Inter - media

Updated 17 July 2017



FLiGHT (2012-2016) Trailer


Movement I Imagining, II Preparing, III Experiencing, and IV Perspective
String Quartet, A Montage of Texts Assembled by the Composer (pre-recorded and spatialized), centering on human aspirations for flight which span centuries and culture,
Reconfigurable projection modules, Real-time Algorithmic sound processing, Multichannel sound distribution
JACK Quartet
Ross Karre, Visual design, Paul Hembree, Audio design
Recorded speakers: Eva Barnes, Lowell Gaspar, Carla Harting, Jack Mikesell
Robert Castro, Direction




Shifting/Drifting (2015) Trailer


Solo Violin, Real-time algorithmic transformation
First performance; 25 September 2015
Videography and Trailer by Kyle Johnson





george WASHINGTON (2012-2013) 24' Complete


Orchestra, 3 Narrators, Video projection,
Real-time sound processing and spatialization
2 Fl (Picc), Al-fl, 2 Ob, Ca, 2 Cl, B-cl, Cbs-cl, 2 Bsn, Cbsn,
4 Hn, 3 Tpt, 2 Tbn, B-tbn, Tba, 3 Perc, Pf, Hp,
Strings in traditional 5 sections
Ross Karre, Videographer, Jaime Oliver, Computer Cues, Josef Kucera, Sound Design

Trailer for george WASHINGTON by Ross Karre





MARKed MUSIC (2013) Complete


MARKed Music by Roger Reynolds
Mark Dresser, contrabass and Paul Hembree, computer musician
Video by Ross Karre on 14 February 2013 at UCSD




PASSAGE 9:"Alliances, Realization, Benediction, The Sublime, The Space of Silence, Sharing, The Inexplicable, Anotherworldly Intersection, What Was Needed, Context or Features, Cross-Modality,
Obligation: A Meander" (2012-2013) Trailer


Videography and trailer by Kyle Johnson, Josef Kucera

Intermedia Performance
Texts and Narration: Roger Reynolds
Image preparation: Paul Hembree
Recording and editing of texts: Paul Hembree

On screen:
[Tadashi Suzuki’s production of Chekhov’s Ivanov (NHK recorded excerpt), Music by Roger Reynolds],
[MARKed MUSIC (excerpt) performed by Mark Dresser (Contrabass) and
Paul Hembree (Real-time algorithmic transformation)
Audio recording and editing: Michael Ricca
Editing: Ross Karre, Kyle Johnson, and Frankie Martin]


For inquiries regarding PASSAGE presentations, contact Gene Caprioglio at C.F. Peters Corp., NY




Passage 10:"Musings on “Good Lives”: Relationships, Sustenance, Aspirations –
Truth, Secrets, Boundaries, Purpose, Flight" (2013-2014) 58'53" Complete

VIEW UCSD-TV COMPLETE VIDEO of PASSAGE 10 by Roger Reynolds

Intermedia Performance
Narrated by Roger Reynolds
Montaged words of Reynolds, Lucretius, John Ashbery, Milan Kundera, Richard Wilbur, Emily Dickinson, Roberto Bolaño
Paul Hembree, Technical support, image preparation, text recording, spatialization

"In this series, eight of UC San Diego's finest teachers and scholars share their pursuit of 'The Good Life'."

For inquiries regarding PASSAGE presentations, contact Gene Caprioglio at C.F. Peters Corp., NY


JUSTICE (1999-2001) 48' Complete


Actress, Soprano, Percussion, Multichannel computer sound,
Real-time spatialization, Staging
Text: assembled by the composer from Aeschylus

The video can also be viewed on the Library of Congress Site:
Justice / Carmen Pelton [video recording]



PASSAGE 7: "John Cage – incidents, texts, conversations, and music" (2012)

Intermedia Performance by Roger Reynolds

ILLUMINATIONs 5, Intermedia Lecture Event, John Cage Centennial Festival Washington, DC
Performance date: 9 September 2012
Jenny Lin, Guest Pianist, SEASONS (excerpts), Quest (complete), and ONE (complete)
Jaime Oliver, Technical assistance
National Gallery of Art, East Building Auditorium
Washington, DC


Abstract
One in a series of intermedia creations by Roger Reynolds, this centers on a poetic American: John Cage as composer, writer, philosopher, visual artist, and performer. The presentation offers a personalized perspective on (and around) Cage and his work. Subjects for Reynolds’s texts include ENCOUNTERS (his first meeting with Cage), CHANCE AND INDETERMINACY (as manifested in life), SHARING (meals), THE SPACE OF SILENCE (doing an interview with Cage), CONTEXT OR FEATURES (an exploration of how musical experiences mean), and CHAGRIN (a detailed discussion of an interaction with Cage involving his “Themes and Variations” text). Also included are recorded passages from a conversation between Cage and Reynolds at the University of Toronto (on Duchamp, cooking, Thirty Pieces for Five Orchestras, and Cage’s view of his work), as well as some of the Indeterminacy stories as recorded by Cage. The texts are spatialized, both live and recorded readings, and are interpenetrated by projected images and also performances by pianist Jenny Lin of Cage’s SEASONS (excerpts), Quest (complete), and ONE (complete), the first of the late number pieces.

For inquiries regarding PASSAGE presentations, contact Gene Caprioglio at C.F. Peters Corp., NY