Instrumental Music Sampling
Peter Gena
For Morton Feldman (1988), piano solo.Score
before Venice (1982), piano solo. Score
Beethoven in SoHo (1980), 2 pianos and electric bass.Score
I believe that Beethoven, if he were alive today, would have a loft in lower Manhattan rather than a high-rise apartment on Riverside Drive or West End Avenue.
-- Peter Gena, from program notes for the catalog to New Music America ‘81, San Francisco.
It was in the early 1970s, during a graduate class taught by Lejaren Hiller, that we applied information theory to music vis-à-vis entropy and redundancy. Back then in our circle, two recent books, Information theory and Esthetic Perception (Abraham Moles, 1966), and On Human Communication (Colin Cherry, 1957, 1966) were quite the rage. As an illustration of musical redundancy, I was asked to go through Beethoven’s Piano Sonata No. 10, Op. 31 #3 and edit out repeated (i.e., redundant) phrases and sequences. The result was a score with less than half of the original pages. Years later, I became intrigued by the idea of emphasizing redundancy as a catalyst for focusing attention.
Beethoven in SoHo, uses relevant surface material from the last movement of his Piano Sonata, Op. 54. I tried to fuse my ongoing interest in sound-continuum with the gradual unfolding of melodic and rhythmic events that existed inherently in the order of repeated fragments. Hence, while the original material approaches abstraction, the perception of form emanates as a product of process.
Stabiles, First Clone (1978), ensemble. Score
Valse (1977), piano solo, for The Waltz Project[C.F. Peters]. Nonesuch Records #D79011 | First Page | NYC Ballet|
Stabiles (1976), piano solo. Score | YouTube (Iris Gerber, piano)