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a sum of distractions* (concerto for conductor and orchestra)

from CLASSICS from the Rascali Klepitoire by rascali klepitoire

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Teresa Marrin Nakra
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Teresa Marrin Nakra I love the energy and vitality of this piece, and how it plays with our relationship to the classical canon. I liked it in 2001, and it has continued to develop since then like a fine wine.
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A concerto is traditionally a composition which contrasts a solo instrument with an orchestra—the one and the many. There are plenty of piano concerti and violin concerti to chose from. This may be the first concerto to feature the conductor as the soloist.
This soloist, in addition to the usual conductorial duties, is wired for sound, and has a number of orchestral quotes at his finger tips; mostly references from the standard repertoire. These quotes qualify this piece as 'plunderphonic', a term I’ve coined to categorize any music which depends on the blatant recognition of other familiar music as a way of listening to something new.
Ideal as a concert opening overture, with the conductor arriving on stage and beginning to 'play' alone. Eventually, one by one, the musicians of the orchestra take their places just in time for their 'entrance' part in the piece.
Gradually the conductor manages to assert conductorial authority in addition to continuing to play invisible but sonorous instruments and ghost orchestras.
This piece was commissioned by Immersion Music and the Boston Modern Orchestra Project and music technologist Teresa Marrin Nakra, with the assistance of the Canada Council for the Arts.
Its premiere was at Boston Symphony Hall on Wednesday, October 10, 2001, with Gil Rose as the conductor soloist.

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from CLASSICS from the Rascali Klepitoire, released April 1, 2020
music credits coming soon

* other titles being considered :

"to a muted trumpeter swan" —Van Dyke Parks

"servants of sound" —John Wyre

"futureless impatience" —Mark Kingwell

"There is no doubt that the first requirement for a composer is to be dead". — Arthur Honegger

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John Oswald is best known as the the creator of the Plunderphonics genre, an appropriative form of recording studio creation which he began unfolding in the late ’60’s. This got him in trouble with, and also garnered invites from major record labels and musical icons. In the early ’90’s he began, with three commissions from the Kronos Quartet, to compose in what he calls the Rascali Klepitoire. ... more

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