PERSONNEL -

John Hildreth - direction, arrangements (except *)
Sara Campbell - Vocals, MIDI Mallet Kat, drum machine
Lief Ellis - Electric and 6-String Bass Guitar
Philip Gilbert - Audio Production Assistant, MIDI Guitar
Carson Graham - Keyboard, MIDI Mallet Kat, Drum Machine
Chris Guirreri - Audio Production Assistant, Elec. Wind Controller Kevin Jones - Electric Guitar
Daniel Lee - Electric Bass, MIDI Guitar
Peter Pohorence - MIDI Mallet Kat, MIDI Guitar, Drum Machine Luke Powell - Electronic Wind Controller
Peter Schlagel - Vocals, Keyboard Synthesizer
Kimberly Sparks - Audio Production Assistant, MIDI Violin
Shawn Sprouse - Keyboard Synthesizer
Allan Turner - Keyboard Synthesizer, MIDI Mallet Kat

PROGRAM

1. Improvisation (by John Hildreth)
2. Come Sunday (by Duke Ellington, arr. by Lief Ellis)
3. Big Fair (by Bela Bartok, arr. by Daniel Lee)
4. Blue In Green (by Miles Davis, arr. by John Hildreth)
5. When I Look Into Your Eyes (by Peter Pohorence)
6. Afro-Cuban Lullaby (Anonymous, arr. by John Hildreth)
7. Whisper Loudly (by Kevin Jones)
8. Duet (by Luke Powell)
9. The Bonny Swans (Scottish folk ballad, as recorded by Loreena McKennit, arr. by Alan Parker and Shawn Sprouse)
10. Larks Tongues in Aspic (Part II) (by Robert Fripp, arr. by John Hildreth)

NOTES

1. Improvisation - this chart was written for the ensemble during the Fall 2000 semester. Harmonic and rhythmic grounding are provided by the keyboard, drum machine and electric bass. This repeating figure consists of a 0-2-7 pitch set sounded over a broken 0-1-7 pitch set, both of which are transposed throughout the piece. Solos by Allan Turner, Carson Graham, Peter Pohorence and Peter Schagel are featured.

2. Come Sunday* - Lief Ellis performs his own arrangement for electric guitar, digital effects and synthesizer of this classic tune by Duke Ellington. Peter Schlagel accompanies on keyboard synthesizer.

3. Big Fair* - this innovative piece consists of music by Bela Bartok written into a jazz arrangement. The introduction leads into Bartok's original figure, after which a chord comp (based on the preceding music) ensues. Solos by Lief Ellis, Luke Powell, and Shawn Sprouse are featured.

4. Blue in Green - Miles Davis' classic tune is performed this evening in an atmospheric setting. A lone keyboard provides the chordal changes, and is accompanied by sparse, incidental electronic percussion. Solos by Lief Ellis, Luke Powell, Sara Campbell and Daniel Lee are featured.

5. When I Look Into Your Eyes* - Sara Campbell and Peter Schlagel perform this piece for soprano, tenor and tape, composed and directed by Graduate Fellow Peter Pohorence. This piece is the final movement in a short song cycle about dreamscapes. This movement represents the final resting moments of the night when consciousness and closure repel the nightmares of the earlier slumber.

6. Afro-Cuban Lullaby - anonymously composed, this delicate piece was arranged from a hand-written guitar score (which was arranged by Cuban guitarist Leo Brouwer). The entire ensemble is featured in this performance.

7. Whisper Loudly* - written by Kevin Jones, this piece contains a mixture of classical and contemporary rock composition. The regular, driving rhythm of the first half is balanced by the compound and asymmetrical rhythmic figures of the second half.

8. Duet* - originally written for violoncello and double bass, this piece by composer Luke Powell is performed this evening on Electronic Wind Controller ('cello) and 6-string Electric Bass (double bass).

9. The Bonny Swans* - this arrangement is based on Celtic performer Loreena McKennit's version of the Scottish folk song "The Swan Swims Bonnie (Two Sisters)," and is performed this evening with lead vocals by Sara Campbell in an arrangement by Allan Turner and Shawn Sprouse. Solos by Kevin Jones and Luke Powell are featured.

10. Larks Tongues in Aspic (Part II) - this eclectic piece of 1970's avant-garde rock music (taken from the 1972 King Crimson album of the same name) features a performance by the entire ensemble. The 5/4 time signature holds firm for the bulk of the piece, from the A section's driving dissonance to the B section's melodic counter to it. British Guitarist/Composer Robert Fripp makes use of tritones and quasi-minimalist repetition in this piece, as the tritonic dissonance of the A section is balanced by the more consonant, triadic nature of the B section, all of which culminate in an improvisatory climax.