COMPOSITIONS 1963-1970
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Two Short Electronic Organ Pieces (1969)
Vox electronic organ and Neurona Omnivoila voltage controlled frequency dividers.
Recorded in the composer’s studio, New York.
B.C.—A.D. I (The Moon Landing) (1969)
With Salvatore Martirano; live electronic music with custom–made systems. B.C.—A.D. I (The Moon Landing) was released as a part of Roundup Two, Selected Music with Electro-Acoustic Landscapes on Art Into Life.
ART INTO LIFE
Body Music (1969)
Electronic sounds presented with slides.
Recorded in the composer’s studio, New York.
How Much Better if Plymouth Rock Had Landed on the Pilgrims (1969-1971)
Nine sections with gradual process melodic, rhythmic, and harmonic materials for creatively constituted variable ensembles, which may include keyboards, plucked or percussion instruments, instruments in Just intonation, winds, brass, strings, computer assisted electronic or electro acoustic instruments, birds, outdoor environments, and more.
Some of the scored materials are included in Music for Keyboard Instruments and Improvisation Groups, Frog Peak Music, Hanover, NH, a recording of one section released on Rosenboom and Buchla: Collaboration in Performance, 1750 Arch Records, S–1774, Berkeley, CA, 1978, LP; a complete recording of all nine sections released by New World Records, 80689-2, New York, 2009, dual-CD.
FROG PEAK MUSIC | NEW WORLD RECORDS
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Music for the Play, Ubu Roi (1968)
Live electronics with analog computer synthesis.
Made for a production of Alfred Jarry’s play, directed by Harold Wicke at the State University of New York at Buffalo. Music for the Play, Ubu Roi was released as a part of Roundup Two, Selected Music with Electro-Acoustic Landscapes on Art Into Life.
ART INTO LIFE
Music for Analog Computers: Music for Unstable Circuits (1968)
A collection of live electronic music synthesis, made with analog computers and chaotic, unstable circuits built and/or invented by Rosenboom to explore ideas about instability,
Recorded in the composer’s studio in New York, various versions have been released as Music for Unstable Circuits (+Drums) on Roundup: A Live Electro–acoustic Retrospective (1968–1984), Slowscan Editions, Vol. 7, 's–Hertogenbosch, Holland, 1987, [cassette]; Music for Unstable Circuits (+Drums+Trumpet) on Daniel Rosenboom's Bloodier, Mean Son, Nine Winds Records, Los Angeles, 2005, [CD]; and on Roundup Two, Selected Music with Electro-Acoustic Landscapes (1968-1984), Art Into Life, Japan, 2012, [2-CD set]. Music for Unstable Circuits (+Piano) appears on Deviant Resonances.
ART INTO LIFE
Photo: David Rosenboom
mississippippississim (1968)
Setting of the poem by Emmett Williams for 32 players who both speak and play clavés, optional recorded sound environment, and conductor.
In Collected Scores, Frog Peak Music, Hanover, NH
FROG PEAK MUSIC
She Loves Me, She Loves Me Not, . . . (1968)
A ritualistic theater piece involving four–channels of recorded electronic sound made with analog computer synthesis, spoken text, a ceremonial light distribution system originally realized with fiber optics and light source controllers responding to sound amplitudes, two slide projectors, one overhead projector, two musician–mimes each using two Superball mallets with contact microphones attached and a piano with lid removed, sound from the contact mikes fed back to speaker(s) placed under the piano, several percussionists with an array of instruments specified by type and arranged so as to outline a percussion village, and a Witch Doctor figure who’s part is displayed on the overhead projector.
In Collected Scores, Frog Peak Music, Hanover, NH
FROG PEAK MUSIC
And Come Up Dripping (1968)
For oboe soloist and electronics originally realized with analog computer signal processing and multi–channel tape delay system; alternative versions have been realized by means of digital signal processing with computer software, and an alternative version has been made for vocal soloist and electronics.
