Michael Fiday
same rivers different
innova 716
Produced by Michael Fiday
Mastered by Thomas Haines at Electronic Media Studio, College-Conservatory
of Music/University of Cincinnati
1-9 9
HAIKU (2005)
14:29
Bart
Feller – flute, Linda Mark – piano
Texts
by Matsuo Basho
Recorded
and edited by Patrick Lo Re at One Soul Studios, New York, NY
10 HANDS
ON! (1993)
8:29
Mantra
Percussion Quartet: Joe Bergen, Al Cerulo, Matt
Kantorski, Michael McCurdy
Recorded
by David Kerzner at Penguin Studios, William Paterson University, Wayne, NJ
Edited
by Thomas Haines
11-21 DHARMA
POPS (2006)
9:11
Carla
Kihlstedt, Graeme Jennings – violins, Matthias Bossi – narrator
Texts
by Jack Kerouac
Recorded
and edited by Robert Shumaker at Bay Records, Berkeley, CA
22 SAME
RIVERS DIFFERENT (1999) 8:30
Christopher
Froh – percussion
Recorded
and edited by Robert Shumaker at Bay Records, Berkeley, CA
23 PROTEST
SONG (2002)
4:41
Soon
Cho – mezzo soprano
Nicholas
Naegle – violin, Brianna Goldberg – bass
Laura
Sabo – bass clarinet, Shiau-uen Ding - piano
Text by
Peter Gizzi
Recorded
and edited by Thomas Haines
24 AUTOMOTIVE
PASSACAGLIA (1988/revised 2003) 15:37
James
Tocco – piano, Russell Burge, James Culley – percussion
Recorded
and edited by Thomas Haines
Total: 61:03
Recited texts from Dharma Pops from ÔMexico City BluesÕ and ÔBook of HaikusÕ by Jack Kerouac
Reprinted by permissions of SLL/Sterling Lord
Literistic, Inc., Copyright by Jack Kerouac
Mandarins and stumblebums – the music of Michael Fiday
by
John Halle
In a now notorious essay from 1966, the New York Times art critic
Hilton Kramer spoke for what was probably the consensus in describing recent
works by Philip Guston as those of "a mandarin pretending to be a stumblebum." The naked light bulbs, hooded klansman,
trash heaps, and beat up sedans were unwelcomed reminders of a pockmarked
domestic landscape separating the American dream from a less than halcyon reality.
Welcome to the real world, Guston's paintings declared; many in the art world
didn't like what they had to see.
It would take composers another generation to begin to realize Guston's
vision in musical form - to come to terms with the analogous characteristics of
the American sonic landscape. In confessing to his friend, the composer Morton
Feldman, that he was "tired of all that purity," Guston anticipated
composers' rejection of the modernist fatwa on referential sounds and recognizable
sonic images. The sentiment could
have served as a rallying cry for composers beginning their careers at the tail
end of the 20th century.
Of the composers implicitly or explicitly influenced by the Gustonian vision,
Michael Fiday's finely honed series of small masterworks stand out for their
eloquence, immediacy and sophistication.
It is likely not a coincidence that the two share certain similarities in
their artistic trajectories. Both hail from blue collar
backgrounds, Guston, famously, a junk-dealer's son in Los Angeles, Fiday the
son of a staff automobile mechanic for the city of Colorado Springs. Both regarded the traditions of their
disciplines with a respect bordering on reverence, with the unjaded eye of the
outsider looking in. Guston's
childhood and teen years were devoted to the intense study of Giotto, Pierro
Della Francesca, and Massacio; Fiday's were spent in violin lessons and string
sections of community orchestras where he acquired by osmosis and by
instruction a thorough grounding in traditional forms and orchestral sonority. In their artistic maturity, both
pursued their disciplines with a near monastic intensity and high degree of
self-criticism (Guston in particular was reported to have spent months in front
of a canvas without managing a single brush stroke), resulting in a small yet
singular body of work.
***
The similarities begin to dissolve, as they inevitably must, when artistic
disciplines separated by two generations are compared. One important difference
derives from a broad attitudinal shift towards what has been referred to by the
musicologist Robert Fink as the post-canonic epoch: whereas Guston may have doubted
the significance of his own contribution, he was never in doubt as to the chasm
separating high arts from what was then universally derided as commercial art,
or "kitsch." In
contrast, there is a general recognition that classical music has now become,
in Fink's words, "one style among many, and by no means the most
prestigious."
