Interstices

March 15, 2004

Artists’ Co-Op Gallery

Omaha, NE

The concert that brought ANALOG back from a three-year hiatus, Interstices featured the world premiere of Rudolf Kamper’s setting of a Neruda poem, along with Bach, Stockhausen, and Gesualdo for good measure. ANALOG’s first concert in Omaha, Nebraska began the birth process of ARTSaha.

 

PROGRAM

Claude Le Jeune, Revecy Venir du Printemps
Carlo Gesualdo, Moro, Lasso, Al Mio Duolo
Johann Sebastian Bach, Aria from Kantata BWV 77
Edgar Varese, Octandre
Karlheinz Stockhausen, Pisces
Jose Serebrier, Erotica
Rudolf Kamper, Te Recuerdo Como Eras*

* world premiere

PERSONNEL

Marcia Kamper, flute
Darci Gamerl, oboe
John Klinghammer, clarinet
Roger Nye, bassoon
Ross Snyder, horn
Rudolf Kamper, trumpet
Amy Peterson, trombone
Christina Carr, mezzo-soprano
Leslie Carter, double bass

 

 

PROGRAM NOTES

Pierre Boulez famously said, in the middle part of the last century, that Schoenberg is dead. He insisted that serial music had taken a leap that was far from what Schoenberg would have done. Since then, in reaction to composers like Boulez, many composers have championed “tonality” and even “functionality” in an attempt to kill off both Boulez and Schoenberg. The argument has never fully subsided.

 

Today, I would like to point out that the whole battle is dead. Essentially it isn’t important if music is tonal, or serial, or atonal. Intense dissonance as well as complicated construction was not an invention of the Twentieth-Century, nor was it killed off with the beginning of this century. Only the style has changed. It is an act of egoism to equate one’s particular method with an entire style. Method has been too-often confused with style.

 

The only thing that should be lost is the preconceptions that have been taught to us by critics and composers. Method and style (or “ism”) have nothing to do with what draws someone to listen to a piece of music.

 

This concert will feature pieces which span recorded history. Pieces which were written in the Sixteenth-Century (arranged for modern instruments) will be next to works written this year and many years in between. These are a collection of works which are unified by a character beyond artistic periods and defining manifestos. It is a concert designed to break down the stereotypes you might have learned and it will allow you to open your ears to beautiful music. — Rudolf Kamper