Persistent Memories
The tape accompaniment for the first section surrounds the soloist with a surreal sonic environment where familiar sounds are stretched and distorted without quite losing their sonic identity. Though it was not initally a deliberate attempt at representation, this section brings to my mind Salvador Dali's famous painting, The Persistence of Memory, with its bleak forlorn landscape and drooping watches.
Lost in the Funhouse
Since I've begun borrowing titles, I'll borrow this one from American author John Barth. Again the composition was not intended to depict any particular storyline, but I find some intriguing connections to the images conjured up by the title. the section begins with the soloist in a hall of mirrors, accompanied by natural instrumental sounds. Soon, bent and warped images of these sounds begin to appear, as in a funhouse mirror. Eventually the humorous tone of the section's opening gives way to melodrama, ending with references to the opening of the work. Listeners familiar with the pointillistic, post-Webern music of the late-1940's and 1950's may find other connections that can be made between title and music.
Close Encounters
The third section, while containing some references to the first, has gone beyond the surreal, becoming more "otherworldly" in quality. The soloist is called upon to participate in creating this otherworldly landscape by playing various special effects rather than melodies. The cadenza and interlude suggest no programmatic subtext and thus have no subtitles.
Rappin' with Diz and Bird
The "landscape" here is decidedly urban. All references to various popular music influences are deliberate and intended (I think!). --Mark Philips
Sonic Landscapes
Mark Phillips
MMB Music Written for Thomas Gallant (1989)
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