gerelateerde werken

The wind, high : for bass-baritone, flute and vibraphone, 1994 / on a poem by Fernando Pessoa, translation: Jonathan Griffin, James Fulkerson

Genre: Vocaal
Subgenre: Zangstem en instrument(en)
Bezetting: bas-bar fl vibr

Imker II : (1996), version for alto clarinet and two soundtracks / Ton Bruynèl

Genre: Kamermuziek
Subgenre: Klarinet; Elektronica met verschillende instrumenten; Klarinet met multimedia
Bezetting: cl-a 2soundtracks

Blind boy Fuller : no. 1 (1966), revision (1968), for recorder (alto), piano, voice (facultative), a recording of "Thousand women blues" sung by Blind boy Fuller and recorded in Chicago 1940 / Jacques Bank

Genre: Kamermuziek
Subgenre: Blokfluit en toetsinstrument; Elektronica met verschillende instrumenten; Zangstem(men) en multimedia met of zonder instrument(en); Blokfluit en toetsinstrument met multimedia
Bezetting: (voice ad lib.) rec-a pf tape

Vorst aan de grond : (2000), for two carillons, ringing bells and two audio tracks / René Uijlenhoet

Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers); Elektronica met verschillende instrumenten; Gemengd ensemble (2-12 spelers) met multimedia
Bezetting: , for two carillons, ringing bells and two audio tracks

compositie

For Morty Feldman, II : for tuba solo and pre-recorded tape, 1991 / James Fulkerson

Auteur(s):
Fulkerson, James (Componist)
Toelichting:
Program note (English): This work is composed in two parts: the first for solo tuba, the second for tuba and pre-recorded tape. In section I, I have used a graphic notation which is derived from the semiotic poetry of the Brazilian poets Pinto and Pignatari. I have explored this approach to musical notation in two series of previous works: Patterns - a series of solo works (1971-1977) and Co-ordinative systems - a series of works for solo/ensemble works (1971-1976). This notation develops visual or non-verbal thinking, often presenting the interpreter with paradoxes or visual koans. The material which is to be played is not specified but the clarity of performance which the notation induces is indeed the 'composition.' It is an improvisational score but it is not an improvisation. Part II requires the player to make a pre-recorded tape so that the listener is hearing a tuba trio. Compositionally, the section is straightforward music-making. The concerns are with tone color, weight, line, and harmony
(mostly clusters). Sound masses float in space, are connected or not, evolve or remain static. It is the sound of the tuba. - JAMES FULKERSON