Fiday's generation was the first to have operated in a post-canonic climate,
in which the mandarin and stumblebum inhabit the same ground. The mandarin
elements of classical form, unproblematically celebrated in Guston's day, are
present but only detectable as an underlying genotype in Fiday's works. The
phenotypical characteristics are typically Gustonian, the scraps of a musical
culture now defined by
aurality. The literate signifiers of concert
music of previous epochs, the Alberti basses of the classical, the extravagant
gestural lexicon and lush instrumental textures of the Romantic era, the disjunct
melodic leaps and fractured rhythms of high modernism, are available but have no
privileged status among the collection of vernacular found objects.
Thus Dharma Pops takes for granted a universal "classical"
referent, but in the form of the curious trinity of beat legend Jack Kerouac,
bebop jazz great Charlie Parker, and Zen Buddhism – under whose umbrellas
are found Bach-like sequences, heavy metal scrapings, and Cagean silences. Amidst
the various mandarin elements, stumblebums abound – most notably in
FidayÕs evocation, in haiku number 7, of vaudeville entertainer Nat Wills, aka
ÒThe Happy Hobo.Ó The Kerouac haiku recitations commenting on each proceeding movement
may recall the atmosphere of a Greenwich
Village coffee shop, but this is placed before the listener at a remove. For, unlike Parker's improvisatory
flights of genius, Fiday's creations exist in the form of a primary text - a
musical score conveying instructions to performers who themselves put their own
interpretative stamp on the elements.
Ultimately, the effect is to encounter the beat generation as one would
a prehistoric insect encased in amber.
9 Haiku, inspired by Basho's
ancient texts, assembles a similarly rich, heterogeneous class of found objects
but require a very different interpretive framework. One finds, most strikingly, formal counterpoint, specifically
"close" canons - the super-imposition of two melodic lines, one slightly
offset from the other. The resultant phasing effect suggests not so much the
baroque but rather the omnipresent digital delay unit of contemporary pop production. Similarly, the spacious textures and
open fifth harmonies suggest a Coplandian Americana, whose sprawl is arrested and
directed by the imposition of dwarfish
proportions musically embodying bonsai - the botanical analogue to BashoÕs
metered aphorisms.
***
Equally intriguing are Fiday's series of works for percussion,
themselves the found objects of the instrumental world. Here the boundaries between the seemingly
hard wired categories of noise and sound become equally phantasmic, as non-pitched
elements assume center stage supplanting pitch in dictating the structural scaffolding
of the work.
"same rivers different" define two poles of the percussive spectrum: the pure timbres
produced by the resonant steel bars of the vibraphone announce a minimalistic
premise, simple but by no means simplistic, which is gradually combined with, challenged
and then magically obliterated by the aperiodic sonic color of drums skins,
wood blocks and metal plates. A well known fragment from the writings of the
pre-Socractic philosopher Heraclitus – ÒUpon those that step into the same rivers different and different
waters flowÉThey scatter andÉgatherÉcome together and flow awayÉapproach and
departÓ – provides a springboard for the overall pulse of the piece,
which Fiday describes as Òlike a river – sometimes straight and steady,
other times with abrupt twists and turns. You hear the same music three times,
followed by a slow apotheosis – but like the fabled Heraclitean stream,
you canÕt step back into the same music more than once.Ó
"Automotive
Passacaglia" offers another take on a
different beat era sacrament, "the road" as the domestic analog for
the Dharmic spacial void. The title, taken from a Henry Miller essay of the
same name, acts as a point of departure for the 12-note passacaglia theme which
functions, in FidayÕs words, Òas the vehicle that
transports the listener through diverse musical terrain, first taking shape in
the middle register before gradually branching out and gaining momentum during
its course.Ó One imagines Dean Moriarty's Colorado sojourn having included
pulling up to Fiday seniorsÕ garage for service, though the journey following
is perhaps considerably more eventful than Taoist quiescence would seem to
require. The Passacaglia revs up
the putative V-8, as the heldentenor of the percussion section, the piano,
reverts to its Lisztian Romantic ancestors bursting forth with explosions of
filigree, much like (in MillersÕ own words) Òa steam calliope playing Chopin in a tub of grease."
