THREE ORCHESTRAS (GTM) 1998 COMPOSITION NO-219 + NO-221 + (LANG-MUSIC) FOR THREE SHIFTING ORCHESTRAS AND SIX SOLOISTS
Conductors: Chris Jonas, James Fei, Jackson Moore
Blackboard Strategies: Anthony Braxton
Three Orchestra (GTM) 1998 is a recorded document of an ongoing experience from the CONTINUOUS STATE (layered) music strategies (ground floor) of the Tri-Centric Thought-Unit music System (the “Shala” experiences). This recording is an example of the ongoing explorative possibilities of a “fresh” “circle-house” music design-strategy, and this discovery has also expanded the last forty years of my compositional materials and unified music system (integrated materials) connections and techniques. Starting from a “directed” time point activation, suddenly a TRI-RING music world has come into manifestation. The concept of three in this context emphasizes the inner-core of an area-space as the most basic synergy-unit of the music. What we have here is a system of diffusion and de-construction that gives insight into the extended implications of “circle- house music” making – as a structural template directive and as a three-dimensional encounter adventure. In the beginning, the idea was to experience the “inward music” of the “esoteric- circle” – from an individual perspective to a world-inclusive perspective (apparition). Later, an expansion would detail both polarity and imbalanced “experiences” that called for investigation on its own plane (as a conceptual challenge unique unto itself- separate from the composite system). This project is about the inner unity–points of a tri-space – as a quality of structural space design, movement and radiance. With this project I am looking for an experience that contains a) target options b) polarity options c) and transverse-experience options that give the possibility to “kick it about” (or fulfill the opportunities inherent in “a particular tri-space” configuration). After all, it all started with a “dance in a circle”. This music experience demonstrates the kind of multiple occurrences that takes place in real life. In the end, I am looking for a way to exploit the positive potential of circumstance whenever possible. My hope here is to carry on the challenge of community experiences that allow for positive interaction between all members of a given area-space. With this recording project a community of three orchestras come together to execute a “composite experience” (holistic-experience) that accentuates the “vibrational complexion” of a given area-space encounter. The concept of three independent orchestras in this context provides a grid to “peel” open the fabric of a democratic “ONENESS”. Species one structural material in this context is used as a template to define “multiple intentions” in a “transpositional” parameter space that is multi- hierarchical (and ready to adjust and react). With this system-prototype feature, I wanted to create a radiant sonic universe (environment) that presented “fixed” elements in a “defined” sound world that reflects a wealth of real time decisions and positive invention (application). The idea here is for the music to strip away “surface- time recognition” that celebrate “perceived-linearities” and direct our attention instead to the internal tributaries of “deeper processes”.
This release “THREE ORCHESTRAS (GTM) 1998″ is a combination-system project from the GTM structural template group of musics. In this performance there are three primary structures and three neighborhood secondary structures that are implanted into the forward space of the music to produce a multiple three-dimensional sonic environment for the friendly experiencer. Composition NO-219 + NO-221 + (LANG- MUSIC) was among the first of the “TRI-CIRCLE HOUSE” music strategy experiences – and this work would also be the beginning of the” THREE-RING” structural template opportunities that extended into the later concept of the sonicgenome. As for the collapse of “composite synchronicity”(?) this process is akin to the opening of a “layer” of sonic-surfaces to get to the essential core of the music/experience. In the beginning of this performance designated soloists move from orchestra to orchestra like explorers traveling through out the solar system or perceived manifested- TRI-universe. Later the composite orchestra musicians would have the same opportunity to travel through the performance space – and change orchestra allegiance whenever desired – suddenly everything is in motion.
|Recording Date||Apr 18, 1998|
|Location||Wesleyan University, Middletown, CT|
Chris Jonas: Conductor
Composition No. 219 + No. 221 + (Lang-Music) Part II by Anthony Braxton [53:06]
Recorded by Jon Rosenberg.