Arch Ensemble: Carol Plantamura, mezzo-soprano; Nathan Rubin, viola; Ami Radunskaya, cello; Mel Graves, bass; J. Karla Lemon, bass; Patrice Hambelton, flute; William Wohlmacher, E-flat clarinet; Larry London, B-flat clarinet; William Wohlmacher, bass clarinet; David Burkhart, trumpet; George Mealy, horn; Dan Livesay, trombone; Ward Spangler, percussion; Norman Peck, percussion; Robert Hughes, Conductor; Gregory Barber, Conductor
In an unpublished memoir called Remembered Sounds Robert Erickson (b 1917, Marquette, Michigan) reveals the vivid sonic landscape that surrounded his early years in Michigan where he was raised and educated. He writes about the “clank and thud” of his uncle's upright piano, of his aunt’s zither virtuosity; he remembers the “water sounds” of summer, the “neat and precise” crackle of winter, the trains, and scratchy old records.
“When you come right down to it,” Erickson told me on a radio interview a couple of years ago, “every composer really composes his environment. I don’t listen to music; I listen to sounds. And when I compose, I compose sounds.” Sound Structure in Music (Univ. of Calif. Press; 1975) is Erickson’s ultimate disquisition on the primacy of timbre as a central musical concept; it ought to be required reading for anyone—composer, listener, or both—who cares about the ear and what goes into it.
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.