Eleanor Hovda

for clarinet, electric guitar, cello, doublebass, and percussion

"Mountain Goat File is made for the Bang on a Can All-Stars. It is a piece from other pieces, because BOAC All-Stars wanted to perfrom an already-extant piece, and I decided to make a piece where the new ideas would be the combination of instruments and the overall form, but the specific music for each instrument would be borrowed from other pieces. My task was to work with already-extant material in a new format. Mountain Goat File, as a title, comes from a file I have in my computer for things that relate tangentally or, only if one makes a huge conceptual leaps from one place to another. I have been interested for some time in "journey music" - music that deals with testing boundaries, traversing shifiting landscapes and projecting evolving fields of energy. Mountain Goat File leaps, rather than shifts, from pinnacle to pinnacle. Sometimes it is isolated and slippery there, and sometimes it is a sociable plateau."

Click here to view the score.

Lois V Vierk

for flute, electric guitar, and marimba

Io (1999) features virtuoso performances on amplified flute, amplified marimba, and electric guitar. After an introductory section, a tumultuous, high energy middle section begins with short, dynamic phrases. As the work progresses, each phrase develops materials from the one before, gradually producing longer and longer phrases, and dense textures of interlocking tremolos and glissandi, with sharply articulated sounds in all instruments. A lyrical statement ends the piece.

The work is titled after Jupiter's innermost moon, which in turn is named for the mythological beautiful maiden Io, beloved of Zeus but otrmented by Zeus' wife, Hera. The moon Io was discovered by Galileo in 1610. In the 1970's it was discovered to have over 100 active volcanoes, the only known volcanoes outside the earth. At times the volcanoes shoot huges plumes of sulfur up to 300 kilometers into the sky. Io is caught in a ravitational tug of war. It is periodically nudged out of regular orbit by two nearby moons, Europa and Ganymede, then pulled back by the massive gravitational field of Jupiter. Io is constantly squeezed and distorted, like a rubber ball held in the hand. The friction produced by this action produces enormous heat--enough to melt the rock deep within and cause the great volcanoes and lava flow.

This piece was commissioned by Ensemble L'ART POUR L'ART of Hamburg, Germany. It was recorded on flutist Margaret Lancaster's CD "Io" on New World Records.

Recording is by:

Margaret Lancaster, flute

Larry Polansky, electric guitar

Matthew Gold,  marimba

from CD:

New World Records 82720 "Io - Margaret Lancaster, flutes"

Click here to view the CD on New World Records.

Click here to view the score.

Lois V Vierk

for trumpet, cello, electric guitar, percussion, and piano/synthesizer

The title of this piece refers to the way in which astronomers and physicists measure movement and distances of distant celestial bodies. Briefly, characteristic lines and patterns made by different elements found in the star, etc., as observed through a spectrometer, are shifted in one direction or the other, towards the red or towards the blue end of the spectrum, depending on whether the body is moving away from us or towards us. This shift is called the "red shift".

When I wrote this work, I had the feeling of something of great mass and motion, far away, like a comet. It first seemed to move slowly, then gradually began accelerating toward us, faster, and faster, until finally at great speed I felt it sweeping down upon us, through us, and back out into the heavens.

During the 1980s and into the '90s I worked on developing principles of "Exponential Structure", in which elements such as time, harmonic motion, rhythmic and timbral development, sound density, etc. are controlled mathematically by exponential factors. These are not meant to be abstract constructs, but formal ideas based on the emotional thrust of the sounds and of the piece as a whole. The harmonic motion (movement from one pitch center to another), with its ever-decreasing time segments, is the clearest expression of Exponential Structure in this work. 

The original 1989 version of Red Shift (cello, electric guitar, percussion, synthesizer) was commissioned by the Experimental Intermedia Foundation with support from the Mary Flagler Cary Charitable Trust and is available on CD from Tzadik Records. In 1991 the piece was reorchestrated as Red Shift 4 for A Cloud Nine Consort and again for Ensemble Modern.

This recording does not totally match the score.  The recording is of a 1991 orchestration of this piece for the New York ensemble A Cloud Nine Consort, without cello.  Performers are:

Gary Trosclair, trumpet/synthesizer

Mark Stewart, electric guitar

Alan Moverman, synthesizer/piano

Tigger Benford, percussion

from CD:

New World Records NWCR646 "Bang On A Can Live, Vol. 2,  Emergency Music"

Click here to view the CD on New World Records.

Click here to view the score.

Lois V Vierk

for cello, electric guitar, percussion, and synthesizer

The title of this piece refers to the way in which astronomers and physicists measure movement and distances of distant celestial bodies. Briefly, characteristic lines and patterns made by different elements found in the star, etc., as observed through a spectrometer, are shifted in one direction or the other, towards the red or towards the blue end of the spectrum, depending on whether the body is moving away from us or towards us. This shift is called the "red shift".

When I wrote this work, I had the feeling of sornething of great mass and motion, far away, accelerating like toward a comet. us, faster It first and seemed faster, to until move finally slowly, at then great gradually speed it began I felt it sweeping down upon us, through us, and back out into the heavens.

Red Shift was commissioned by the Experimental Intermedia Foundation with support from the Mary Flagler Cary Charitable Trust.

Recording is by:

Ted Mook, cello

David Seidel, electric guitar

Jim Pugliese, percussion

Lois V Vierk, synthesizer

from CD:

Tzadik 7056 "Lois V Vierk: River Beneath the River"

Click here to view the CD on Tzadik.

Click here to view the score.

Lois V Vierk

for five electric guitars

This piece is for 5 electric guitars. The symbol "" means five, and is pronounced "go" in Japanese. Guitars strings are all tuned to E and microtonal variants of E. I think of the 5 guitars as acting together to form one massive instrument.

Go Guitars is concerned with sound, with expression, and with musical structure. It begins with relatively simple musical materials--strums, repeated pitches, and pulled string glissandi. These sounds are continuously developed in slow unfolding patterns. The sounds and phrases become more complex, finally developing into dynamic slide glissandi on all 6 strings, covering the entire range of the instrument.

This work utilizes principles of what I call “exponential structure”, in which time and rates of change of musical materials are governed by application of exponential factors. The piece builds in intensity, moving from a high volume opening to a frenzied finale.

I composed Go Guitars in Los Angeles in 1981 for John Scnheider. A CD of this piece performed by David Seidel is available on XI Records.

Click here to view the score.