"Hands On" was composed for the Dutch percussion
ensemble Slagwerkgroep Den Haag, who
premiered it in a series of ÒstokkenthuisÓ concerts in which the players were
forbidden to use drum sticks. Informed by surface features of both Indian and
West African drumming, the music is almost entirely rhythm-based, the vibes contributing
only, in Fiday's words, "a thin strand of a chord progression," shunted
into the background by striking rhythmic motives and subtle variations in texture
which serve to propel the piece forward.
Dedicated to Fiday's mentor, the distinguished Dutch composer Louis
Andriessen, the work can be seen as a rejoinder to Andriessen's "Workers
Union," a ur-sixties anthem in which workplace liberation is compositionally
embodied by conferring on the performer unlimited freedom of choice in pitch
and instrumentation. The precise
notational instructions of "Hands On"
suggest a somewhat different view of the labor/management, performer/composer
transaction, namely that true artistic freedom (and social liberation)
consists, in Robert Frost's words, of being "easy in the harness.Ó The
results of Fiday's success in negotiating this relationship is a combination of
rhythmic aggression and hard-headed formal rigor, but with a lightness of
affect - the smile on the face of the buddha, or perhaps the legendary bongo
playing physicist Richard Feynmann.
Having focused its gaze on the world outside of the concert hall "Hands On" prepares us for "Protest Song," a commentary on protest in the post-political new century ushered
in by Sept. 11. Peter Gizzi's
eloquent text starkly renders a society frozen in paralysis, one which has resigned itself to the futility of rousing ourselves
from our slumbers. The phantoms of
the golden age of protest sleepwalk in a haze, musically embodied by Fiday's
stunningly evocative orchestration of a small ensemble. The hushed string harmonics
provide a canvas on which these sentiments, which we already know to be at the
core of our contemporary political experience, demand attention.
Insofar as there is an ultimate subject unifying such a wide diversity of
works, it is that they all make an immediate claim on our attention, demanding
that they be not just heard, but actively experienced and thought about. By applying
to everyday objects a faultless ear for pitch and sound, a fluent and deeply
internalized awareness of rhythm, and a fertile imagination, Fiday shows that scraps
of ephemera can find themselves iconized as art. The musical canvas upon which Fiday works has a place for mandarins
and stumblebums alike, and virtually everything in between. Insofar as post canonic artistic culture
has a place for what it is that composers do, Fiday's music makes about as
strong a case as could be imagined for it.
Composer John Halle is Director of Studies in
Theory and Practice at the Bard Conservatory of Music
9 Haiku
1 CultureÕs beginnings: rice-planting songs from the heart of the country. |
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2 Above the moor Not attached to anything, a skylark singing. |
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3 This bright harvest moon
– Keeps me walking all night long around the little pond. |
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4 As the sound fades, the scent of the flowers
comes up – the evening bell. |
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5 The lightning flashes And slashing through the darkness, a night heronÕs screech. |
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6 WhereÕs the moon? As the temple bell is
– sunk in the sea. |
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7 Clouds come from time to time – and bring to men a chance to rest from looking at the moon. |
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8 My eyes following until the bird was lost at sea found a small island. |
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9 Sick on a journey, Only my dreams will wander
these desolate moors. |
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Matsuo
Basho
Dharma Pops
1 Snap yr finger
stop the world! -
Rain
falls harder 2 RainÕs over, hammer on wood – this cobweb Rides the sun shine 3 The raindrops have plenty of personality
– Each one 4 Bach through an open dawn window
– the birds are silent 5 The strumming of the trees reminded me Of immortal afternoon |
6 Evening coming –
The office girl Unloosing her scarf 7 Nat Wills
- America In 1905 8 Useless! useless!
- heavy rain driving Into the sea 9 The Golden Gate
creaks With sunset rust 10 Three pencils arranged, Three minutes, Sambaghakaya, Nirvanakaya, Dharmakaya |
Jack Keroauc
from ÔBook of HaikusÕ
Reprinted by permissions of SLL/Sterling Lord
Literistic, Inc.
