20231003_Discovery Days

Introduction

THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC

Feminism, World Literature, and Film

INNOVATION AND THE ARTS Scholarship-Performance-Creativity

Tuesday, October 3, 2023

7:00 p.m.

Opperman Music Hall

A conversation about Music and Math

Iain Quinn

Robin Goodman

Paolo Aluffi Clifton Callender

“Liszt” from à la manière de... (2018) Clifton Callender

Minyoung Rho, piano

Metamorphoses (2007)

Evan Jones, cello

Clifton Callender

Please be advised: This section of the program uses lighting effects that may be disturbing to individuals with light sensitivities.

Lattice Scattering (2018) for flute, piano and electronics

Keith Roberson, animated visualizations

Rachael Lawson, flute; Oliver Schoonover, piano

Asansör Asimptotu (2020) for stereo loudspeakers

Keith Roberson, animated visualizations

Eren Gümrükçüoğlu

Eren Gümrükçüoğlu

To a Poet Living Two Billion Years From Now

To Ensure An Enjoyable Concert Experience For All…

Please refrain from talking, entering, or exiting during performances. Food and drink are prohibited in all concert halls. Recording or broadcasting of the concert by any means, including the use of digital cameras, cell phones, or other devices is expressly forbidden. Please deactivate all portable electronic devices including watches, cell phones, pagers, hand-held gaming devices or other electronic equipment that may distract the audience or performers.

Florida State University provides accommodations for persons with disabilities. Please notify the College of Music at (850) 644-3424 at least five working days prior to a musical event to request accommodation for disability or alternative program format.

NOTES ON THE PROGRAM

Callender:

“Liszt” from à la manière de...

In each of the preludes of á la maniére de... some aspect of a composer’s style, technique, or even specific fragments form the basis for my own work. The preludes were not intended to be stylistic exercises or parodies, but rather opportunities to explore without inhibition elements (latently) present in my own voice. The pianistic technique of fast repeated notes, featured in Liszt’s La Campanella and many other works in the repertoire, is an obvious source of inspiration and point of departure for the final prelude. In “Liszt” these high repeated notes are gradually absorbed into an expanding and accelerating chaconne, encompassing the entire range of the piano before collapsing onto the lowest note with repeated, furious hammering.

Callender: Metamorphoses

Metamorphoses is a three-part canon for solo cello and real-time computer-assisted delay that explores the simultaneous presentation of multiple independent accelerandos and ritardandos. The solo cello and two “virtual” cellos begin at the same time and in the same tempo, M.M. = 120. The virtual cellos gradually slow to tempos of M.M. = 114 2/3 and M.M. = 109 1/3 over the course of the first 90 seconds. Reversing this process, the virtual cellos return to their original tempos three minutes into the piece but lagging behind the solo cello by four and eight beats. The second half of the piece inverts this process with the virtual cellos accelerating to tempos of M.M. = 126 2/5 and M.M. = 132 4/5 before returning to M.M. = 120. The piece concludes with all three voices converging on melodic and rhythmic unisons. Metamorphoses was premiered by Evan Jones. My thanks to both Evan and Craig Hultgren for their expert cello advice.

Gümrükçüoğlu: Lattice Scattering

Atoms, or smaller particles, are naturally lined up in a crystal formation (lattice). Light waves are sent towards this lattice to find out how the light bounces off and scatters. By analyzing the patterns and shapes this scattering creates, one can learn about the geometry of the lattice, and thereby the structure of the matter in question. This is a procedure which is frequently done when engineers want to test a new material for an industrial design. If the wavelength of the light is larger than the space between the lattice points, there will be no interaction and the light wave will just pass through (silence). However, if the wavelength is just right, there will be reactionary oscillations, which will create ‘phonon scattering’ (sound).

Gümrükçüoğlu: Asansör Asimptotu

This acousmatic work was constructed via a technique called “granular sampling” where a recording is taken and sliced into its smallest constituents (snippets of audio that are shorter than a fraction of a second a.k.a. microsound). The recording that is used in this piece comes from a singular source: the Duke University Department of Music elevator. The piece imagines a highly industrial, non-human environment where robust and functional machinery/ circuitry gradually breaks down and leaves the audience with a post-apocalyptic sonic environment symbolized by sounds characterizing radioactive decay.