David Rosenboom - In the Beginning | New World Records NW80735

David Rosenboom - In the Beginning

£25.43

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Label: New World Records

Cat No: NW80735

Format: CD

Number of Discs: 2

Release Date: 14th January 2013

Contents

Artists

Mike Svoboda (trombone)
William Winant (percussion)
Erika Duke-Kirkpatrick (cello)
Aniela Perry (cello)
Derek Stein (cello)
April Guthrie (cello)
Jane Grothe (harp)
David Rosenboom (piano)
Amy Tatum (flute)
Claire Chenette (oboe)
Andrew Leonard (clarinet)
Briana Lehman (bassoon)
Daniel Rosenboom (trumpet)
Marissa Benedict (trumpet)
Steven Suminsky (trombone)
Doug Tornquist (tuba)
Danny Holt (piano)
Richard Valitutto (piano)
Nicholas Terry (percussion)
Matthew Cook (percussion)
Andrew Tholl (violin)
Mark Menzies (viola)
Derek Stein (cello)
Maggie Hasspacher (double bass)
Midnight Winds

Conductor

David Rosenboom

Works

Rosenboom, David

In the Beginning

Artists

Mike Svoboda (trombone)
William Winant (percussion)
Erika Duke-Kirkpatrick (cello)
Aniela Perry (cello)
Derek Stein (cello)
April Guthrie (cello)
Jane Grothe (harp)
David Rosenboom (piano)
Amy Tatum (flute)
Claire Chenette (oboe)
Andrew Leonard (clarinet)
Briana Lehman (bassoon)
Daniel Rosenboom (trumpet)
Marissa Benedict (trumpet)
Steven Suminsky (trombone)
Doug Tornquist (tuba)
Danny Holt (piano)
Richard Valitutto (piano)
Nicholas Terry (percussion)
Matthew Cook (percussion)
Andrew Tholl (violin)
Mark Menzies (viola)
Derek Stein (cello)
Maggie Hasspacher (double bass)
Midnight Winds

Conductor

David Rosenboom

About

David Rosenboom (b. 1947) is a composer/performer known as a pioneer in American experimental music. This series of eight works, created between 1978 and 1981 and presented on these discs in chronological order of their composition, demonstrate a remarkable extension of Rosenboom’s techniques from his …Plymouth Rock… series of 1969–71 using the harmonic and sub-harmonic series.

The In the Beginning series exemplifies the idea of model-building as a compositional process. A simple process is defined, and is carried out rigorously at as many different levels of the music as possible, producing a complexity from simple elements that can be felt, somehow, while moving one’s attention freely from its micro to macro levels, and everywhere else between. The composer plays inside it, using it freely, stretching it into different forms. The play one experiences in hearing the work is a reflection of the purposeful play that went into its creation.

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