Seattle Concert

So the premiere of aiOrb pljectanes took place in Seattle WA on Monday May 22 20067:30 PM on a concert subtitled "New Music for a New Era." Very fitting. The concert contained 5 new works, that's all and it was a mix that is reflective of this era in time, it had some more conservative backward looking or referencing if you like works and some works that were looking forward. Overall the performance of aiOrb pljectanes was satisfying. At this concert I was able to completely forget my intimate relationship with my piece and hear it as I would hear any other piece, ie a series of sounds and stage movements. There are some things that the composer of this piece did that I take issue with, I found them dull. Fortunately I have the score and will make changes. Brian Chin, the trumpeter who commissioned the piece is going to be making a professional recording this summer so we should have the whole thing tightened up by then. As the person who wrote it I was wanting of more rehearsal (I think that is always the case) as this piece necessitates a high level of interplay among the musicians and there was just not enough time to work that out. Also, it is very subtle and demands a lot in the way of concentration and that needs rehearsal, sort of like Feldmans music. I think of Bob Cogan telling me about a piece by John Cage where-in the performer has instructions as to how often and how to practice a piece in order to perform it. That idea of prescribing rehearsal and practice seems rather inviting, yet a bit much. I like the idea in that it forces the performer to live with the sounds of the piece a certain amount of time and therefore to attain a certain level of intimacy. I dislike that it is prescriptive, in fact it dictates. That is not the way I like to work.

There is no audio yet, but when I receive the concert recording I will post it on my website.
In the mean time here are the program notes....

Program Notes
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aiOrb pljectanes :: 2006
The inspiration for this composition came from contemplation of the different types of engagement that we are capable of as humans. For instance, a person can sit in a busy cafe with a flurry of sounds: the clinking china, the droning television or background music, the twenty or so conversations occurring, and the steam wands of espresso machines. Amid all of this, humans have the ability to contemplate and dwell undisturbed, effectively not listening, except when their name is called from across the cafe. While in sharp contrast, a human can sit in their otherwise silent home and be disturbed by the subtle hum of a light bulb. This illustrates the great range of engagement in listening.

The broad and somewhat predictable evolution of sound in this composition is intended to present a space in which the listener can contemplate the subtle shifts in the sounds that are presented. In removing the high energy drive of rapidly shifting sounds, the listener is free to contemplate and connect the various sound events that occur into a fabric derived from his or her own relationship to the sounds. This space allows the listener to think about the sounds as well as the type of listening that is occurring.

Christopher Jette 2006


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Finally my frined Arnie came down from Anchorage AK to hear this and here is a snipet of what he had to say.....

All I can say right now is that I enjoyed it. To be honest with you I have the same experience I had when I first heard the english language spoken by a bunch of people.
I felt very intrigued and curious .... anxious to be able to communicate in the language, at least to understand it first... I hope you know what I'm trying to say here....