Copyright by Jack Kerouac
Protest Song
This is not a declaration of love or song of war
Not a tractate, autonym, or apologia
This wonÕt help when the children are dying
No answer on the way to dust
Neither anthem to rally or flag flutter
Will bring back the dead, their ashes flying
This is not a bandage or hospital tent
Not relief or the rest after
Not a wreath, lilac, or laurel bough
Not a garden of earthly delights
Peter Gizzi
December 2001
ÔProtest SongÕ from ÔThe
OuternationaleÕ by Peter Gizzi; used by permission of the author
4)
Performer bios
Bart Feller is Principal Flute of the New York City
Opera and the New Jersey Symphony Orchestra. He has appeared with the New York
Philharmonic, Orpheus Chamber Orchestra, Bargemusic and the Chamber Music
Society of Lincoln Center. Mr. Feller has also appeared as concerto soloist
with the Philadelphia Orchestra, St. Paul Chamber Orchestra, and the Jupiter
Symphony. He is a graduate of the Curtis Institute of Music, where his teachers
included Julius Baker and John Krell. Mr. Feller is Professor of Flute at
Rutgers University/Mason Gross School of the Arts, and teaches in the
Pre-College Division of The Juilliard School.
Pianist Linda Mark is a staff
accompanist at The Juilliard School.
An active soloist, chamber musician and music coach throughout the
United States and Europe, she has concertized with such leading flutists as
Jeffrey Khaner, Bart Feller, Jeanne Baxtresser, Bradley Garner, Carol Wincenc,
Jean-Pierre Rampal and her mentor Julius Baker. Ms. Mark teaches collaborative performing classes for
Stetson University, Florida State University, and music conferences, such as
the National Flute Association Convention. She was invited by the Richard Tucker Foundation to perform for Luciano
Pavarotti. She has recorded solo
piano works for the soundtrack of the film, 'Letter Without Words.'
Joe Bergen is a percussionist active in the New
York metro area. Specializing in
contemporary music, he is a founding member of several ensembles including
Kyklos, Mantra Percussion Quartet, and Transit, and has performed with the New
Jersey Percussion Ensemble, the S.E.M Ensemble, and newband, among others. He
has studied percussion with John Ferrari, Tom Kolor, and Gordon Gottlieb and
was a fellow at the Bang on a Can Summer Music Institute in 2006. Mr. Bergen can be heard on ShchÕk LLC
and Atma Classique Labels.
Praised for his
theatrical and energetic performances around the world, percussionist Al
Cerulo has performed with groups such as the New Jersey Percussion
Ensemble, Sospeso Ensemble, and the Philadelphia Virtuoso Society in venues
such as Carnegie, Zankel, and Merkin concert halls. He is one of the founding
members of Mantra Percussion as well as the Beaten Paths Percussion Duo. Mr.
Cerulo holds degrees from the Manhattan School of Music and William Paterson
University, and his teachers have included Raymond DesRoches, Peter Jarvis, Tom
Kolor, Chris Lamb, Duncan Patton, Jim Preiss and Steven Schick. As a recording
artist, Al Cerulo can be heard on Nexus, UTF, and Bridgewater recording labels.
An advocate of contemporary music, Matt
Kantorski has performed with such ensembles as the Lucerne Festival
Academy Orchestra, Alarm Will Sound, Tactus Contemporary Ensemble, and Mantra
Percussion. He has also played under world class
conductors such as Michael Tilson Thomas, Franz Welser Most, Kurt Masur, and
Peter Eštvšs. Mr. Kantorski has also been the recipient of numerous
scholarships such as the Avedis Zildjian Percussion Scholarship, the Percussive
Arts Society International Convention Music Scholarship, and the Toledo
Symphony Orchestra Merit Scholarship.
He credits his musical success to his teachers at the Manhattan School
of Music: Chris Lamb, Duncan Patton, Erik Charleston, and Steve Schick.
Michael McCurdy performs with many groups in the New York City area
including Mantra Percussion, Passenger Fish, the Mighty Buttons, and Forecast
Music. Recently he has performed at the Kulturhus in VŠsterŒs Sweden, the
Sparks Festival of Electronic Music, the Bang on a Can Marathon, and percussion
festivals around the country. In the past he has performed with, among others,
Continuum Chamber Ensemble, the San Francisco Contemporary Music Players, the
Albany Symphony, and Sacramento Opera. Michael completed a DMA in percussion
performance at the State University of New York at Stony Brook. His teachers have included Nick
Petrella, Steve Schick, Dan Kennedy, Raymond DesRoches, and Eduardo Leandro.
