2 (2000) for Abbie Conant 7:00
Program notes by Maggi Payne
writing this multi-track work for trombone I could not help but to
the tie-ins to my work of 27 years prior, HUM.
That work is scored
one live flutist and six taped flute parts (although it could be
live with seven performers). HUM
2 is scored for one live
plus seven taped parts, although it, too, could be performed live
8 trombones. The piece deals with
expansion/contraction and involves
deployment over eight or four speakers. Ideally
one should not be
to distinguish the live performer from the taped parts.
advantage of this surround capability with sounds traveling around,
and across the space (all built into scoring of the piece), with
instances of extended techniques and delicate pitch alterations (of
Hz). If the listener is in a good
listening position, the space
contract -- to appear to come very close (as all 8 trombones get very
and expand outward (as all 8 trombones get very soft).
also takes place in the frequency domain as pitches
and diverge and in the amplitude domain with an extreme dynamic
This work is virtuosic and I composed the work for the trombonist,
Abbie Conant, whose superb capabilities are explored in the work.
Maggi's website is here.