Editorial Reviews I have had many deeply transforming psychic experiences which have illuminated my work and teaching and which have enabled me to mobilize energies in my students and ensemble players which many people have described as "miraculous." This piece describes the progress of subatomic particles across the cosmic proscenium. Neptune's Yellow Sands This is a cue from my "Midsummer Night's Dream" music; it describes the breeze drifting lazily through sultry summer nights on a beach the Indian Ocean, waves, moon, stars, et al. Ladders: Virtual Piano Concerto Mvt. I Ladders was originally composed for a composition class at the University of Illinois Champaign-Urbana, using Heinrich Taube's algorithmic composition program,Common Music. The piece is an endless chain of upward-spiraling note-ladders, appearing in a context of ever-evolving tempi, transpositions, and orchestration. After I MIDIstrated it, I added new intuitively conceived material and a just the merest whiff of sonata form.What began as a dry technical exercise became a portrait of a dynamic hyper-active protagonist striving to articulate his identity in an urban landscape of slip-sliding, flittering, night-streets. The hero's plaintive plea for mercy is greeted by cajoling rebuffs and tittering wind. With Every Change in Me: Virtual Piano Concerto Mvt. III Based on the final scene from Dante's "Paradiso" where the protagonist approaches the static eternal face of God and sees the face changing. "Not that there was more than a simple appearance In the living light which I gazed upon And which is as it has always has been; But my sight grew stronger As I looked; and so the static face of God Transformed itself with every change in me." Poetry Set I. All Dressed Up for electronic tape. This piece is a survey of different natural, or concrete, sound environments which flow into and out of each other in eccentric ways. The point is to explore the epistemological limits of language, and to question the posture assumed by so many art composers these days that the ancient verities of the heart are no longer viable subjects for creativity. II. Quodlibet for electronic tape. This piece is the last work I completed in the U of Illinois electronic music studio. It was commissioned by Scott Wyatt, and appears on the U of Illinois Electronic Music Studios 40-year commemorative CD, "Passages." A quodlibet is a renaissance forma patchwork of other pieces. Each of my several projects in the studio had at least a few seconds of decent sound, so as a farewell tribute to my graduate school days, I took those few seconds and strung them together into a new piece. The theme of the piece is, roughly speaking, bell sounds, although there is the other narrative theme, that of my feeling of frustration over not getting a job after all that hard work; appropriately the piece ends with the words, "Pissed away." III. Fort McHenry was the first electronic piece I made that I felt has anything to say; it is a setting of a beautiful poem by my wife, Louise, who looks back on a camping trip her family took when she was young. The poet grieves over her deceased mother whom she will never see again. IV. Poem in a Glass is a meditation on the Apostle Paul's verses from Corinthians, "through a glass darkly." The poet observes his reflection in the mirror and despairs. Transition Transformation and Puck's Wild Ride are cues from my "Midsummer Night's Dream Music.
Death and the Teetering Note
About the Artist
I have accumulated a respectable number of honors and distinctions in the field of mainstream new music performance and composition, yet I have always existed on the periphery of the establishment. This has cost me dearly in financial support and professional connections, but it has afforded me the freedom to work, create and teach out from under the shadow of the bureaucratic mind set which dominates all academic life and thought.
Performers
Me, Myself, I, Doppelganger, Alter-ego, Io, Ich
Album Description
Richard freeman-Toole Death and the Teetering Note of Being This piece attempts to capture in sound the flavor of a vision I had of a cosmic, all-knowing, impersonal identity whose self-realized knowledge included myself. Photons
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Death and the Teetering Note
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ASIN: B00004UG1R Release Date: 2000-05-22 |
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Album Description
Richard freeman-Toole Death and the Teetering Note of Being This piece attempts to capture in sound the flavor of a vision I had of a cosmic, all-knowing, impersonal identity whose self-realized knowledge included myself. PhotonsThis piece describes the progress of subatomic particles across the cosmic proscenium. Neptune's Yellow Sands
This is a cue from my "Midsummer Night's Dream" music; it describes the breeze drifting lazily through sultry summer nights on a beach the Indian Ocean, waves, moon, stars, et al. Ladders: Virtual Piano Concerto Mvt. I Ladders was originally composed for a composition class at the University of Illinois Champaign-Urbana, using Heinrich Taube's algorithmic composition program,Common Music. The piece is an endless chain of upward-spiraling note-ladders, appearing in a context of ever-evolving tempi, transpositions, and orchestration. After I MIDIstrated it, I added new intuitively conceived material and a just the merest whiff of sonata form.What began as a dry technical exercise became a portrait of a dynamic hyper-active protagonist striving to articulate his identity in an urban landscape of slip-sliding, flittering, night-streets. The hero's plaintive plea for mercy is greeted by cajoling rebuffs and tittering wind.
With Every Change in Me: Virtual Piano Concerto Mvt. III Based on the final scene from Dante's "Paradiso" where the protagonist approaches the static eternal face of God and sees the face changing.
"Not that there was more than a simple appearance
In the living light which I gazed upon
And which is as it has always has been;
But my sight grew stronger
As I looked; and so the static face of God
Transformed itself with every change in me."
Poetry Set I. All Dressed Up for electronic tape. This piece is a survey of different natural, or concrete, sound environments which flow into and out of each other in eccentric ways. The point is to explore the epistemological limits of language, and to question the posture assumed by so many art composers these days that the ancient verities of the heart are no longer viable subjects for creativity. II. Quodlibet for electronic tape. This piece is the last work I completed in the U of Illinois electronic music studio. It was commissioned by Scott Wyatt, and appears on the U of Illinois Electronic Music Studios 40-year commemorative CD, "Passages." A quodlibet is a renaissance forma patchwork of other pieces. Each of my several projects in the studio had at least a few seconds of decent sound, so as a farewell tribute to my graduate school days, I took those few seconds and strung them together into a new piece. The theme of the piece is, roughly speaking, bell sounds, although there is the other narrative theme, that of my feeling of frustration over not getting a job after all that hard work; appropriately the piece ends with the words, "Pissed away." III. Fort McHenry was the first electronic piece I made that I felt has anything to say; it is a setting of a beautiful poem by my wife, Louise, who looks back on a camping trip her family took when she was young. The poet grieves over her deceased mother whom she will never see again. IV. Poem in a Glass is a meditation on the Apostle Paul's verses from Corinthians, "through a glass darkly." The poet observes his reflection in the mirror and despairs. Transition Transformation and Puck's Wild Ride are cues from my "Midsummer Night's Dream Music.
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Meditation Music is Working.......2000-07-31
The Author Richard Freeman-Toole
Music:
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