Crocus Hill Ghost Story Music by Julie Johnson • Story by Cheri Johnson Sound Design by Eric M.C. Gonzalez
A macabre tale of a house possessed that is accompanied by a wildly evocative and colorful score, Crocus Hill Ghost Story explores the complex relationship between two longtime friends and the evolution of their relationship as they experience a haunting. Suitable for teenagers through adults.
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”
Shape Shifting (2005) Music by Scott Miller, Poetry by Philippe Costaglioli Performed by Zeitgeist: Heather Barringer and Patti Cudd, percussion; Anatoly Larkin, piano; Pat O’Keefe, woodwinds, with Philippe Costaglioli, voice, and Scott Miller, real-time electronic processing.
“If Tigers were Clouds… then reverberating, they would create all songs was developed in collaboration with Zeitgeist during a Music in Motion Residency based at the Fleisher Art Memorial in Philadelphia. We met for two separate week-long sessions (in September and December, 1993) and during that time I was able to work with Zeitgeist in a process similar to that of a choreographer making a dance “on” a specific group of dancers. This process allowed us to make a piece that is what it is because [Zeitgeist] and I spent many hours together working, talking, eating, and
playing during those times.
The title is a thought arrived at in a collaborative instant with composer David Gilbert at least 25 years ago. It suddenly came back to me as I was scoring this piece for Zeitgeist. This piece is very much about reverberation, resonances, and the sonic energy of pitches and their overtones. Tigers and clouds suggest strength, mystery, elusiveness, and can evoke magical imaginary worlds in children and adults.”
This one-movement work is composed as a sonic metaphor on the art of whittling. Imagine an experienced craftsman working on a block of fine-grained wood with very sharp blades. The artisan’s task is to shape the outcome by taking away much of the woodblock. One could take the view that the saxophone is to some degree the agent of the whittler or the actual whittling instrument but that view is much too simplistic. Imagine instead that all of the sounds made by the players (including the sax) are the literal actions taken in the process of paring away at the sonic possibilities inherent in the Zeitgeist ensemble. One other element to consider is the 22-beat pattern which repeats incessantly throughout Whittlings. In one way, that might be heard as the gestures of the whittler(s). In another way, one might also hear the repeating beat pattern as the actual block of material on which the whittlers, including the composer, are at work, paring away sound by sound. Finally, we are left to contemplate nothing more nor less than our own memory of our experience in hearing the performance. Did a whittled object emerge as an artifact, a memory of the metaphorical process? Or as Yeats writes in his poem “Among School Children,” are we left with a philosophical puzzle:
O body swayed to music, O brightening glance, How can we know the dancer from the dance?
Tintinnabulary (Phonic Paradigm IV) (1983)
by Eric Stokes
Tintinnabulary: “of or pertaining to the ringing of bells”
— American Heritage Dictionary (1969)
In composing such a piece, several orders and types of struck, reverberant objects were used. The resulting sounds were recorded. By means of simple procedures, unique properties of these recorded sounds found distinctive places in the compositional plan. Composition therefore, in this instance, was and is a function of foresight and afterthought.
The compositional goal remains: “to ring some few of the sounding world’s most multitudinous tintinnabularies.”
Born to song and loving sound’s venture I still seek to celebrate that love and birthright.
1. a pet scheme for the solution of some problem; 2. from the Latin, “on our own” (i.e., invented and made by the seller, especially in reference to patent medicines).
II. Buffalo Bones … all the way to Medicine Hat.
1. mythical creatures of ill-defined characteristics, sometimes noisy, mischievous or nocturnal; 2. apprehensions resulting from the believed perception of such creatures.
The title of Susquehannas refers in part to the convergence of streams like Cherry Valley, Lick-Run, Tunkhannock, Hop Bottom, and Tuscarora in the Eastern mountains. The early people who lived along those banks called themselves the Susquehanna.