Barry Schrader
Fallen Sparrow: Music for electronics and live performers
Innova 654
Love, In Memoriam (1989)
Frank Royon Le Me, voice
poems by Michal Glck
Commissioned by
the Groupe de musique exprimentale de Bourges
1. LOreille coupe (Severed Ear) [2:54]
2. Marmelade doranges (Orange Marmalade)
[3:15]
3. Une histoire
de portrait (The Portrait's Story) [3:47]
4. Fallen
Sparrow (2005) [20:00]
Mark Menzies, violin
Final Rest I, First Spring, Final Rest II, Mystic Night, Final Rest III,
Soaring Flight, Final Rest IV
Five Arabesques (1999)
William Powell, clarinet
5. Arabesque 1 [1:49]
6. Arabesque 2 [1:26]
7. Arabesque 3
[1:30]
8. Arabesque 4 [2:09]
9. Arabesque 5
[3:37]
10. Ravel (2003) [15:30]
Vicki Ray, piano
Combining live performance with prerecorded electro-acoustic
music is a tricky business. What
the roles of and relationships between the two mediums should be is always a
difficult decision. Even more
important are the abilities and sensibilities of the live performers. Not every performer is equally comfortable or adept at
integrating themselves with an invisible "orchestra" of
electro-acoustic sounds. I've been
very fortunate in my career to have worked with some of the world's finest
performers of contemporary music, musicians who not only are expert at this
sort of thing, but who actually welcome it. All four of the works on this album are performed by the
artists for whom they were written, and with whom I worked closely in the
compositional process. There is, I
think, a special relationship between these works and these performers.
Deciding what I should say about these works is almost as
problematic as composing them.
Leonard Meyer, the great 20th century music theorist, defines two types
of meaning in music: embodied and
designative. Embodied meaning
refers to the meaning of the relationship of musical materials to each other,
and some works, such as a Bach fugue, has only embodied meaning. Designative
meaning, on the other hand, alludes to extra-musical, programmatic, or
emotional ideas. While every
listener is free to ascribe designative meaning to a given work, the composer
may or may not have been concerned with this when composing the piece. In two of the works here, Five
Arabesques and Ravel, I was essentially interested in dealing with embodied
meaning. But to go into great
detail on technical matters, while of possible interest to other composers,
theorists, or musicologists, is probably of little use to most listeners. I could point out that all of the music
in Five Arabesques is based on the first phrase in the clarinet part of
Arabesque 5 , but I'm not sure that would mean much to most people. I could point out that in Ravel (an homage to, not an
imitation of composer Maurice Ravel) each of the three continuous movements is
based upon a small amount of musical material from Ravels works: the first movement is based on the
first two measures of the Prlude
from Le tombeau de Couperin; the second movement is based on the second,
third, and fourth measures of the second movement of the Piano Concerto in G;
the third movement is based on the first measure of the dawning section of
Daphnis et Chlo and also the last two measures of La Valse. But most listeners may not know the
references or hear the connection, and so this information, while important to
me, as a composer, cannot be the main point of the music I created; the music
must stand on its own apart from these technical and compositional
considerations.
The other two works on this collection, Fallen Sparrow and
Love, in Memoriam, obviously have important designative meanings implied. The idea for Fallen Sparrow came to me one cold winter day as I was
cleaning up around the outside of my house. In front of the dryer exhaust I found a dead sparrow that
had made a little nest out of the lint that had come from the actions of this
fellow wanderer had been. As I
carried the still, nesting body to its final resting place, I imagined what
might have been the sparrows thoughts as it lay dying. I envisioned the bird thinking of its
first spring, a time of birth and great activity, all of it new and exciting to
the young sparrow. I considered
the remembrance of one special evening when the fading light gave way to the
sights and sounds of a mystic night.
And, of course, I speculated that the most wonderful of avian abilities,
that of soaring flight, would be among the last thoughts of the dying
bird. The designative meanings in
Love, in Memoriam are even more
directly expressed in the words and ideas of Michal Glck's astonishing
poems. Here are frozen, abstracted
moments from the lives, works, and feelings of Vincent van Gogh, Lewis Carroll,
and Leonardo de Vinci. In these
songs, the term "designative" may not be strong enough to relate the
import of event and emotion.
Perhaps, in a larger sense, there is a circle implied among
these works, particularly in their arrangement in this album. The fast and angry piano sounds that
open Love, in Memoriam finally give way to the singular nature of one voice,
"one note", at the end of the piece. This connects to the individuality of the solo violin
with which Fallen Sparrow
begins and ends, which, in turn, relates to the pensive, solo
clarinet line that begins Five
Arabesques. This work ends with a
bouncing, metric rhythm, not totally dissimilar from the playful music at the
start of Ravel . And the lightning
piano finale of Ravel can be seen
to lead back into the beginning of
Love, in Memoriam. Through all of this journey there is a
variety of musical means and intent that I hope will keep the listener engaged,
willing to take this excursion many more times.
