to capture the mystery of presence and the essence of the artist’s gaze. The voice in the poem invites us to enter and to explore with the musicians and composer a moving inner landscape.

–Notes by Philippe Costaglioli

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Scott Miller: Mirror Inside

Mirror Inside (2005)
by Scott Miller

Scott L. Miller is a composer described as ‘a true force on the avant-garde ambient scene’ and of ‘high adventure avant-garde music of the best sort’ (Classical-Modern Music Review). Best known for interactive electroacoustic chamber music and ecosystemic performance pieces, his recent work experiments with virtual reality applications in live concert settings. Raba is his latest album of audiovisual (and VR) music, available on New Focus Recordings. Three-time McKnight Composer Fellow and Past-President of the Society for Electro-Acoustic Music in the U.S., his work is frequently performed by soloists, ensembles, and festivals throughout North America and Europe. Recordings of his music are available on New Focus Recordings, Panoramic, Innova, Eroica, CRS, rarescale and SEAMUS, and his music is published by ACA (American Composers Alliance), Tetractys, and Jeanné.

Miller is a Professor of Music at St. Cloud State University, Minnesota, where he teaches composition, electroacoustic music and theory. He is Past-President of the Society for Electro-Acoustic Music in the U.S. (SEAMUS) and presently Director of SEAMUS Records. He holds degrees from The University of Minnesota, The University of North Carolina – Chapel Hill and the State University of New York at Oneonta, and has studied composition at the Czech-American Summer Music Institute and the Centre de Creation Musicale Iannis Xenakis.

Philippe Costaglioli, a native of Catalonia and Southern France, pursues his creative work in three languages as an author of poetry, short stories, and children’s books. He is a Professor of Film Studie sat St. Cloud State University in Minnesota. His poetry is published in France by Les Editions de L’Arriére-Pays and in Barcelona by Jardine de Sarmacanda.

Johanna Beyer: Suite No. 2 for Bb Clarinet

Suite No. 2 (1932)
by Johanna Beyer

Beyer’s Suite No. 2, also known as Suite No. 1b, was composed (along with Suite No. 1) in 1932, and is thought to be one of Beyer’s first works. The following descriptive comments for each movement appear on the original manuscript (whether or not these were the composer’s remarks or someone else’s is unclear): I. Giocoso – “Gradual growth of tied tones;” II. Lamentation – “Tones of contrary form of perpetual motion;” III. Contrast – “Contrast of phrases: skippy=steppy.” Movement four, Accelerando, utilizes a series of metric modulations to create an ever-increasing tempo structure. All four movements are written in a freely atonal style that shows an excellent awareness of the technical and expressive possibilities of the clarinet. Beyer utilizes the full range of dynamic, articulative, and registral characteristics of the instrument, resulting in music that is playful, mournful, agitated, and virtuosic.

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Beth Custer: Swim!

Swim! (2002)
by Beth Custer

Swim! was written for Zeitgeist during our collaboration on Vinculum Symphony Twin
Cities. Vinculum Symphony is a large-scale, multi-movement, evening length work that
brings together chamber musicians with experimental instrument builders, people who
invent and perform on their own creations. Vinculum uses musicians and inventors from the city or town it is performed in and evolves and mutates to reflect that city. During my McKnight Composer Residency through the American Composers Forum in the Twin Cities, I spent some time gazing at and wandering around the Mississippi River. I got a lot of ideas for new pieces while bicycling alongside her to Zeitgeist’s studio. I have a great love of water, and truly wish we could swim to get there!

—Beth Custer

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Pauline Oliveros: Sound Fishes

Sound Fishes (1992)
by Pauline Oliveros

Listening is the basis. Listening for what has not yet sounded —
like a fisherman waiting for a nibble or a bite.
Pull the sound out of the air like a fisherman catching a fish,
sensing its size and energy —
when you hear the sound play it.
Move to another location if there are no nibbles or bites.
There are sounds in the air like fishes in the water.
When the water is clear you might see the fish.
When the air is clear you might hear the sounds.

— Pauline Oliveros

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Annie Gosfield: Five Will Get You Seven

Five Will Get You Seven (2001)
by Annie Gosfield

Five Will Get You Seven was written for Zeitgeist, developed with the ensemble, and conceived with the group’s individual strengths and personalities in mind. Pat O’Keefe and I worked together delving deep into the realms of bass clarinet multiphonics, non-traditional fingerings, and microtonal bends. Heather Barringer told me a story about beating on pieces of metal in her backyard as a child (home-made percussion care of her metalworker father) which inspired me to incorporate assorted metal percussion into her part. Patti Cudd provides the percussive engine that supports the metal and multiphonics, driving on through the din and clamor. The title, Five Will Get You Seven, refers to the extended sections of five (quintuplets on the tom toms) against seven (septuplets on the snare), and a gambler’s notion of a wager well placed. The bet’s not a long shot: Zeitgeist has made this work their own and created something more than the mere notes on paper that I wrote for them. Special thanks to the musicians, the Jerome Foundation, and Anthony Gatto for making this project happen.

—Annie Gosfield

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