Carla Kihlstedt plays the violin, sings
and composes in a wide variety of musical circumstances from the rich and
subtle Tin Hat to the dramatic and alarming Sleepytime Gorilla Museum to the
intimate and incisive 2 Foot Yard. She has been lucky enough to work with many
of her favorite musicians, including Fred Frith, Satoko Fujii, Tom Waits, Ben
Goldberg, and Colin Jacobsen. Recently, she has written scores for dance and
theater (Flyaway Productions, inkBoat, and the Joe Goode Performance Group),
and has created a staged song cycle for seven performers (Necessary Monsters)
with poet Rafael Oses.
Formerly a
member of the legendary Arditti String Quartet (1994-2005), Australian
violinist Graeme Jennings he has toured widely throughout the world, made
more than 70 CDs, given over 200 premieres and received numerous accolades
including the prestigious Siemens Prize (1999) and two Gramophone awards.
Graeme now lives in San Francisco where he enjoys an interesting and varied
career. He performs regularly with groups such as the San Francisco
Contemporary Players, Adorno Ensemble, SF Sound, New Century Chamber Orchestra
and the Elision Ensemble. He currently serves on the faculties of UC Berkeley,
Mills College and Stanford University.
Matthias Bossi is the drummer/orator for
Rock-Against-Rock pioneers Sleepytime Gorilla Museum, and was a member of NYC's
Grammy-nominated rock juggernaut, Skeleton Key. As a founder of Brooklyn-based
recording collective The Book of Knots, he has collaborated with Tom Waits,
Mike Watt, Jon Langford, Carla Bozulich, Zeena Parkins, and author Rick
Moody. In the world of theatre and
dance, he has written music for Jo Kreiter, inkBoat, and Central Works, and
will collaborate with Carla Kihlstedt on an upcoming score for choreographer
Deborah Slater. He has also toured
with guitarist Fred Frith, and enjoys making music with singer/songwriter's
John Vanderslice and Annie Clark, a.k.a. St. Vincent.
Principally
committed to influencing and expanding the repertoire for solo percussion
through commissions and premiers, percussionist Christopher Froh is a
core member of the San Francisco Contemporary Music Players, Empyrean Ensemble,
and San Francisco Chamber Orchestra.
His many guest appearances include performances with Alarm Will Sound,
the Honolulu Symphony, and Gamelan Sekar Jaya. Known for his energized
performances described by the San Francisco Chronicle as ÒtremendousÓ and the
San Francisco Classical Voice as Òmesmerizing,Ó FrohÕs solo appearances stretch
from Rome to Tokyo to San Francisco. He is currently on the faculty at the
University of California, Davis.
Hailed by Opera News for her Òpotent presenceÓ and
Òregal in bearing, with vocal endowments to matchÓ by Cincinnati Post, lyric mezzo-soprano Soon Cho is quickly
gaining recognition for her sensitive artistry and winning execution on the
concert and opera stages around the world. Cho has been under the batons of
notable conductors such as Alan Gilbert, Kristjan JŠrvi, Paavo JŠrvi, Erich
Kunzel, Julius Rudel, Mischa Santora, and David Zinman; and has collaborated
with Jake Heggie, Michael Fiday, Warren Jones, and
Scott McAllister in premieres of original works. Cho is currently a member of
the voice faculty at Baylor University.
James Tocco has enjoyed a worldwide career as a soloist with orchestra, a
recitalist, a chamber music performer and a renowned pedagogue. Since taking
first prize at the ARD Competition in Munich in 1973, he has toured the globe
with performances throughout the world, appearing with the major orchestras of
Berlin, Munich, London, Chicago and Los Angeles, and performing at festivals in
Salzburg, Vienna, Wolf Trap, Ravinia, Mostly Mozart, and the Hollywood Bowl.
Mr. ToccoÕs voluminous discography includes recordings on the Pro Arte,
Gasparo, ECM, and Deutsche Harmonia Mundi labels. In addition to his
international performing itinerary, Mr. Tocco is Eminent Scholar/Artist in
Residence at the University of Cincinnati College-Concervatory of Music,
professor of piano at the Manhattan School of Music, and is also the artistic
director of the Great Lakes Chamber Music Festival in Bloomfield Hills,
Michigan.