Originally published in Source, Issue No. 6, Composer/Performer Edition, Sacramento, CA, also included in Collected Scores, Frog Peak Music, Hanover, NH; first recording with Lawrence Singer, oboe, released on Roundup: A Live Electro–acoustic Retrospective (1968–1984), Slowscan Editions, Vol. 7, 's–Hertogenbosch, Holland, 1987, cassette; second recording utilizing digital signal processing with oboist, Libby Van Cleve, made to accompany her book on extended oboe techniques, Oboe Unbound, Scarecrow Press/Rowman & Littlefield, Lanham, MD, 2004, CD; excerpt of first recording used by Triton Records for inclusion in Growing With Music, Vol. 8, Wilson, H.R., et. al., also includes score excerpt, Prentice–Hall, Inc., Englewood Cliffs, NJ, 1972, book with record. A new re-mastered version of Libby Van Cleve's recording is included in the CD, Life Field—Retrospective Selections 1964-2004 from the Tzadik label.
FROG PEAK MUSIC | ROWMAN & LITTLEFIELD | TZADIK | LIFE FIELD
City Mix (1968)
Analog computer synthesis.
Recorded in the composer’s studio, New York.
To Whom It May Concern (1967)
With William Youhass, any number of players, narrator, conductor, electronic tape; absurdist music performance collage with continuous endings.
To That Predestined Dancing Place (1967)
In three movements for percussion quartet with theatrical elements.
Seesaw Music Corp., New York, and in Collected Scores, Frog Peak Music, Hanover, NH. Also try Subito Music Online Store link below. (Beware when searching, composer's name is misspelled by Seesaw and Subito with an extra "l" as Rosenb(l)oom.)
FROG PEAK MUSIC | SUBITO MUSIC ONLINE STORE
The Brandy of the Damned (1967)
Solo improvisational theater piece with electronic tape.
Then We Wound Through An Aura of Golden Yellow Gauze (1967)
A 36-inch diameter circular score with constellations of graphics figures and a transparent overlay that can be rotated giving road maps for various ways to traverse the configuration space of symbols; instructions and dictionaries for interpreting the symbols have been written for flute, trombone, electric guitar, percussion, and piano/electric harpsichord; other versions can be constructed for different ensembles; texts in several sections for two actresses, accompanied by rules for traveling through the symbols corresponding to each section, are included; alternative versions with or without the texts may be arranged. Reduced-size score with instructions is included in the book, Collected Scores, (Hanover, NH: Frog Peak Music).
The work was written for musicians at the Center for Creative and Performing Arts in the State University of New York at Buffalo, who premiered it at the Albright Knox Art Gallery in Buffalo and at Carnegie Recital in New York City. The PHOTO below shows the late composer, William Duckworth (holding trombone) leading his group in a performance of the piece, probably at Bucknell University in the early 1970s. Duckworth and Rosenboom studied at the University of Illinois in Urbana-Champaign during overlapping periods of the 1960s. [Click on photo to see full frame.]
FROG PEAK MUSIC
Photo courtesy of William Duckworth
Electrovoice (1967)
One performer, electrodynamic speaker, 110 volts AC; absurdist gesture about electronic sound.
Telluspeep (1967-1968)
Analog synthesis and tape collage.
Recorded in the Experimental Music Studio at the University of Illinois, Urbana.
Caliban Upon Setebos (after Robert Browning) (1966)
For chamber orchestra (flute, flute/piccolo, oboe, English horn, clarinet, alto saxophone, bass clarinet, bassoon, 2 French horns, trumpet, cornet, tenor trombone, bass trombone, timpani, percussion, piano, strings).
Seesaw Music Corp., New York and in Collected Scores, Frog Peak Music, Hanover, NH. Also try Subito Music Online Store link below.
FROG PEAK MUSIC | SUBITO MUSIC ONLINE STORE
Chart Pieces (1966)
Several pages of graphic scores for any large or small instrumental group, in Collected Scores.
Frog Peak Music, Hanover, NH.
