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5.2 Composers and Works
Recent compositional works realized at CCRMA include the following:
Oded Ben-Tal
• Socratic Dialogues for violin, percussion, and 8 winds (19991
• Soliloquy for cello and computer generated sound (1999)
• Saraband for flute, clarinet, violin, cello, piano, percussion, and computer generated sound (2000)
Jonathan Berger
• Echoes of Light and Time (2000)
A sound installation and collaboration with Dale Chihuly. Commissioned by the City of Jerusalem
and Chihuly Studio for Chihuly in the Light of Jerusalem. 2000.
• Maivatto Sempre (2000) for clarinet (commissioned by Ensemble Kaprizma).
• Mirucles and Mud (1999) for String Quartet.
• Of Hammered Gold (1999) for period instruments and digital bird organ (Chamber Music America
Millenium Commission).
• Arroyo (1998) for flute, clarinet, piano, motion detected dancer, and computer sound and graphics.
Commissioned by the Rockefeller Foundation and the Institute Nacional de Bellas Artes. Mexico.
Performances: Centro Nacional de Bellas Artes. Mexico City - April 4 1998: Callejon del Ruiz
Festival. Guanajuato. Mexico - April 7 1998: Mind Machines and Electronic Culture: The Seventh
Biennial Symposium on Arts and Technology. Connecticut College. March 3: Stanford University.
May 24th 1999.
• Elegy (1998) for alto and chamber ensemble.
• Con Carne (1998) for pianist and disklavier.
Jonathan Berger is a National Endowment for the Arts Fellow. 1996-1997 and recipient of the
Chamber Music America Millenium Commission.
Chris Burns
• Questions and Eissur-es for soprano saxophone and CD (1999)
Questions and Eissures explores the fusion of divergent musical elements. The two loudspeakers
present independent voices, kept separate throughout the piece, while the saxophone provides another
layer, distinct from the electronic world. Each element pursues its own path of development,
corresponding with the others only at the broadest levels of form. In spite of all the ways in which
these materials attempt to achieve independence, we hear one piece, and not three - each layer
informs and enriches our hearing of the others.
This piece is the second in a series of works which use speech sounds as both timbral material and
organizing forces. The electronic component is composed entirely of heavily processed recordings
of my speaking voice. While the speech never quite becomes intelligible, it animates the sound and
provides rhythmic structure. In turn, the saxophone part is derived from a rhythmic transcription
of the spoken text. Like the speech sounds themselves, the transcribed rhythms never appear
intact. Instead. I use them as the basis for a series of variations and distortion^.
Questions and Eissures is dedicated to Matthew Burtner.
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