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Rite of Spring

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Mech Chain (2011)

An excerpt from <i>Transfigurations</i> for Orchestra and Live Computer Processing
(Full Orchestra and Chamber Orchestra versions available.)

Performed by the Temple Composers Orchestra (Chamber version)
Adam Vidiksis conducting

For ages, the orchestra served as the most advanced tone generator available to the musical art. The history of the orchestra has been one of continual development toward a diversity of timbre, loudness, and register. The computer is the only musical instrument capable of making all sounds discernible by the human ear; it is logical then to bring the computer into the orchestral tradition. Transfigurations combines the vast musical forces provided by these two mediums. All the sounds one hears originate in the orchestra itself live during the performance, except for the last sound. The computer processes these sounds in real time – manipulating, augmenting, and reinventing the performance. As with human musicians, no two iterations of the computer realization are exactly alike. 

The piece comprises five sections. The first is a fast-paced interplay between the orchestra and the computer, filled with counterpoint and rising to a dark and threatening culmination. In the second part, the flute, clarinet, and computer intermingle and untangle again with interjections from the rest of the full ensemble. The third portion of the work is a hopeful adagio, expanded in color by the computer, which ends in a triumphant outburst. The fourth section is dominated by solo violin and percussion. Both are manipulated to create an dense, metallic texture with threatening interjections from the rest of the ensemble. In the final section, the orchestra takes off at brisk pace, as if trying to outpace the ever-increasing effect of the digital manipulation. It is finally overtaken in a moment of music controlled by the computer and completely transformed from the live performance. As this music fades away, the only sounds not manipulated directly from the orchestra are heard. These chime-like tones are determined stochastically by the computer from the notes of the opening chordal motive. As these play softly fading into the distance, the orchestra enters once again for a final weary statement.

Transfigurations

The National Youth Orchestra of Canada performs Mahler's 9th Symphony in Ottawa's National Arts Centre. (August 1, 2013)

Mahler 9

Schumann — Estrella

Olivier Messiaen's Diptyque, recorded live on the Klais / Norman and Beard organ of Leeds Cathedral.

Messiaen - Diptyque (Essai sur la vie terrestre et l'éternité bienheureuse)

Stravinsky - The Rite Of Spring (arr. Chow)

Symphony for alto, tenor and orchestra after the literary collection
"Die chinesische Flöte" by Hans Bethge 
Christa Ludwig, mezzosoprano
Rene Kollo, tenore
dir. Herbert von Karajan 
Salzburg Festival, Grosses Festspielhaus, Salzburg
27 August 1972

Gustav Mahler: "Das Lied von Erde"

Classical -- Chopin: "Revolutionary Etude, Op. 10, No. 12"

We can never tire of this delicious piece!

You can also follow me on Spotify at https://spoti.fi/2MRR1lV and stream the albums I have released there.

Clair de Lune - Debussy

Performed by Glaux

I. Parallel universes
II. Particle-wave duality
III. At the Planck length
IV. Supermassive black holes

Physics is a sonata for flute, cello, and piano inspired by theoretical innovations in our scientific understanding of the universe.  Some of these concepts began to take root over a century ago or more, yet they remain at the crux of the enigma modern physicists explore.  
The first movement, Parallel universes, follows three parallel melodies.  Slight changes in each of the voices cause them to fall out of phase and back in again.  It is as if we are simultaneously viewing three slightly different versions of the universe from outside our typical point of view.  Particle-wave duality explores the twofold nature of energy and matter; each can be explained in both forms.  The second movement utilizes the analogy of music-as-waves and music-as-points to create its textures and melodies.  The third movement, At the Planck length, portrays the universe at its smallest possible unit of measure.  While we typically experience the universe continuously, science demonstrates that the Planck length is actually the smallest possible resolution – at least where the laws of physics as we understand them are relevant.  At this unimaginably small level, matter/anti-matter pairs can pop into existence out of nothing before colliding and annihilating without violating conservation of energy principles.  Because relativity dictates that matter and energy curve spacetime, subatomic energy particles at this scale create a quantum foam: spacetime is much more warped and twisted at this scale than we are used to when imagining larger measurements.  The third movement depicts the “foamy” nature of spacetime and the fleeting creation and destruction of energy.  The fourth movement, Supermassive black holes, portrays the powerful heart of galaxies.  It is believed that these immense objects are found at the core of galaxies, including our own Milky Way.  As an object approaches the event horizon of a black hole, it would appear to an outside observer that time would slow down for that object.  The fourth movement imagines the beauty of watching something drift in an ever-decreasing spiral toward the event horizon.  
Cosmology, astrophysics, relativity, and quantum mechanics are a continual source of stimulation, explanation, and wonder in my own life.  My brief descriptions of the concepts I sought to portray in this piece are simple to the point of absurdity due to the complex nature of these ideas and the brevity of program notes; however, I hope they aid you in a better understanding of this work as you hear it.  For those with a deeper understanding of the universe than I, please forgive these oversimplifications.  Throughout each of the movements of this work, I found inspiration in the astonishing structure of all things.  If any of my incredibly brief descriptions of these phenomena intrigue the listener, I encourage you to seek out this wondrous knowledge yourself.  


