From: Oliverosfd@aol.com Date: Thu, 19 Sep 1996 21:05:13 -0400
Program - Deep Listening Band, Abel-Steinberg-Winant Trio, The Hub and guest artists - Mills College Concert Hall 7:00 PM Monday September 16, 1996 Thirtieth Anniversary Celebration of the Center for Contemporary Music with a Memorial Tribute to David Tudor (1926-1996) and his musical partnership with John Cage.
Non Stop Flight 7:00 PM - 4'33'' by John Cage Julie Steinberg
7:04:33 - From Unknown Silences by Pauline Oliveros Abel-Steinberg- Winant Trio with soft ensemble of acoustic players.
7:30 - 4'33'' All performers
7:34:33 - Extravasation Improviganza The Hub, Deep Listening Band and guest artists
9:53 - 4:33" All performers
9:57:33 - The Last Chances
11:28:27 - 4'33'' All performers
11:33 - End
Trio: David Abel - Violin Julie Steinberg - Piano William Winant - Percussion
Deep Listening Band: David Gamper - Keyboard and Electronics Pauline Oliveros - Accordion and voice Stuart Dempster - Trombone/didjeridu/voice Bob Bielecki - Sound design The Hub- A computer network ensemble: Chris Brown Scott Gresham-Lancaster Tim Perkis Phil Stone John Bischoff
Guest Artists: Wendy Burch - poet Thomas Buckner - baritone Joe Catalano - rebab/didjeridu Tom Heasley - tuba George Marsh - percussion Maggi Payne - flute Karl Pribram - conductor Ramon Sender-Barayon - accordion Tomita Toyoji - trombone/didjeridu Tim White - sitar/flute Jennifer Wilsey - percussion
Program Notes: The concert celebrates the thirtieth anniversary (1966-1996) of the Center for Contemporary Music at Mills College by bringing together three ensembles and guest artists: The Hub includes Chris Brown - co-director of CCM and John Bischoff CCM studios co-ordinator, Deep Listening Band includes Pauline Oliveros the first director of CCM (formerly the Tape Music Center at Mills) and among the guest artists is Ramon Sender-Barayon - a founder with Morton Subotnik of the San Francisco Tape Music Center and Maggi Payne co- director of CCM. Additionally the concert includes a memorial tribute to David Tudor and his historic musical partnership with John Cage. Both were friends and mentors for the Tape Music Center.
"4'33'' is John Cage's most famous composition. It was composed at Black Mountain College during the summer of 1952 and first performed by David Tudor at Maverick Concert Hall, Woodstock New York, on August 29, 1952. The title refers to the clock-time duration of the composition, which (usually consists of four minutes and thirty three seconds of silence. 4'33'' has achieved a legendary status within not only Cage's work but twentieth century art as well." John Cage's Theater Pieces: Notations and Performances, William Fetterman, Norwood Academic Publishers.
"It is .... one of the most intense listening experiences one can have. You really listen. You're hearing everything there is. Audience noises play a part in it. It is cathartic - four minutes and thirty three seconds of meditation, in effect" David Tudor, Ibid.
Non Stop Flight includes four performances of 4'33" by John Cage marking the beginning and end of and the movements of the piece. The length of the concert - 4 hours and 33 minutes - is an expansion and trope of 4'33''. Within the expanded duration each performer or group may optionally choose to perform 4'33'' at any time.
4'33'' as performed by David Tudor in 1952 had three movements: "I - :30'', II - 2':23" -III - 1':40". The durations of the movements expanded to hours and minutes are the time structure for Non Stop Flight.
I - From Unknown Silences (30') features the Abel-Steinberg-Winant Trio and guest artists. This section composed by Pauline Oliveros is influenced by John Cage's statement found in Fetterman's book: "Sound has four characteristics: pitch, timbre, loudness, and duration. The opposite and necessary coexistent of sound is silence. Therefore, a structure based on durations (rhythmic: phrase and time lengths) is correct (corresponds with the nature of the material), whereas harmonic structure is incorrect (derived from pitch, which has no being in silence). Cage 1961.
II Extravasation Improviganza is the first collaboration of Deep Listening Band and The Hub. The Hub will be receiving data in their computer network from the Expanded Instrument System of the Deep Listening Band. The Band will process sounds generated by The Hub and by the guest artists. Each group will perform during this section independently and together as the guest artists weave in and out of the textures created by both groups. There will also be solos, duos and ensembles created by the guest artists.
III The Last Chances includes all the performers in a finale which gradually works it's way back to the acoustic sounds of the beginning and the concluding performance of 4'33''.
On the technology used by Deep Listening Band at this concert: The Expanded Instrument System (EIS) is an evolving electronic sound processing environment dedicated to providing improvising musicians control over various interesting parameters of electronic transformation of their acoustic performances. Performers each have their own setup which includes their delay and ambiance processors, microphones, signal routing and mixing, and a computer which translates and displays control information from foot pedals and switches. In addition, they have access to shared processing resources, such as a special digital signal processing . The musicians and their instruments are the sources of all the sounds, which they pick up by their microphones and subject to several kinds of pitch, time and spatial ambiance transformations and manipulations. No electronic sounds sources are used, only acoustic instruments and voices. Software for the EIS was developed by David Gamper with additional software by Panaiotis of PanDigital Corporation and by Rick Stone. The EIS at this performance was designed to include the guest artists.