Russell Burge joined the Cincinnati College-Conservatory of
Music faculty in 1992 as a member of Percussion Group Cincinnati, with whom he
has performed extensively throughout North America, Europe and Asia, recorded
for the Mode, Centaur, Einstein and Ars Moderno labels, and appeared with more
than twenty different symphony orchestras. He was formerly principal
percussionist with the West Virginia Symphony and performs regularly with the
Cincinnati Symphony and Opera. He is an active jazz vibraphonist who has
recorded for J Curve Records, Human Records and Telarc. Russell Burge is
currently Associate Professor of Percussion at the Cincinnati
College-Conservatory of Music.
As an original member of Percussion Group
Cincinnati, James Culley has recorded with PCG for the ars moderno, CDCM,
Opus One, Einstein and EMF labels, and performed throughout the U.S. and abroad.
He has performed with the Cincinnati Symphony and Cincinnati Opera Orchestras,
Cincinnati Chamber Orchestra, Columbus Symphony, Chautauqua Festival Orchestra,
West Virginia Symphony, Columbus Pro Musica Chamber Orchestra and Summit Brass.
As Professor of Percussion at Cincinnati College-Conservatory of Music, he has directed
CCM's Percussion Ensemble for 21 years, and in 1998 received the Ernest N.
Glover Outstanding Teaching Award.
5) Composer bio
Hailed as
"clearly structured, colorful and unflaggingly compelling work" (Philadelphia
Inquirer), Michael Fiday's music has been commissioned and performed
extensively throughout the United States and Europe by a diverse range of
performers such as Atlanta Symphony, Oakland East Bay Symphony, Percussion
Ensemble of The Hague, pianist Marc-Andre Hamelin, and electric guitarist Seth
Josel.
Born in 1961, Michael Fiday first began
his musical training as a violinist at age 11, turning his attention to
composing only a few years later. He studied music and philosophy at the
University of Colorado, before turning his attention to graduate work in music
at the University of Pennsylvania. His principal teachers in composition have
included Richard Toensing, George Crumb, and Louis Andriessen, with whom he
studied in Amsterdam under the auspices of a Fulbright Grant. Mr. Fiday is the
recipient of numerous awards, grants and residencies from, among others, BMI,
ASCAP, American Composers Forum, Virginia Center for the Creative Arts, The
MacDowell Colony, Yaddo, Headlands Center for the Arts, and the Ohio Arts
Council. He is currently Assistant Professor of Composition at the
College-Conservatory of Music at University of Cincinnati.
6) Thanks/contact info
This recording was made possible through the generous
support of the Ohio Arts Council, the University of Cincinnati Research
Council, the Friends of CCM, and the College-Conservatory of Music at
University of Cincinnati.
Special thanks to Headlands Center for the Arts, The
MacDowell Colony, Philip Blackburn at Innova, John Halle, Misa Inoaka, John
Rappleye, and especially to all the performers and engineers involved in this
recording whose attention to the music was such an incredible inspiration.
Thanks also to Richard Toensing, George Crumb and Louis Andriessen for their past guidance and continued support and encouragement.
Dedicated to my mother, Marilyn Fiday, who never flinched when I asked her to
take me to concerts of strange music.
CONTACT
Email: [email protected]
Website: www.michaelfiday.com
9 Haiku for flute and piano is published by:
Dinsic Publicacions Musicals, S.L.
Santa Anna, 10-E3 – 08002 Barcelona
Email: [email protected]
Website: www.dinsic.com
Tray
card:
1-9 9
HAIKU (2005)
14:29
Bart
Feller – flute, Linda Mark – piano
Texts
by Matsuo Basho
10 HANDS
ON! (1993)
8:29
Mantra
Percussion Quartet: Joe Bergen, Al Cerulo, Matt Kantorski,
Michael McCurdy
11-21 DHARMA
POPS (2006)
9:11
Carla
Kihlstedt, Graeme Jennings – violins, Matthias Bossi – narrator
Texts
by Jack Kerouac
22 SAME
RIVERS DIFFERENT (1999)
8:30
Christopher
Froh – percussion
23 PROTEST
SONG (2002)
4:41
Soon
Cho – mezzo soprano
Nicholas
Naegle – violin, Brianna Goldberg – bass
Laura
Sabo – bass clarinet, Shiau-uen Ding - piano
Text by
Peter Gizzi
24 AUTOMOTIVE
PASSACAGLIA (1988/revised 2003) 15:37
James
Tocco – piano, Russell Burge, James Culley – percussion