Bazelon, Lansky, Pleskow, Zuckerman & Cross
Liner Notes   Cat. No. NWCRL342     Release Date: 2010-11-15
Karen Phillips, viola; Glenn Jacobson, piano; Robert Miller, piano; Judith Allen, soprano; Paul J. Sperry, tenor; Ursula Oppens, piano; Patricia Spencer, flute; Linda Quan, violin; Allen Blustine, clarinet; Fred Sherry, cello; Charles Wuorinen, conductor; James Winn, flute

Irwin Bazelon writes:

“My Duo for Viola and Piano (composed in 1963, revised 1969-70) is in one continuous movement. Neither instrument is a protagonist, but both exist in opposition to each other, having their own material and rhythmic pulse. There is a constant inner struggle between the soloists; a dialogue both contrasting, complementary and antagonistic. Directions for instrumental superiority usually take the form of stress markings and dynamics. False downbeats (Fsz) within the bar give rhythmic prominence.

Paul Lansky writes:

“The Modal Fantasy was composed in 1970 and is dedicated to Robert Miller. In this three-section work the two outer sections, Prelude and Postlude “frame” the central section, Ludus. These outer sections are similar in texture and procedure; each consists largely of five and six registrally defined and rhythmically interdependent voices, and each proceeds by relatively simple and straightforward elaboration of pitch material which is developed in much more elaborate ways in the Ludus. The adjective “modal” refers to a compositional procedure in which harmonic and motivic relations on the large and small are fashioned by a delimitation of interval content and symmetrical (inversional) relations. In the Ludus, for example, sonorities and progressions often consist of combinations and successions of minor 3rds and perfect 4ths, with a middle section using minor 3rds and major 3rds. Symmetrical distribution of pitch classes, in this work largely around D-flat, serves to assign priority to specific collections of pitch-classes which satisfy both the intervallic and symmetrical constraints, such as the final D, F, A, C chord.”

Raoul Pleskow writes:

Motet and Madrigal was written in the summer of 1973 and received its first performance that year at a concert by the Aeolian Chamber Players with Mr. Wuorinen, Ms. Allen and Mr. Sperry as guest artists.

“The voices and instruments of the ensemble are largely divided into two units: I. tenor, flute, cello, piano, and 2. soprano, violin, clarinet. The musical events of the movement are consequently presented and unfolded in an antiphonal manner but undergo numerous other textural and syntactical processes in their progress. In the Madrigal the instruments play a clearly subordinate role to a treble-dominated line that is shared and dispersed between the soprano and the tenor.

Lowell Cross writes:

“The original two-channel version of Three Etudes was composed at the University of Toronto Electronic Music Studio during March and April, 1965. A four-channel version was made three years later, using my 'Stirrer' to produce the illusion of sound moving in space.



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Various Artists

Bazelon, Lansky, Pleskow, Zuckerman & Cross

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Track Listing

Duo for Viola and Piano
Irwin Bazelon
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Modal Fantasy: I. Prelude
Paul Lansky
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Modal Fantasy: II. Ludus
Paul Lansky
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Modal Fantasy: III. Postlude
Paul Lansky
Buy
Motet and Madrigal: Motet
Raoul Pleskow
Buy
Motet and Madrigal: Madrigal
Raoul Pleskow
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Paraphrases
Mark Zuckerman
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Three Etudes for Magnetic Tape: I. First Movement
Lowell Cross
Buy
Three Etudes for Magnetic Tape: II. Second Movement
Lowell Cross
Buy
Three Etudes for Magnetic Tape: III. Third Movement
Lowell Cross
Buy