A look back at some items in our archives.
Program Note: What Goes Up...
Edmund J. Campion
ELLIPSIS, 1995
Acquario Romano, Rome, Italy
In collaboration with artists Andrew Ginzel and Kristen Jones
June 21 from sunset to midnight
Sponsored by: Commune di Roma
American Academy in Rome
Dimensions: H 70' x W. 45' x D. 135' (21.3 x 13.7 x 41.1 m.)
Elements: 4,000 water filled glasses
Hemispherical vessels
Bay laurel trees
Circumnavigating solar light
Mirrors
HOLD That Thought for string orchestra and computer driven electronics
2004
Hold that Thought, Gaunajuato Symphony, Mexico (premiere),
Hold that Thought, University Symphony, Berkeley
2001-02 Persistent Vision , interactive computer music with dance
The large-scale form for ME mirrors the classic seven yogic steps as follows:
1. Preconscious ME, Open Vowel Space
2. ME Builds the Language Wall
3. ME Sings His Narcissistic Canon
4. ME Sings His Greatest Song
5. ME Speaks to the Crowd.
6. ME Speaks to His Prompter
7. ME Is Cast Into the Future and Dies
Edmund Campion, music
John Campion, text and concept
Please tell us more about your thoughts about duets and the evolution of your playing in this format.
Selections from a 1996 concert at CNMAT, featuring improvisations with Indian Ghazal tradition vocalist Shafqat Ali Khan, and live electronics with composer/improviser David Wessel.
Swiss saxophonist Urs Leimgruber and American composer/improviser David Wessel perform a series of solos and duos. Violist Nils Bultmann joined them for the final piece of the evening.
Two sets of improvised music with German pianist Georg Graewe and electronics composer/improviser David Wessel.
Trio improvisation with Steve Lacy (soprano saxophone), George Lewis (trombone), David Wessel (live electronics) from the Berkeley Edge Festival, June 7, 2003
Concert of improvised music, featuring AACM member and multi-instrumentalist Douglas Ewart, cellist and bassist Kash Killion, instrument builder Walter Kitundu, and live electronics by David Wessel.
Why do we create art and what do we expect it to do? This is the question posed in 68. In the beginning we witness the creative act: a poet, writing and speaking out the earliest fragments of his poems; discovering through experiment his voice, both physically and figuratively.
This is a unusual piece for piano and electronics, written for Sebastian Berweck. The electronics are based of recordings of shovelling mud and the piano part involves a variety of transcriptions. Here's the original program note:
“Distance, no matter how close the object may be.” – Walter Benjamin