~ Barry Schrader
Vickie Ray, pianist, performs widely as soloist and
collaborative artist. In addition
to the Ear Unit, she is also a member of Xtet and the Southwest Chamber Music
Society. She has been featured on
the LA Philharmonic Green Umbrella series, with the LA Chamber Orchestra, with
the German ensemble Compania, and the Blue Rider ensemble of Toronto, and
recently broadcast on NPR from the Kennedy Center. She has had works written
for her by composers John Adams, Paul Dresher, Arthur Jarvinen and Donald
Crockett. Ms. Ray is a founding artist of PianoSpheres, a concert series
devoted to less familiar repertory for piano solo. Her inaugural PianoSpheres
recital was hailed by the Los Angeles Times for displaying "that kind of
musical thoroughness and technical panache that puts a composer's thought directly
before the listener. In
1989 Ms. Ray was the first place winner in the NACUSA competition for
performers of contemporary music. A member of the piano faculty at the
California Institute of the Arts since 1991, her recordings can be found on the
New World, CRI, Mode & Tzadik labels.
William Powell,
has been hailed by music critic Andrew Porter of The New Yorker as a performer who catches a listeners attention with the
first phrase and continues to hold it, in the way great singers once did, by
precision of timing, variety of attacks, and masterly, imaginative molding both
of single notes and of melodic strands.
The San Diego Union has praised Powell as .... a virtuoso ... a master
musician and technician. Powell
has performed at major concert venues throughout the U.S., Europe and Asia, and
was principal clarinetist with the San Diego Chamber Orchestra and the Las
Vegas Symphony. Under a senior research grant he received from the Fulbright
Commission, he lived for a year in India where he studied Carnatic music, presented concerts of American music
throughout India, and collaborated
in numerous cross-cultural programs for All India Radio. Powell received the
Artists Diploma from the Juilliard and an MFA from CalArts. Mr. Powell served
on the faculties of the UCSD, SDSU, CSULB and UNLV before joining the CalArts
faculty. He has recorded for Cambria, CRI, Elektra/Asylum, and Nonesuch.
Frank Royon Le Me (1953-1993) was active as a composer,
vocalist, actor, director, calligrapher, and visual artist. As a composer, he received numerous
commissions from various festivals and other musical organizations in
Europe. His works span the field
from solo voice to orchestra to electro-acoustic. As a tenor and countertenor, he was in great demand for both
old and new music, and he made numerous recordings, including voice tracks for
film and television. His
distinctive and impressive vocal abilities allowed him to specialize in such
areas as medieval and renaissance music as well as the most complex
contemporary vocal music. Royon Le
Me worked with Luciano Berio in performing Berios opera and also the Berio
Cabaret, and he performed often at the Paris Opera. In 1989, Royon Le Me was awarded a large grant from the
Cartier Foundation to create performance and visual art, and in 1990 he
received a joint fellowship with Barry Schrader from Yellow Springs Institute
to create a new computer-interactive performance work, Night. Frank Royon Le Mes works are recorded
on the Baillemont and CIRM labels.
Mark Menzies, a native of New Zealand, has resided in the United States since 1991, and has established an important, worldwide reputation as a violist and violinist. He has been described in a Los Angeles Times review as an extraordinary musician and a riveting violinist. His career as a viola and violin virtuoso, chamber musician, and advocate of contemporary music has seen performances in Great Britain, Germany, France, Austria, Brazil, Mexico, Japan, New Zealand and the United States. Menzies is currently viola and violin professor at the California Institute of the Arts where he also teaches chamber music. He is renowned for performing some of the most complex scores and he has been personally commended by composers such as Vinko Globokar, Elliott Carter, and Christian Wolff, for performances he has given of their music. There has been considerable international critical applause for Mark Menzies leadership in ensembles formed to perform contemporary and twentieth century music, such as the Los Angeles' Southwest Chamber Music, and the New York-based Ensemble Sospeso. He has recorded on the Pogus, Opus, Mode, and Innova labels.
Barry Schrader has been acclaimed by the Los Angeles Times
as "a composer born to the electronic medium", named "a seminal
composer of electro-acoustic music" by Journal SEAMUS, and described by Gramophone as a composer of "approachable electronic music
with a distinctive individual voice to reward the adventurous". "There's a great sweep to
Schrader's work that puts it more in line with ambitious large-scale electronic
works by the likes of Stockhausen, a line that can be traced backwards to
Mahler, Bruckner and Beethoven." writes Dan Warburton of the Paris
Transatlantic Magazine. Schrader's
compositions for electronics, dance, film, video, mixed media,
live/electro-acoustic music combinations, and real-time computer performance
have been presented throughout the world.
