| $14.62
back in stock as of
december 22nd, 2010
first in stock on
november 28th, 2007
threads:
modern-composition
free-improvisation
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| | | new world (usa) #nw 80572 cd scott rosenberg “creative orchestra music, chicago 2001” compact disc - tehr (9:38) 2000
- wash (9:02) 1995
- 7x with sttm (13:36) 1997/2001
- forgetting song (13:32) 1997
- toys (18:34) 1996
| | new world press release... |
| "the orchestra’s main power lies in its ability to consume and transport the listener. the sheer tonnage of vibrations generated by a large ensemble cannot be replicated or approximated by mere volume or electronic reproduction. the raw acoustic phenomena of twenty-or-more instruments working together in a single space to form a single sound entity is a radical and unmatchable kinetic force.
to then add improvisation to the orchestral palette, and the implications that are posed by spontaneous music generation, is to knowingly step completely outside of the institutional orchestral tradition. it is, however, to enter into another tradition established by such pioneers as earle brown, morton feldman, anthony braxton, leo smith, muhal richard abrams, karlheinz stockhausen, john cage, and so on." — scott rosenberg
scott rosenberg (b. 1972) is a multi-reed player and composer focused on creating a body of work that blends experimental composition with free improvisation.
creative orchestra music, chicago 2001 is the second recording of his dark-hued, richly layered orchestral works. rosenberg conducts a 26-piece ensemble, largely comprised of leading lights of chicago’s new-music scene, in six compositions — tehr, wash, 7x with sttm, forgetting song, and toys — that incorporate elements of improvisation, including conducted improvisations in some sections.
albums like braxton’s classic creative orchestra music 1976, the large-band work of abrams, and the improv-dominated transmissions of the globe unity orchestra can all register as antecedents to rosenberg’s music in disparate ways, each using composition and improvisation in different measures. william parker’s and barry guy’s orchestras suggest that the creative orchestra is still alive and well, but unlike those composers rosenberg is more willing to let go of the jazz vocabulary while retaining its improvisational energy and edge, giving his rigorous writing an often-changing complexion.
creative orchestra music, chicago 2001
lisa goethe-mcginn, flute
kyle bruckmann, oboe
matt bauder, jesse gilbert, paul hartsaw, laurie lee moses, todd munnik, aram shelton, reeds
todd margasak, nathaniel walcott, trumpets
jeb bishop, nick broste, trombones
megan tiedt, tuba
carol genetti, voice
nathaniel braddock, john shiurba, guitars
jen paulson, viola
chris hoffman, drew morgan, violoncellos
kyle hernandez, elizabeth kennedy, jason roebke, contrabasses
steve butters, jerome bryerton, tim daisy, percussion
jim baker, piano/synthesizer
scott rosenberg, conductor |
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