Orchestra 2001: Carmen Pelton, soprano; Barbara Ann Martin, mezzo-soprano; Paul Sperry, tenor; Baird Dodge, violin; Igor Szwec, violin; Mei Chen Liao Cope, violin; Michael Strauss, viola; Richard Fleischman, viola; Lori Barnet, cello; Miles B. Davis, double bass; Pamela Guidetti, flute, piccolo, alto flute; Lois Herbine, bass flute, flute; Dorothy Freeman, oboe, English horn; Allison Herz, clarinet; William Kerrigan, percussion; Florence Ierardi, percussion; Susan Jones, percussion; Charles Abramovic, piano; Marcantonio Barone, piano; Sophie Bruno, harp; Patrick Mercuri, banjo; James Freeman, Conductor
Night of the Four Moons, commissioned by the Philadelphia Chamber Players, was composed in 1969 during the Apollo 11 flight (July 16–24).
The work is scored for alto (or mezzo-soprano), alto flute (doubling piccolo) banjo, electric cello, and percussion. The percussion includes Tibetan prayer stones, Japanese Kabuki blocks, alto African thumb piano (mbira), and Chinese temple gong m addition to the more usual vibraphone, crotales, tambourine, bongo drums, suspended cymbal, and tam-tam. The singer is also required to play finger cymbals, castanets, glockenspiel and tam-tam. —George Crumb
Chesapeake Rhythms is one of a series of works based on a technique of “counterpointed rhythms.” Most phrases in the piece contain counterpointed rhythmic motives, which are developed and varied through traditional devices such as augmentation, diminution, etc. This rhythmic approach was influenced by my study of Carnatic (South India) music.
Chesapeake Rhythms is a kind of emotional tone painting inspired by my sense of the vast historical memory of the ever-changing landscape of the Chesapeake Bay. It is dedicated to Orchestra 2001 and my wonderful friend and colleague Richard Wernick. —Jay Reise
Louise Talma’s Diadem was written in 1978 as an homage to her teacher and dear friend Nadia Boulanger on her 92nd birthday. The writing is in Talma’s late twelve-tone style: lean, spare sonorities written with classical fastidiousness. The texts are mostly by medieval lapidaries, perhaps written to help them sell their wares, and Talma responds to them with music of jewel-like clarity. —Paul Sperry
in dark was written in 1972 to two poems by Robert Lax and one by Nanine Valen, to whom the Lax poems had been written as postcards. In attempting to capture the various shades of nocturnal imagery in the poems I felt I reached a sort of musical coming-of-age; this was the most personal of my early pieces, my “opus 1.” Its open, inclusive approach to musical color and materials, if not very much of its actual sound and style, has continued to form the basis of my subsequent musical explorations. —Gerald Levinson
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.
Music of Our Time, Vol. 2: Night of the Four Moons
| MP3/320 | $9.99 | |
| FLAC | $9.99 | |
| WAV | $9.99 | |
| CD-R | $9.99 |
A *.pdf of the notes may be accessed here free of charge.
Track Listing
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Night of The Four Moons: I. La luna está muerta, muerta...
George Crumb
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Night of The Four Moons: II. Cuando sale la luna...
George Crumb
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Night of The Four Moons: III.Otro Adán oscuro está soñando...
George Crumb
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Night of The Four Moons: IV. ¡Huye luna, luna, luna...
George Crumb
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Chesapeake Rhythms
Jay Reise
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Diadem: I. Jade
Louise Talma
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Diadem: II. Aquamarine
Louise Talma
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Diadem: III. Ruby
Louise Talma
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Diadem: IV. Topaz
Louise Talma
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Diadem: V. Diamond
Louise Talma
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Diadem: VI. Sapphire
Louise Talma
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Diadem: VII. Emerald
Louise Talma
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A Clockwork Legend
Timothy Greatbatch
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in dark: I. Adagio {vocalise}
Gerald Levinson
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in dark: II. Andante {the moon comes down}
Gerald Levinson
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in dark: III. Scherzando {in dark}
Gerald Levinson
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in dark: IV. Lento {they moved like fish}
Gerald Levinson
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in dark: V. Liberamente {vocalise}
Gerald Levinson
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