He has received recognition in the form of grants, awards, and
commissions from numerous organizations
and has recently been awarded a Copland Grant through Innova
Recordings. Active in the
promotion of electro-acoustic music, Schrader is the founder and the first
president of SEAMUS (Society for Electro-Acoustic Music in the United
States). He has been involved with
the inauguration and operation of several performance series such as SCREAM
(Southern California Resource for Electro-Acoustic Music), the Currents concert
series at Theatre Vanguard (the first ongoing series of electro-acoustic music
concerts in the U.S.), and the CalArts Electro-Acoustic Music Marathon. He has written for several publications
including The New Grove Dictionary of Music and Musicians, Grolier's
Encyclopedia, Contemporary Music Review, and Journal SEAMUS, and is the author
of the book Introduction to Electro-Acoustic Music. He has been a member of the
Composition Faculty of the California Institute of the Arts School of Music
since 1971, and has also taught at the University of California at Santa
Barbara and the California State University at Los Angeles. His music is recorded on the Opus One,
Laurel, CIRM, SEAMUS, Centaur, and Innova labels.
To Vincent van Gogh
I- LOreille coupe
LAmour est dans ce linge ma mie
dans ce linge sanglant
quau lavoir vous portez
dans ce linge o il dort
linge humide et foetus
que vous allez noyer
Mon oreille est un miroir
et jai trop sanglot
et mes mains sont bruls
et mes yeux sont crevs
Vous predrez le battoir
pour frapper dans leau cliare
nos linges fatigus
Mon Oreille coupe
pse lourd in vos mains
et let mots sont blesss
lՎpreuve des jours
Nous saignons tous les deux
I - Severed Ear
Our love is like old cloth
like the bloody fabric
that you take and wash
like a newborn baby
that you drown
My ear is a mirror
and I am too bloody
and my hands are burning
and my eyes are bursting
You wash the worn fabric
of our
love
beating it in the clear water
My severed ear
weighs heavy in your hands
your painful words
making the days more unbearable
How we both bleed
To Lewis Carroll
II - Marmelade doranges
Dire la chute des feuillies
la cadence des cris
les terreurs enfantines
quelques gestes simples
Il y avait bue sur les verrires
Elle regardait des enluminures
il fasiat dehors un temps de
grenouilles
Frog ou fog je ne sais
Elle vers lui au British Museum
My name is Celia and I am ten
years old
II - Orange Marmalade
The sounds of autumn
the rhythm of cries
the childish fears
such simple motions
There is steam on the stained
glass
She watches the illuminations
flicker at a frogs tempo
Frog or fog, I dont know
She moves toward him at the
British Museum
My name is Celia and I am
ten years old
To Leonardo de Vinci
III - Une histoire de portrait
Just a world rien quun mot
Just a word rein quun monde
Lonard brosse la Jaconde
Le portrait plit
le modle se meurt
rien quun chant
rien quun chant une note
pour tenir un visage
dans la beaut du jour
III - The Portraits Story
Just a world rien quun mot
Just a word rein quun monde
Leonardo paints the Mona Lisa
The image fades
the model is dying
just a song
only a song, one note
keeps the face from fading
in the beauty of the daylight
Poems by Michal Glck
translations by Barry Schrader
Credits
Produced by Miriam Kolar
Engineered and mastered by Miriam Kolar (Love, In Memoriam
recorded by Barry Schrader)
Love, In Memoriam recorded at California Institute of the
Arts, Studio B308, 1990
Fallen Sparrow and Five Arabesques recorded at the
California Institute of the Arts Dizzy Gillespie Recording Studio, 2005
Ravel recorded at Architecture, Los Angeles, 2005
Art Direction / Graphic Design:
Peter Grenader/Vision
Cover Image: Vernal Equinox ~ a quilt by Caryl Bryer Fallert
~ www.bryerpatch.com
Photo Credits:
Frank Royon Le Me ~ solo picture ~
by Patrick
Tourneboeuf
Frank Royon Le Me & Barry Schrader photo by Nicholas J.
Nicolaides
Mark Menzies photo by
Monica Valenzuela
William Powell photo by
Steve Gunther
Vicky Ray photo by
Richard Hines
Barry Schrader photo by
John Yu
Background image:
Miriam Kolar at the Roy O. Disney Music Hall, CalArts ~ photo by Patrick
Vaillancourt
Innova Director: Philip Blackburn
Director of Artists and Product: Chris Strouth
Assistant: Chris Campbell
This recording is supported by a grant from the Aaron
Copland Fund for Music Recording Program, administered by the American Music
Center, New York.
For more
information/discography of Barry Schrader ~ go to www.barryschrader.com