Music of Fred Lerdahl & Edwin Dugger
Liner Notes   Cat. No. NWCRL378     Release Date: 2011-01-15
Beverly Morgan, mezzo-soprano; Collage New Music: Christopher Keyes, piano; John Damian, electric bass guitar; Henry Gwiazda, electric guitar; Ronald Knudsen, viola; Paul Fried, alto flute; Thomas Gauger, percussion; Frank Epstein, percussion; Ann Hobson Pilot, harp; Fred Lerdahl, Conductor
San Francisco Contemporary Music Players: Roy Malan, violin; Mark Volkert, violin; Nancy Ellis, viola; Richard Eade, cello; Toni Navone, bass; Larry Duckles, flute; Don O'Brien, clarinet; Charles Metzger, trumpet; Mark Lawrence, trombone; Marvin Tartak, piano, celesta; David Rosenthal, percussion; Richard Kvistad, percussion; Jean-Louis LeRoux, Conductor
Contemporary Chamber Players: Ron Erickson, violin; Celia Rosenberger, violin; Elinor Nishi, viola; Judiyaba, cello;April King, flute, piccolo; Robert Colonico, clarinet; Charles Metzger, trumpet; Robert Dickow, horn; Dan Livesay, trombone; Jerome Neff, percussion; Lawrence Blackshere, percussion; Jonathan Khuner, Conductor

Fred Lerdahl writes:

“The text for Eros is a poem by Ezra Pound, entitled 'Coitus,' from the volume Lustra (1915)...

“The piece is a set of twenty-one continuous variations, each one twenty measures long. In the first variation the singer sets forth the entire poem; thereafter the poem is varied along with the music. As in classical music, 'the variation technique depends on rigorous adherence to an underlying structure, upon which melodic, rhythmic, and harmonic details are elaborated. From Bach's Goldberg Variations came the idea of making every third variation some kind of canon. The larger form falls into three increasingly climactic cycles of seven variations each.

Edwin Dugger wrote that in Intermezzi

“All events and phrases are in the state of being 'in between.' There is no expository material. This quality alone could not justify the plural title, if it were not for the manner in which all of these states of 'in-between-ness' shape the entire work. As the piece progresses, each musical thought is interrupted by another of very different character and rhythmic impulse, This procedure manages to separate the various types of 'intermezzi' and at the same time shapes the underlying rhythmic structure of the piece, so that higher levels of progression from one 'intermezzo' to another take place.”

About Abwesenheiten und Wiedersehen (Absences and Reunions) Dugger writes:
“The title of this work should not only invoke programmatic ideas but more importantly should give a clue to the formal structure of the work. The consistent use of musical material from which an obvious compliment is absent and the union of these two complimentary ideas later in the work form the working hypothesis. The most extreme example is the measured silences which occur approximately one-third of the way through the piece. Abwesenheiten und Wiedersehen was composed in 1971 for the Berkeley Contemporary Chamber Players and a four-channel electronic tape.”

This title, originally issued on the CRI label, is now available as a burn-on-demand CD (CD-R) or download in MP3/320, FLAC or WAV formats. CD-Rs come in a protective sleeve; no print booklet or jewel case included. Liner notes are accessible via the link above.

Various Artists

Music of Fred Lerdahl & Edwin Dugger

MP3/320 $7.99
FLAC $7.99
WAV $7.99
CD-R $7.99
CD-Rs come in a protective sleeve; no print material or jewel case included.
A *.pdf of the notes may be accessed here free of charge.
   Liner Notes

Track Listing

Fred Lerdahl
Edwin Dugger
Abwesenheiten Und Wiedersehen
Edwin Dugger