Listen to the Rolling Thunder (1982) 12’51’’
by Stacey Bowers
Rolling Thunder looking long at his son before he spoke. Then he spoke quietly. “Now you know what has to be done here, so why don’t you wait until you feel those things are done, and then speak?… If you’re feeling impatient, then you’re where you think about time, and if you’re thinking about time, you should be able to think about the order of things. Things have their order. You know there are certain things I can’t do until I do other things first.”
SIGNATURE ONE: A MENDELSSOHN FANTASY (1980) by Homer Lambrecht was commissioned by the Jerome Foundation for Zeitgeist and received its premiere at Carnegie Recital Hall October 18, 1980 in New York.
“Music spans time in history; the movement of time also articulates the form and substance of music. Patterns of movement form streams of rhythm, flow of harmonic motion, and currents of timbre. These patterns also reveal the spiritual substance of the composer and his cultural heritage. To find patterns that connect my time with the past is the origin of SIGNATURE ONE. Techniques common to today’s music are used to transform ‘Adieu,’ one of Mendelssohn’s ‘Songs Without Words.’” Continue reading “Homer Lambrecht: Signature One: Mendelssohn Fantasy”
A dark and delightful evening-length chamber work based on Carlo Collodi’s beloved The Adventures of Pinocchio, Pine Eyes is a rich mixture of music and words—a compelling adventure for the imagination that will captivate audiences of all ages. Martin Bresnick joins Zeitgeist to create a fantastic tale of transformation and discovery with plenty of the bewitchment, adventure, and heroism so crucial to a good fairy tale. Continue reading “Martin Bresnick: Pine Eyes”
Performed by Zeitgeist in 2016 during Early Music Festival: The Music of Morton Feldman. Heather Barringer & Patti Cudd, percussion; Pat O’Keefe, woodwinds.
Zeitgeist’s 2016 Early Music Festival explored the powerful contributions of our musical pioneers with a celebration of composer Morton Feldman. One of the 20th century’s great visionaries, Feldman’s innovations in music notation and his free-flowing indeterminate music embraced new artistic possibilities and made a lasting impact that continues to shape new music today. Continue reading “Morton Feldman: Bass Clarinet and Percussion”
In Bone-Colored Light (2002), Kitzke’s second work for Zeitgeist, pays homage to the sense of clarity and healing found in the stark and pure angled light that illuminates the American landscape of a late afternoon on a cloudless day. Continue reading “Jerome Kitzke: In Bone-Colored Light”
Co-written in 2010 by Victor Zupanc and Kevin Kling, For the Birds is a concert length work that, on the surface, seems to be about birds. It features a series of musical pieces extolling the nature of each particular bird (sparrows, roosters, woodpeckers, Canadian geese, hawks), drawing parallels with our own human nature. Interspersed between, is insightful storytelling created by Kling reflecting on childhood memories, immigration, illness, accidents, and healing. However, just below the surface (but discernible to those that look), For the Birds is a work about that part of our human nature that compels us to reach beyond ourselves for more —more opportunity for our family, more money, more fun, more speed, more knowledge, more love. When all goes well, we call that need aspiration. When it doesn’t, and we plunge to the earth with melting wings, we call it hubris. Through utterly delightful music and a worldview only Kevin Kling can provide, For the Birds gives us the space to contemplate our nature, laugh at ourselves, and heal. Continue reading “Victor Zupanc & Kevin Kling: For the Birds”