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Winenger's second digital composition for 60x60 Concerts is "Invention for Eight Virtual Guitars." Since it was originally improvised for the keyboard, it is being used as an etude in Winenger's "Functional Chromaticism for the Keyboard." It turned out to be an excellent demonstration of relative cadence and preparation. It has been arranged for keyboard and, although the digital version features eight guitars, it can be arranged for two or three guitars upon request.
Winenger's sudden interest in guitar has been suggested to be in response to his grandson's (Joseph Edge) talent with the guitar. Joseph is also writing compositions for guitar.
If you would like to audit a sample of "Invention for Eight Virtual Guitars," Click here.
Duration: 0:55 min. file size: 4.67 MB
Since git8a is a wav file, it may take a while to buffer. We have a MIDI version somewhere.
Winenger's recent digital composition, RND.SND.BAS, Extended Basic language for "Random Sound Basic," was given its New York City World Premier
Sunday November 2, 2003, UNDER St. Marks, 94 Saint Marks Place,
East Village, Manhattan, New York, USA. A CD of the concert is slated for release on Capstone Records.
RND.SND.BAS was then part of another program at
National University of Music of Bucharest, Romania, as part of a seminar of American Computer Music, Friday, November 21, 2003, at 4 p.m. A review of the performance in Romanian follows:
"Astfel, Dwight WINENGER (fondatorul Living Music Foundation) - in "RND.SND.BAS" - combina cu o remarcabila inventivitate sunetele pure generate de diferite instrumente de percutie."
You may audit RND.SND.BAS in mp3 format here. Duration 59.58 seconds. The introductory glissando and the theme of random notes was created by an original QBasic program written by the composer and was recorded directly from the sound card of his Tiger computer. The background "noise" is the cooling fan. Winenger isolated a motif from the random tones which continue as background for a MIDI development using TRAX and Yamaha CBX-T3 synthesizer. Finish editing was done on Microsoft Sound Recorder, and the resulting WAVE file was encoded/compressed to MP3 format using dbpoweramp: 10 MB to 932 KB.
Liana Alexandra, who is the Music Advisor for the Representative Military Orchestra of Romania in Bucharest, commissioned a work by Dwight Winenger for world premiere in the autumn of 2002. Winenger composed a score for full wind ensemble (band) based on a construction he had originated in 1996. Following are the program notes for the work, recently subtitled "Diplomacy of Terror":
(Dedicated to the Representative Military Orchestra of Romania
at the request of Liana Alexandra, Musical Advisor, for World Premiere
performance in Bucharest, Romania, October, 2002)
Somber Cotillion was originally conceived in 1996 for string orchestra at the approach of the time for the fulfillment of Nostradamus's prediction that there would be a fiery attack on New York City in 1999 by the third and most terrible of his three "antichrists," an Arab in a blue turban. The work was composed on Turbotrax as an example of a progression construction from Appendix D of "Functional Chromaticism for the Keyboard." The title refers to the rhythmic detachment of the piece. Its halting tempo reminds him of the mood of a strange formal dance. After September 11, 2001, the date of the actual attack on New York City by terrorists, the work took on special significance because the danger of world terrorism seemed to have been recognized, and many governments implemented cooperative efforts to meet the challenge to world security.
When Liana Alexandra approached the composer, suggesting that he compose a new work for the Representative Military Orchestra of Romania, the present work immediately came to mind because of its paramilitary associations.
Winenger intends the work as a comment on the strange diplomacy of terrorism, wherein various factions of world government attempt to reason with paramilitary organizations which appear to function on another level than reason. The composer envisions a formal dance with some participants dressed in black tie and others in battle fatigues. Some attempt to arrive at a coordinated pattern of operation, others purposely exert themselves to disrupt and avoid the dance, hiding behind pillars and overstuffed furniture, appearing to join in the affair only when flushed from their hiding places to quickly disappear again to plot their own agenda, a deadly dance of retaliation.
The composer is reminded of ancient writings which tell of a time when world powers will attempt to reach peaceful relations while, at the same time, pushing back and forth militarily, sitting at one table and lying to one another, not open to any real agreement. He is further reminded of assertions among these writings, one of which is inscribed on the wall of the United Nations Building in New York City, pointing forward to a time when the kings of earth will 'have to learn war no more.' An arresting aspect of the assertion is that the "kings" do not give up militarism willingly but are forced to do so by the universal sovereign who, at a time appointed by him, imposes order by destroying those who prefer to profit from chaos. Ironically, billions of people earth-wide pray for this cataclysmic event when they ask for God's will to be done on earth. The composer earnestly accedes to the intentions of this prayer and expresses its eventual fulfillment with the present work. Those who wish to learn details of the eventual outworkings of the present world circumstances may contact him at his web site. He has friends and acquaintances in 235 lands who are willing to personally discuss the matter with those who are interested.
Even though the world premiere was postponed because of the visit of George W. Bush, President of the United States, to Bucharest, Colonel Valentin Neacsu, Conductor of the Representative Military Orchestra, recorded two rehearsals of the work. With exceeding gratitude to Col. Neacsu and his orchestra and staff, we present here two sound clips from the Romanian performance:
Some more on Winenger's career - look in the last paragraph of the review below. A MIDI rendition of the work may be playing in the background. If not, you may refresh the page to hear it.
Hultgren uses novel cello to set surrealistic tone
MICHAEL HUEBNER News staff writer
Artburst's challenging season of cutting-edge music, dance and theater continued Sunday night at the Unitarian Universalist Church. Cellist Craig Hultgren, Birmingham's leading cultivator of new music, provided the acoustic and electronic instruments. Seven composers furnished the compositions, most of which were world premieres.
Hultgren has networked widely in his quest for innovative music, and for this concert he came up with some gems. Starting off with Robert Scott Thompson's"The Ninth Wave," Hultgren unveiled his new electronic cello a bodyless stick figure of an instrument that he used to great effect accompanying a bed of ghostly sound masses from the two speakers flanking him. Distant voices and seascapes echoed through the hall in a vaguely melodic, thoroughly engaging framework.
Romanian composer Serban Nichifor's "Hyxía" is steeped in ritual, the cello and vocals (the cellist is required to sing in Hebrew, Greek, Latin and English), successfully bridging Eastern orthodoxy and Western Christianity through an evocative array of pre-recorded sounds and cello harmonics. For "After Hours," Kurt Carpenter resurrected an analog tape piece from the days when Moog, Arp and Buchla synthesizers ruled the avant-garde, and wrote a cello part for it.
The juxtaposition of the live instrument with the synthesized whistles, bird calls and random bloops and bleeps worked surprisingly well. Hultgren mimicked, cajoled and otherwise provided a spirited accompaniment.
Matthew Marth's provocative "Waltzes for Capone," for cello and digital electronics, was the evening's most tantalizing and technically advanced composition. Crystalline bell tones and quotes from Strauss waltzes set the taped background for the work, which explored the warped psyche of the notorious gangster. The result was a surrealistic, sometimes naive and bizarre dialogue with the live instrument.
Of the three pieces for solo acoustic cello, two lacked the flare of the electronic works. The exception came from Dwight Winenger, whose Structural Variations on Two Obscure Themes delighted with its inventive and playful reminiscences on the Pink Panther theme and the hymn "Red and Yellow, Black and White."