and baritone saxophone
percussion, marimba, drums
1. LOUIS ANDRIESSEN: HOUT
for tenor saxophone,marimba, guitar and piano
2-4. YVONNE TROXLER : KALEIDOSKOP
for tenor saxophone, electric guitar, percussion andpiano
5. PETER HERBERT:DEAFENING SILENCE(2005)*
for soprano saxophone, electric guitar, piano andpercussion
6. ELIZABETH HOFFMAN: HOLONYMS
for soprano saxophone,electric guitar, percussion and piano
7. WOLFGANGHEINIGER: IN FOUR(1995)*
for baritone saxophone, electric guitar, piano anddrums
* first recording
Mixed and mastered byJonathan Schultz.
Tracks 1-5 & 7 recorded at Ovation Sound,Winston-Salem, N.C.,
August 25-28, 2007.Recording and editing by Evan Richey.
Track 6 recorded at RightTrack Studio, New York, N.Y.,May 28, 2005.
Recording by SilasBrown and Elizabeth Hoffman. Editing and mixing
by Elizabeth Hoffman.
LOUISANDRIESSEN: HOUT (1991)
In the late 1960s Idecided not to write for standard ensembles anymore, especially symphonyorchestras, but rather for my friends. This decision was not only a musical onebut also a political argument. I want to avoid creating a situation in whichmusicians play my music against their will. When I started building my own ensemblesin the early 70s, I was following the model of jazz and pop ensembles. Theycall their friends and say do you want to play with me, which is essentially ananarchist way of organizing your ensembles, one that for me is the idealsituation.
One of the things I didn’tlike in complex avant-garde music is that you would see three or four musicianssitting on a stage, and there would be a conductor conducting. I was quiterigid in the idea of de-hierarchization of musical material in the 70s, 80s,and into the early 90s, which essentially meant, not too many subjects in onepiece, and all of the information in all the parts. This tutti
The influence of jazz isin the articulation—not taka-taka but daba-daba. It sounds very simplebut for me, especially in the 70s, this type of articulation was the differencebetween high-class and low-class music. What we learned then from jazzmusicians is that they can do what they want and that means that they canarticulate much more loosely, and that is exactly the sound I need for mymusic.
YVONNETROXLER: KALEIDOSKOP (2005)
composed for Glass FarmEnsemble
As so often happens withme, my composition began with a visual image. In this case, colored glasswindows, like those one sees in churches, and the light that shines throughthem. From there I remembered the kaleidoscopes we used to have as children,their beautiful changing patterns and images and the big surprise when Iexplored inside and saw that it was made out of nothing really special, justsimple
little pieces of colored glass.
This is what intriguesme about composition in general: how great composers often use so littlematerial but are amazing at discovering all of the possibilities that areinherent in the material. Of course J.S.Bach comes to mind, or a much morecontemporary composer, György Ligeti.
So when I begancomposing Kaleidoskop, I used asmy material one very simple melody line. This melody is played in slow motionin the first movement by the crotales and colored and surrounded by the otherinstruments, sometimes in such close proximity that it creates a very subtle “beating.”And from there I went, freely associating with the initial images of coloredglass and a kaleidoscope. If I were to describe the second movement in visualterms, then the kaleidoscope is almost permanently rotated, creating instantharmonic and textural shifts. From that
point on I started to use all of theevolved material, which then comes together
in the last movement.
PETER HERBERT:DEAFENING SILENCE (2005)
composed for Glass FarmEnsemble
is a personal way of becoming moreconscious of how we use words, and of
their actual meanings.
The unusualinstrumentation of the Glass Farm Ensemble calls for an unusual approach towritten music. “Deafening” and “silence”are two extremes of musical expression, and therefore my composition deals withextreme dynamics, tempos, and instrumental ranges. It is a tour de force between fff and ppp.
I am a musician’scomposer I think. I never studiedcomposition, have no academic background in it, but I do have a lot ofexperience in writing music. Beinga player myself, I think one has a totally different approach tocomposition. Sounds I haveincorporated into this piece are sounds I have experienced while playing withother musicians. Every performancein front of an audience is a process of
finding new sounds.
Conventional notation issuch a restricted way of defining what you want to hear.
Sometimes I think wehave lost the ability to concentrate and listen, and to focus on one thing forlonger than a few seconds. If as acomposer you can pull somebody out of his brain for the twelve minutes orfourteen minutes your piece lasts, you have accomplished a lot, and you don’teven have to ask for more.
ELIZABETH HOFFMAN:HOLONYMS (2005)
composed for Glass FarmEnsemble
The title invites oneinto the experience of making sense of a word never heard before, whether realor nonsensical, or a distortion of some sort, which is analogous in a way toour experience of constructing meanings from music.
Almost always, I havesounds in my head when I compose. These sounds are not abstracted notes, butare present in their instrumental timbres. I have made sounds for musical workswith a lot of different objects, including the hairbrush on a colander in holonyms
WOLFGANG HEININGER:IN FOUR (1995)
with a smile.
GLASS FARM ENSEMBLE
Unlike some “new music,”the compositions here are those that challenge us to express a resonantpassion, freedom and love for making music. The ensemble’s line-up wasinitiated by Louis Andriessen’s Hout, a piece we have been performing together for years, and one whosequalities could be said to define our aesthetic: driving, rhythmic, intense,and rigorous. Besides Hout, allof the works on this program were written for the Glass Farm Ensemble, andspeak to the range of our interests. The composers are a European-American mix,and their music embraces all manner
of sounds, ideas and styles.
While each of the pieces isdistinct, and cannot be said to characterize any
one school or approach to music, theunique instrumentation of the ensemble itself gives them a strong identity.