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”
MUSIC FOR KLEIST (1980) by Zeitgeist
In the collectively composed MUSIC FOR KLEIST, severe changes in mood reflect the character of Kleist’s life and work (particularly a short story entitled “Earthquake in Chile,” which provided the dramatic frame for the composition). Dramatic, expressionistic gestures are contrasted with serene, almost euphoric passages.
Continue reading “Zeitgeist: Music for Kleist”
SPINNGEWEBE (1976) by Tristan Fuentes was inspired by the way a spider weaves its web, first spinning a framework and then adding the spiral. Written for Zeitgeist, the piece was premiered July 25, 1980.
Continue reading “Tristan Fuentes: Spinngewebe”
THIS (1980) by James DeMars
THIS (a contracrostipunctus) for Frederic Rzewsky and Douglas Hofstadter IS an opportunity to adJUST to circles of reference and TIME, because a variety of “meanings” are available in (this) unusual interplay of an invertible text AND a looping melody which apparently refer to each and YOU; however, if you TAKE your TIME (AND you are) YOU may HEAR JUST both, which is MUSIC, which IS an opportunity to adJUST to circles of reference and TIME, because a variety of “meanings” are available in (this) unusual interplay of Continue reading “James DeMars: This”