3/30/2023 0 Comments Vertical sonority![]() It began on Monday, April 22 with an open rehearsal of “Les Quatre Temps Cardinaux,” and continued with a luncheon dialogue featuring David Felder on Tuesday, April 23, followed by a panel discussion moderated by Cristanne Miller, SUNY Distinguished Professor and Edward H. Tripathi as a new spring tradition aimed at highlighting the university’s creative excellence, ingenuity, and imagination. The world premier was an exciting start to the “Signature Series,” launched by UB President Satish K. All of the electronic sounds are generated from the voice itself, or upon modeling of the voice.” Felder says, “The voice, the human utterance from speech through sung music, is the entirety of the work. … A chord, a vertical sonority was made, that I named and characterized as the ‘dazzling’ chord, and some potentialities inherent within this sonority were utilized throughout the entirety of the fifty-two minutes.” The use of voices singing and reciting the poems-both prerecorded and live during the performance-added to the complexity and richness of the piece, informing Felder’s innovative use of electronics. I work very, very diligently on these levels of a work.”ĭescribing his process with the poetry, Felder adds, “In a work with text, connections among poetic images, the sounds of the words themselves, the rhyme schemes, and the formal organization of the poems are all wonderful reservoirs replete with fecund possibilities. “In the music that I write,” notes Felder, ‘line’ is critically important, and the process of perceptually following various lines that co-exist simultaneously, is the single most critical aspect … Such lines may produce the ‘aha’ or ‘eureka’ moments or even the physical responses that one can characterize as the chill running up an down the spine. The poems presented challenges in responding to and incorporating not only their images, but also their words. Over time, a lived experience with the materials, I know what to do with them.”įor “Les Quatre Temps Cardinaux,” that meant following “lines of investigation” suggested by the poetry that inspired the music, written by René Daumal (whose poem also provided the composition’s title) as well as Pablo Neruda, Dana Gioia, and former UB poetics faculty Robert Creeley. … I create and evaluate through living with the sound materials of a potential musical passage or the entirety of a work in my inner ear, my inner life. There is a prolonged period of trial and error in any new work that I make, a process wherein formal, and perceptual ideas are proposed, and vetted. “For me, personally, I reject what some call ‘experimental’ music or art. “Artistic research can be very wide-ranging in its manifestations,” he noted. ![]() The concert was held in Lippes Concert Hall, Slee Hall, UB North Campus.Īfter the premier, Felder talked about the importance of research to his compositional process. The soloist was Thomas Kolor, assistant professor of music at UB and one of the country’s top young specialists in late 20 century American percussion music. The program opened with “Tweener,” a 2010 Felder composition for solo percussion, electronics and large chamber ensemble. It featured two celebrated performers: soprano Laura Aikin, and bass Ethan Herschenfeld Felder wrote the piece specifically for their voices. ![]() On April 23, the UB Office of the President and the Robert and Carol Morris Center for 21st Century Music at UB presented the world premiere of Felder’s “Les Quatre Temps Cardinaux,” a song cycle for two solo voices, a 35-piece orchestra, and 12 channels of electronics. ![]()
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