Geotemporal Dreams (or, the Prophet)

Abstract

Geotemporal Dreams (or, the Prophet) is an experiment in creating a concert work that ties in elements of theatre and surrealist storytelling, resulting in an evening-length piece for a quartet of flute, clarinet, percussion, and piano. This ensemble is extracted from the common so-called “Pierrot ensemble” but has only a small selection of repertoire composed specifically for it. This work is intended to expand the existing repertoire for the ensemble, while exploring several artistic practices including requiring performers to play multiple instruments, placing spoken word in dialogue with the music, and introducing intentional theatricality and spatiality to the work’s performance practice. Additionally, it is written using a blend of compositional techniques from minimalist, post-minimalist, and totalist music with original techniques developed by the composer. Geotemporal Dreams (or, the Prophet) is constructed of 13 movements, many including sung or spoken text. Five are brief solo movements, five are extended movements labeled as “dreams,” and three are structural movements: one introducing the piece, one acting as an intermezzo and prologue to the eighth movement, and one providing an epilogue. The solos are written based on the same motivic material and are where most of the theatrical elements are focused. The dreams are written using minimalist, post-minimalist, and totalist processes, including some developed by the composer. These techniques include phasing, additive and subtractive processes, the use of “ready-mades,” extreme rhythmic counterpoint, and pitch-class dissolution. The structural movements are all treated as extreme experiments. The first movement, Lithophone, requires all performers, regardless of instrument, to perform on found, body, and vocal percussion. The seventh movement, Ghosts, includes only spoken dialogue between the entire ensemble. The final movement, Awakening, is written in a more popular style, requiring performers to take liberties with rhythms that would, in a classical work, be performed in a straightforward manner. As part of the compositional process, the premiere of this work has been planned for a time later in the year, specifics still to be determined, and the Full Gremlin ensemble has been secured for this performance.