David Biedenbender

Composer

drum set

Schism

Robert Carnochan & the University of Texas at Austin Wind Symphony

Program Note:
Schism is about divisions. I wrote Schism in 2010 in the midst of the turbulent national mid-term elections, a time that, in the context of more recent political turmoil, actually seems quite tame. I was overwhelmingly frustrated by the sophomoric mud-slinging and ridiculous lies being told by many politicians and the variously allied media, but I was also somewhat amused by what was nothing short of a nationwide goat rodeo*. Much of the musical material is transcribed almost note for note from an improvisation I played on the piano and recorded in the early stages of sketching the piece. I remember being interested in combining the pointillism of Anton Webern’s music with a bluesy rock groove, so much of the piece is based on a single, simple, eighth note based, divided melodic line that jumps around the piano in very large leaps. I think of the musical affect as similar to the compound melodies in J.S. Bach’s Unaccompanied Cello Suites, where a single melodic line is perceptually transformed through large leaps into multiple voices, though, in the end, I used the ensemble to actually hold out the notes the piano could not to add color, character, and attitude to the independent voices. I also wanted to play with the notion of groove by dividing it in unusual and unexpected ways, almost like running a few of the licks and grooves through a meat grinder.

Schism was originally written for the chamber orchestra Alarm Will Sound. This version for winds and percussion was commissioned by a consortium of ensembles led by Robert Carnochan and the University of Texas at Austin Wind Symphony as well as Michael Haithcock, University of Michigan; Chris Knighten, University of Arkansas; Steven D. Davis, University of Missouri–Kansas City Conservatory of Music.

*A goat rodeo is a slang term for a chaotic situation, often one that involves several people, each with a different agenda/vision/perception of what’s going on; a situation that is very difficult, despite energy and efforts, in which to instill any sense or order.

Ampersand

Program Note:

Ampersand was commissioned by and written for Brendan Faegre and The Edge Ensemble. The score contains improvisation and is designed for performers that are equally adept in the worlds of notated music and improvised music. The ampersand has a long and interesting history and etymology, but my inspiration for this piece comes from its use in writing credits, such as film and television scripts, videogames, and documentaries, where an ampersand [&] indicates a closer collaboration than “and.” The Writers Guild of America uses the ampersand to denote two writers collaborating on a specific script, rather than one writer rewriting another’s work, and in screenplays two authors joined with “&” collaborated on the script, while two authors joined with “and” worked on the script at different times and may not have consulted each other at all. Ampersand combines and blurs the lines between specifically notated musical material and improvised material, and, for me, the title acknowledges the remarkable creative contribution of the Edge Ensemble in bringing this music to life.

Space Case

Central Michigan University Jazz Lab I | Rob Smith, director |  Todd Gaffke, t. sax. & Evan Shaner, tpt.

Program Note:

Space Case was written for Central Michigan University Jazz Lab I and director Rob Smith and is an homage to the great composer and pianist Thelonious Monk. The title comes from the colloquial phrase “space case” or “space cadet,” for someone who tends to live like an astronaut, exploring the remote world inside their head. Meandering, spinning, whole-tone flavored melodies are interrupted by loud, brash, tutti hits, like a daydreamer wandering through the park and being suddenly interrupted and snapped back into reality.

Schism

Alan Pierson, conductor & Alarm Will Sound

Program Note:

Schism is about divisions. I wrote Schism in 2010 in the midst of the turbulent national mid-term elections, a time that, in the context of more recent political turmoil, actually seems quite tame. I was overwhelmingly frustrated by the sophomoric mud-slinging and ridiculous lies being told by many politicians and the variously allied media, but I was also somewhat amused by what was nothing short of a nationwide goat rodeo*. Much of the musical material is transcribed almost note for note from an improvisation I played on the piano and recorded in the early stages of sketching the piece. I remember being interested in combining the pointillism of Anton Webern’s music with a bluesy rock groove, so much of the piece is based on a single, simple, eighth note based, divided melodic line that jumps around the piano in very large leaps. I think of the musical affect as similar to the compound melodies in J.S. Bach’s Unaccompanied Cello Suites, where a single melodic line is perceptually transformed through large leaps into multiple voices, though, in the end, I used the ensemble to actually hold out the notes the piano could not to add color, character, and attitude to the independent voices. I also wanted to play with the notion of groove by dividing it in unusual and unexpected ways, almost like running a few of the licks and grooves through a meat grinder.

*A goat rodeo is a slang term for a chaotic situation, often one that involves several people, each with a different agenda/vision/perception of what’s going on; a situation that is very difficult, despite energy and efforts, in which to instill any sense or order.

0
    0
    Your Cart
    Your cart is empty
    Continue Shopping