NER concerts; Contemporary Chamber Players, part one

From Mandel hall at the University of Chicago we bring you another in a series of concerts by contemporary Chamber Players. Rough shape the music director this ensemble of professional players was established at the University of Chicago in 1964 through the support of the Rockefeller Foundation. It is dedicated to the performance of music of our own time. Tonight's concert consists of three works commissioned by the frum foundation. We will hear in Tiffany number three for chorus and tape by Kenneth Berle. This work will be conducted by the composer and will feature the new music choral ensemble dimensions for soprano and 23 instruments by rough shape B featuring Knievel Pilgrim soprano and finally Elliot Carter's Double Concerto for harpsichord and piano with two chamber orchestras featured soloist for this work will be easily Blackwood piano and Paul Jacobs harpsichord. Kenneth Gabor was born in 1906. He studied at the Eastman School of Music Conservatory of the center in Rome. Princeton seminar in advanced musical studies

and received a DMA and composition from the University of Illinois from among an extensive a ray of compositions may be mentioned a series of Antiphanes for live performers and tape to operas and works for chamber ensembles orchestra and theatre. His Elegy for small orchestra was performed in Mandell hall by the Chicago Symphony Orchestra last May. He has held a Fulbright grant us co-creative fellowship and commissions from the from and Koussevitzky music foundations. His numerous activities include co-director of the University of Illinois summer workshop in analysis and performance of new music director of the new music Coraline sambal and editor of a new music publication press. And Tiffany 3 pearl white moments for 16 singers prerecorded an electronic sound was commissioned in 1980 and composed during 1900 263 at the Galle and University of Illinois. Electronic Music Studios it is one of a long range series of works for tape and live performers and grew out of an idea to

compose a concerto for voices that is to explode the concerto idea as well as the vocal potential in a manner analogous to current developments and tendencies in other instrumental areas. The nature of the poem with regard to its formal design semantic and phonetic content determine the structure of Antiphanes 3. The poem by Virginia Hummel is as follows. Pearl White's moments these set between two specks from the salt of time to be again toward fantasy to not have been alone and still being chilled or fierce till once a soul felt breath imputes life depths of pitch to Light of Light moments stolen from the jaws of time. Even all the whiteness of blue washed Pearl a fault or chance with brilliance divined to no one longs for surety. A future light or loss happily denied by white drenched soul finds hushed

beauty in love unnamed and freedom from salty chains in effect. This work is a contrapuntal interplay between live performers and two speaker systems. The 16 performers are divided into four groups one soprano alto tenor and bass in each group. Each group is spatially separated from the others as well as from the speakers and to final aspects of development between and among performers within a single group between and among the groups between the loudspeakers and between and among the performers and speakers. Further in a more port accents the musical lines of the composition are antiphonal to the lines of the poem. Precise synchronization between a live tape bands is required in performance. The new music Coraline sample is a group of young musicians from the School of Music at the University of Illinois at Urbana-Champaign. It is devoted to the performance of contemporary choral music.

And says awaiting the arrival of the music girl and sample on stage. And where they are now. There are also two tape operators with the group for this work. And here is our conductor the composer going to the door in just a moment and we will hear Mr. Goble rose and Tiffany number three for chorus and tape. The. Way.

That we eat it. Coming at it hit us. Yet it was bad and it. Was. Why.

Yeah.

It's. Her. Feet. Lol. Yes. Sir. Luke.

Us.

Been wounded and. The.

Read.

The. With me.

The home. Was. The.

Heat when I am. The. Man what. That was kind of the Bowles and Tiffany number three for chorus and

tape conducted by the composer. Mr. Bill rejoins the members of the new music Caroline sample on stage. Once again. And it's good to know. The next work on our program will be rough shape Bea's dimension for

dimensions for soprano and 23 instruments featured soloist will be meta program Soprano. Once again was to go rejoin the new music prolonged sample onstage. Rough shape be born in one thousand twenty one studied violin with a manual set learned and composition with stuff and focus. He has been given many awards. Most recently the National Institute of Arts and Letters award and on board a foundation recording award for his rituals for symphony orchestra has the shape he has received commissions from the from and Koussevitzky music foundations and other institutions and organizations is a member of the faculty of the University of Chicago and music director of the contemporary Chamber Players. As described by Mr. Shelby quote dimensions was commissioned by and dedicated to Paul from of the

from Foundation it was written between July 7 1060 and October 3rd 960. The work is a companion piece to incantations which it receives by one year. In this work I deal with variable time factors several instruments of the notated in the traditional way are playing at different metronome tempi the pieces in a constant state of flux but tightly organized around basic musical images these images recur over and over but always in a totally different relationship. As in incantations the solo Soprano uses syllables rather than a word text. As the title indicates the work exists in all dimensions time sound and flux to measure in varying degrees the progress of each set of musical images. Mr. Shepley goes on the work is in three movements. The first is the large exposition movement expressing the images through their many diversifications. The second movement simplifies the material of the first movement with the solo voice in an hypnotic

ghostly chant and the third movement is a timpani solo with other percussion support rising to a tremendous climax after which the voice returns with the opening two notes in the second movement. Of the program. The Soloist is onstage with Mr shaping in just a moment then will hear is to shape these dimensions for soprano and 23 instruments.