FROG PEAK MUSIC
A Precipice In Time (1966)
For two percussionists, with a doubled trio of piano–celeste, alto saxophone, and cello parts, four–channel sound rotator with speakers around the audience, and the doubled trio realized either by pre–recording the doubled parts using a second remotely located trio with microphones, or by digitally re–synthesizing the instruments; can be performed by five players with optional conductor; players read from score.
Frog Peak Music, Hanover, NH; recorded in the Center for Contemporary Music at Mills College and released on The Virtuoso in the Computer Age, Centaur Records, Inc., Consortium to Distribute Computer Music Series, Vol. 10, CRC 2110, , Baton Rouge, LA, 1991, CD
Internals (1966)
Analog synthesis and tape manipulation.
Recorded in the Experimental Music Studio at the University of Illinois, Urbana.
Pocket Pieces (1966)
Three movements for flute, alto saxophone, viola, and percussion.
Seesaw Music Corp., New York, and in Collected Scores, Frog Peak Music, Hanover, NH. A new recording is included on the CD Life Field—Retrospective Selections 1964-2004 from the Tzadik label. Also try Subito Music Online Store link below for the score.
FROG PEAK MUSIC | TZADIK | LIFE FIELD | SUBITO MUSIC ONLINE STORE
Trio (1966)
Short piece for clarinet, trumpet, and contrabass.
Seesaw Music Corp., New York, and in Collected Scores, Frog Peak Music, Hanover, NH. Also try Subito Music Online Store link below.
FROG PEAK MUSIC | SUBITO MUSIC ONLINE STORE
Prelude and Dance Fantastique (1965)
For symphonic band, intermediate to advanced level, from Youthful Music Series.
Movement for Two Pianos (1965)
Advanced level, from Youthful Music Series, in Music for Keyboard Instruments and Improvisation Groups.
Frog Peak Music, Hanover, NH.
FROG PEAK MUSIC
Sextet (1965)
Five movements for string quartet, flute, and bassoon, advanced level, from Youthful Music Series.
Dances (1965)
One–page score for jazz or improvisation ensemble, in Collected Scores, Frog Peak Music, Hanover, NH.
FROG PEAK MUSIC
Untitled Little Piano Piece (1965)
Relatively easy level, from Youthful Music Series.
Frog Peak Music, Hanover, NH.
FROG PEAK MUSIC
Six Pieces for Piano (1964)
Six short pieces for piano solo.
Six Pieces for Piano is a set of short, lively and subtle pianistic statements, written during six days in July 1964 at the Interlochen Center for the Arts, Interlochen, Michigan. They may be played as a set or separately or in any combination.
Septet (1964)
For trumpet, French horn, trombone, violin(s), viola(s), cello(s), piano, intermediate level, from Youthful Music Series.
Twelve Stories High (1964)
For jazz band (4 trumpets, 4 trombones, 5 saxophones, rhythm section), easy to intermediate level, from Youthful Music Series.
Continental Divide (1964)
The original 1964 hand copied version that was one answer to the compositional koan, "How long can I take to resolve a tritone?" and a later 2001 scoring for chamber orchestra.
Continental Divide (1964) and (2001) is cyclical, gradual process music for variable ensembles in two versions: 1) the original single–page score for keyboard(s) and/or mallet percussion and 2) an arrangement for chamber orchestra with flexibility in the numbers of winds, brass, keyboards/percussion, and strings, and with the addition of a brass choir that articulates the harmonic resonances emerging as the opening tritone of the piece slowly finds its pathway to resolution at the end. The original score was included in the book, Pieces, An Anthology, edited and published by Michael Byron and A.R.C. Publications, Toronto and Vancouver, 1975 and 1976. A new recording for pianos, mallet instruments and brass ensemble is due to be released on a CD from Tzadik in 2012.
TZADIK
Contrasts for Violin and Orchestra (1963)
Contrasts for Violin and Orchestra (1963) two movements for solo violin and full orchestra, violin and piano version also available, intermediate to advanced level, from Youthful Music Series.