Klarinet Archive - Posting 000756.txt from 1996/04

From: Richard Faria <faria@-----.COM>
Subj: Re: Midi and stuff
Date: Thu, 25 Apr 1996 20:25:53 -0400

>I have a favor to ask all of you in Klarinet land. Right now I am in the
>process of tr ying to plan a senior recital. On this recital, I would like
>to do a piece fro either clarinet and tape or clarinet and live electronics.
>I currently own a DAT machine, a multi-effects unit and some other stuff and
>got to a music school with a lot that could be available to me too. Does
>anybody know of good pieces for these combos, and what the equipment
>reqquirements would be? Any help would be appreciated and you can reply to
>either the list or my address (listed below in my sig).
>
>Thanks in advance!!!
>
>Ben Maas
>
>--
>************************************************************************
>*Benjamin Maas * "It's as if the country is built on*
>*Student, Eastman School of Music * a slant: everything loose rolls *
>*bm004e@-----. Mencken *
>************************************************************************

Benjamin,

This is the book you need, if you are looking for a complete
listing of pieces for clarinet and electronics. It is called:

Contemporary Clarinet Repertoire-Clarinet and Electronics
compiled by F. Gerard Errante

Mill Creek Publications
POBox 556
Mentone, CA 92359

ISBN 0-933251-10-6

It is the ne plus ultra of this sort of thing, and it is not very
expensive. You could get it through a book store, or call Mill Creek
Publications yourself.

Pieces for clarinet and electronics are the way to go, thus avoiding the
ball-and-chain effect of playing with tape (not that there aren't some good
clarinet and tape pieces).

Some of my favorite pieces using live electronics are:

Pierre Boulez Dialogue de l'ombre double (1982-85)
involves computer processing and an assistant

Daniel Harris Chinese Restaurant(1969)
involves tape delay

Thea Musgrave Narcissus(1987)
involves digital delay

William O. Smith Asana(1985)
involves pitch transposer, digital delay

Morton Subotnick Passages of the Beast(1978)
involves rental of what is called a "ghost box" from the publisher!

Martin Wesley-Smith Dodgson's Dream(1979)
involves improvised clarinet part, pre-recorded tape, live processing,
visuals, dissolve unit, two slide projectors.

And then there are two pieces by Karlheinz Stockhausen published by
Universal Edition, called:

Solo(1966)
unspecified instrument, tape recorder, feedback circuit, four(!) assistants

Spiral(1968)
unspecified instrument, short-wave radio, microphones, speakers

These are almost totally improvised and tremenduously complicated to set
up, but are, IMHO, some of the best pieces of this genre. For a truly
spectacular performance of Spiral, look for Heinz Holliger's recording.

Happy Hunting!

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Richard Faria
Assistant Professor of Music (Clarinet)
Ithaca College
School of Music
Ithaca, NY 14850-7240
Office (607) 274 3425
Fax (607) 274 1727
Email faria@-----.com
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