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SOCIETY OF COMPOSERS, INC
"Transcendencies"


Cover Design: Gerald Warfield & Richard Brooks

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Catalog Number: CPS-8656
Audio Format: Stereo, DDD
Playing Time: 71:16
Release Date: 1998

Track Listing & Audio Samples
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Jack Fortner
1. Symphonies (20:23)
Filarmonia de Stat Transylvania (Cluj-Napoca, Romania)
Jack Fortner, conductor
Jonathan Sheffer
2. Concerto for Soprano Saxophone and Orchestra (16:01)
Swedish Radio Symphony Orchestra
Petter Sundkvist, conductor
Anders Paulsson, soprano saxophone
Ann S. Hankinson
3. light/shadow (7:47)
Arctic Chamber Orchestra
Madeline F. Schatz, conductor
Morris Moshe Cotel
4. Five Quatrains (5:24)
Lucy Chang, flute
Rié Suzuki, clarinet
Thomas Bithel, trumpet
Kevin Winkler, celesta
Victoria Chiang, viola
Thomas Kraines, cello
James Neng-Hsien Ho
5. Bon (5:32)
Cheng-Mei Sun, violin
Wei-Te Sung, clarinet
Chin-I Lee, bassoon
Chung-Sheng Chen, trombone
Chia-Ho Lee, harp
Bor-Tsen Yeh & Li-Chen Wu, percussion
Hwei-Ming Two, conductor
Carlos Sanchez-Gutierrez
6.
M.E. in Memoriam (8:27)
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Princeton Composers Ensemble
Steven Mackey, director
Tara Helen O'Connor, flutes
Marianne Gythfeldt, clarinets
Sara Laimon, piano
Danny Tunick, vibraphone
John Ferrari, marimba
Christine Sohn & Jacquie Carrasco, violins
John Whitfield, cello
Michael Pratt, conductor
Zack Browning
7. Breakpoint Screamer (7:01)
Michael Ewald, trumpet I
Sal Percoco, trumpet II
Carlos Saenz, trumpet III
James Zingara, trumpet IV
Kevin Vox, trumpet V
Zack Browning, conductor

 

All Recordings by the
Society of Composers, Inc.

Mélange CPS-8755
Mood Shifts CPS-8748
Soundscapes CPS-8741
Cornucopia CPS-8725
Sonic Images CPS-8712
Milestones CPS-8701
Inspirations CPS-8690
Cultivated Choruses CPS-8674
Inner Visions CPS-8670
Connections CPS-8660
Transcendencies CPS-8656
Chamber Works CPS-8651
Illuminations CPS-8643
Grand Designs CPS-8639
Intimate Thoughts CPS-8632
Evocations CPS-8631
Extended Resources CPS-8626
Songfest CPS-8618
Contra-Punctus CPS-8615
America Sings! CPS-8613
Potpourri CPS-8609
View from the Keyboard CPS-8606


Related Links
Society of Composers, Inc.

 

Reviews

Fanfare - March/April 1999 - by John Story

"Stories is the third of a series of works for solo performer and electronics by Michael Kallstrom. The present work is described as "a chamber opera for solo performer with puppets and electronic tape based on old testament stories from the King James bible with original texts by the composer…. The texts tend to be a combination of more or less conventional narrative with segments using a more contemporary vernacular to portray individual moments, such as the voice of God in Forbidden Fruit, about the fall of Adam and Eve. Musically, Kallstrom uses a kind of vaguely melismatic recitative with a pop-oriented accompaniment interspersed with more-or-less pop songs. Obviously the visual component is missing here, but it is hard to imagine the visual that would make an unrelieved hour of Kallstrom's wavery voice and mushy diction in the very unadventurous musical context a bearable experience.

The combination of classically trained voice and electronics has been used to exquisite effect by Milton Babbitt and Kaija Saariaho in works written for Bethany Beardslee and Dawn Upshaw respectively. From the popular side of the aisle, one immediately thinks of such theatrical works as United States and Empty Spaces by Laurie Anderson. I saw the latter (it uses about half the songs from Anderson's Strange Angels CD) in what was one of the more astonishing evenings I have ever spent in the theater. I am also reminded of a contemporary Ordu Virtuum, with synthesizers instead of hurdy-gurdies as the accompaniment. How effective Stories would be with another vocalist is an open question. Much of the music is attractive, although some of the text work, such as the battle between David and Goliath as a battle of high versus low culture, is incredibly precious. One has to assume that the present recording is a complete reflection of the composer's wishes.

To judge from the notes, the work has been successfully presented all over the country, so perhaps this is best thought of as a repeatable version of a hopefully pleasant memory of an evening spent in the theater, much as one would buy a movie or show recording. Not having seen the work in the flesh I will pass."