© 2006 by UMP Classics & Screen U.S. (BMI) International Copyright Secured. All Rights Reserved.
ISMN 979-0-073-00233-9
Version 06/06/2015
Warning: Unauthorized reproduction of this publication is prohibited by Federal law, and subject to criminal prosecution.
Commissioned by The Juilliard School on the occasion of its 100th anniversary with the generous support of Francis Goelet.
premiered February 2, 2006 on the Focus! Festival at Lincoln Center by Isabelle Demers
Pairing an ancient instrument of the church with the sounds of modern-day dance music did not seem like a pregnant idea at first. It was the organ's ability to play loud enough to compete with any speaker system that initially was intriguing indeed, the vibrations of the organ 's lowest notes should give any subwoofer a run for its money but that superficial advantage quickly paled in comparison to other rich possibilities. After all, it is the world's oldest synthesizer.
The power of the organ lies in its ability to create a space. Indeed the organist like his modern-day club counterpart, the DJ is simultaneously perceived as background accompaniment to various activities, and as the invisible hand controlling the choreography within its belly. Sometimes as I sat in the choir loft of my church school in Virginia, letting my mind wander during communion or a procession, I imagined the organ as an enormous yet almost invisible creature, whose miles of piping are entangled within and around the church's structure like a central nervous system. Congregational recitations of the Apostle's Creed, the ringing of bells on the roof, even our own singing all of this must sound so hollow and distant from deep in the bowels of the organ. The mysterious ambience of a dusky church, with faint organ harmonies wafting up from the stone floor, inspired a pairing with the abstract beats of ambient electronica, and in this space Digital Loom begins.
This static world (dominated by one sonority) moves like continental drift, creating a powerful expectation that is soon disrupted by the quickening rate of change. The evolution, via the contagious beats of drum 'n bass, to a bright fanfare begins a more dynamic section, which ultimately boils over into an explosion of stratospheric sonorities. Only gradually do they fall lower, and in this surreal world we return to the opening sonority, where cross-fading chords recall the opening continental drift and environmental electronic sounds indicate that we are free of the tyranny of beats. All seems at peace, but the appearance of a colossus of a bassline, 'walked' by the organist's feet, takes us into a fiendish reincarnation of the fanfare theme, and on this note we end.
ORGAN: Digital Loom works best on an organ with three manuals and two enclosed divisions, but an alternate version is available for organs with only one enclosed division. That version affects only the first and third movements (which feature slow cross-fades between two manuals), and it achieves an approximate effect by slowly adding and releasing notes. This gives the effect of chords growing and reducing in volume.
ELECTRONICS: The piece requires simply two stereo speakers, placed on the left and right sides of the stage, and a CD player for playback. A monitor placed near the organist will help the performer stay in precise tempo with the electronic part. Because the electronic part consists primarily of beats and because the score is carefully cued when the electronics become more environmental a click track is not needed. For reasons of balance and precision, someone situated in the hall near the CD player and volume control would be useful. A 'live' version of the electronic part can be realized when the composer is present, who performs the electronica part on an electronic drum pad and laptop. But it is entirely possible for the organist to perform the piece with no additional assistance : the CD player can sit near the organist. All of the track numbers are listed in the score, and the electronica part runs continuously. Movement titles should be listed in the program as follows:
DUSK ON A STATIC EMPIRE FANFARE WITH BREAKS THROUGH THE ATMOSPHERE GERALDINE'S PARLOUR DELIVER US FROM EVIL
commissioned by The Jui#iard School on the occasion of its 100th anniversary with the generous support of Francis Goelet.
* An assisant triggers cues on a laptop using the software provided by the publisher. One simply follows the score and hits the appropriate laptop keys as notated. No special expertise is required.
** The indications refer to the enclosed divisions (Swell and Solo/Positif)
*From mm.65-136, the organist should gradually add stops in order to create a prlonged crescendo. The best way to do this is to add stops when the enclosed divisions are closed. By m.137, the performer should have 16' 8' 4' 2' mixtures on each manual, with the manuals uncoupled. Avoid using reeds until m. 165.
Gt: foundations 8'4'2' reeds 8' 4', mixtures
Sw: foundations + reeds 16'8'4'
Pos: 4'2' X (sharp & biting
III. THROUGH THE ATMOSPHERE
* Start taking out the stops one by one. As in the beginning, the best place to do this is when the boxes are closed. The refer to the enclosed divisions.
(if you arrive before entrance of Boy Choir, hold the chord until they enter)
(a&er congregtation's "Amen," wait approx. 5 seconds before fading in)
(add the notes slowly, listening for Church Bell (Reversed) towards end - that is the cue) (while be# decays)
Congregation:
V. DELIVER US FROM EVIL