Physics

"...ins Dunkel geschlagen" (performed by XelmYa)

Andreas F. Staffel: Bösendorfer Imperial Flügel


Maurice Ravel: Alborada del gracioso (Aus "Miroirs")

What is the voice inside the machine?  While computers perform tasks that extend the abilities of our own minds, they increasingly act as independent entities.  Synapse_circuit serves not as a direct analogy between these two ideas, but rather as a symbol of human-machine interaction.  The computer augments the percussionist’s performance, and improvises sounds based on his or her playing using algorithmic processes in Pure Data.  The percussion performance consists of glasses, bottles, and a bowl, which the performer hits, scrapes, blows and sings into. All sounds produced by the computer are derived from the real time performance.  Both human and machine performers work from a score, but listen and respond to the performance of the other.  Synapses and circuits – human and computer – together find the music inside the machine.  This work honors the complexity both of the human mind and its digital counterpart, taking us from wonder, to discovery, to celebration.

synapse_circuit

Franz Liszt - Hungarian Rhapsody No.2 (Orchestra version) in sharp C minor

Maurice Ravel: Jeux d'eau

https://www.aleksandramikulska.com​

https://bio.to/aleksandra​

Chopin: Balladen

Fantaisie-Impromtu in C Sharp Minor, Op. 66

Chopin - Fantaisie-Impromptu in C-sharp minor op. 66

Mahler 4th Symphony recorded July 20th, 2000, with the Jerusalem Symphony Orchestra, Frederic Chaslin, Conductor, Anat Efrati, Soprano

GUSTAV MAHLER 4th Symphony, JSO, Frederic Chaslin

Hugh Wolff conducts the New England Conservatory Philharmonia in a performance of Berlioz's Symphonie fantastique. Recorded live September 2010 in Jordan Hall, Boston.

Berlioz: Symphonie fantastique, Op. 14 -  Passions

Canadian pianist Vicky Chow has been described as “brilliant” (New York Times), “a monster pianist” (Time Out New York), "virtuosic" (New Jersey Star Ledger), and “one of the new stars of new music” (Los Angeles Times). Besides being a member of the Bang on a Can All-Stars, she is also a founding member of DUO X88, a piano duo with Dutch pianist Saskia Lankhoorn and GRANDBAND, a six keyboard ensemble with pianists Lisa Moore, Blair McMillen, David Friend, Isabelle O'Connell and Paul Kerekes..Most recently she gave the North American premiere of Steve Reich's work 'Piano Counterpoint' and also the world premiere of a new evening length work by artist/composer Tristan Perich for solo piano and 40 channel 1-bit electronics titled 'Surface Image'. Her next solo projects include commissions from American composers Chris Cerrone, Neil Rolnick, and Canadian composer Adam Basanta and recording releases on the New Amsterdam and nonesuch labels. 

Vicky’s passion for new music has propelled her to work with an A-to-Z of leading composers and musicians such as John Adams, Louis Andriessen, Bryce Dessner (The National) Philip Glass, Glenn Kotche (Wilco), David Longstreth (Dirty Projectors), Steve Reich, Terry Riley, and Lee Ranaldo (Sonic Youth). Her recorded work can be found on the ‘tzadik’, ‘Cantaloupe’,' innova', 'hinterzimmer', and ‘altaVoz’ labels. Her performances can be heard on WQXR, WNYC, CBC and BBC Radio 3. In addition to performing, Ms. Chow also produces and curates “Contagious Sounds”, a new music series focusing on adventurous contemporary artists and composers in New York City. She receives continuous support from the Canada Council for the Arts and has received grants from the Fromm Foundation, Vancouver Foundation, and the BC Arts Council.

Originally from Vancouver Canada, Ms. Chow studied at The Juilliard School with Yoheved Kaplinsky and Julian Martin before continuing studies at Manhattan School of Music with Christopher Oldfather.

Starting the piano at age 5, she was invited to perform at the age of 9 at the International Gilmore Music Keyboard Festival. She made her orchestral debut at the age of 10 with the Vancouver Symphony Orchestra made her NY orchestral debut appearance at Alice Tully Hall with the Juilliard Symphony performing Bartok’s Piano Concerto No. 1.

www.vickychow.com