C.R. KASPRZYK

amid entities was originally composed for the 24-channel system at the Experimental Media and Performing Arts Center (EMPAC) in Troy, NY. The piece presents an encompassed multitude of sounds from a variety of environments – some recognizable, others less often heard (e.g. walleye, bats, ants, the electromagnetic fields of various man-made appliances.) While these sounds are presented with little alteration from their original form, the aural result reveals similarities in textures, exploring hyper-real environments and creating new ones. The work owes much to biologists Dr. Karen Root and Jessica Sewald, for the bat recordings, various individuals who funded my trip to EMPAC, and of course Han Tutschku, for his wisdom during the creation of the piece.

Ceçi n’est pas durabilité traverses through sonic landscapes recorded during the course of obtaining and preparing food. For some, the execution of these endeavors recalls our daily opportunity to vote (for or against the imperative social change that would protect our fragile environment.) Of course, ceçi n’est pas durabilité is a piece of music, not actual acts between our environmental, social, and economic (im)balance. Recalling these sounds’ representation within reality was an absent notion throughout the creation of the work. The piece creates hyper-real and virtual worlds that explore the subtle structural elements of the incorporated sounds. The work’s title acknowledges the contradiction between these thoughts and the inevitable, diverse interpretation of the recognizable, extramusical material.

W 31st and 8th is a fleeting exploration of a city street corner. The piece explores perspective from the street itself, exposing the intrinsic, timbral identities of the otherwise recognizable sounds, yielding a surreal, hyper-real environment.

07.13.10 revolves around a recording of the typically inaudible: sources of power for the mundane portions of our lives. These sounds, primarily the electromagnetic fields produced by computers, printers, TV’s, cars, electricity poles, coffee makers, etc., acknowledge the (in)visible place technology has in today’s society. Through close observation of this environment, the music strives for a nonlinear form; an immersion of moments found in daily life that might otherwise go unnoticed. The title is nothing more than a time stamp, referring to when the majority of the incorporated sounds were collected.

I. 05.19.09 (reduce)
II. 05.03.09 (reuse)
III. 05.26.09 (recycle)

The Sonata (2009) draws from a variety of field recordings representing crucial tasks of environmental concern (e.g. reducing usage of Styrofoam or one’s car, reusing water and recycling various items). Each movement’s title acts as a timestamp, referring to the date of the incorporated recordings. To further accentuate such thoughts, the music is printed on the opposite side of related (or opposing) photographs.
The music is derived from the rhythms, textures, and harmonic features inherent within the recorded sounds, treating the saxophones and electronics as equals. While the brief work stands as its own musical entity, it is hoped that people operate their lives in a similar manner, at least taking small, extra efforts to care for the planet in which we live. The work was commissioned by Griffin Campbell and Michael Straus.

In THE STATE OF THE inSIGNIFICANT, sounds typically masked by those louder are amplified and accentuated. The form of the piece revolves around these techniques. Through amplification and audio processing, the insignificant becomes something of profound importance and beauty, leaving those sounds normally heard out of the question.

With one exception, all sounds heard in the piece (prerecorded or processed) are derived from the saxophone. The exception is the over-amplified: samples from the most recent “State of the Union Address.” While a transcription of this speech serves as the source of the work’s rhythmic material, the original audio samples are drowned out, leaving most words incomprehensible.

Through these musical concepts, one begs the question of who is given the microphone; who is given power; who is most appropriate to be a leader in our world. THE STATE OF THE inSIGNIFICANT was commissioned by Michael Straus and premiered on the CCRMA Concert Series (Stanford University), April 26, 2008.

*N.B.: The visual elements of the work are of significance. The performer starts from a crouched, tortured position, gradually moving upright while adjusting the microphone and music stand.

2 Scenes from Maine, originally titled Homeward, was written in 2007 and revised in 2008. The piece was premiered July 21, 2007 at the Red Room (Baltimore MD) as part of the After Now Concert Series debut event.

Commissioned by C.R. Kasprzyk – is a multi-leveled development of a five-note theme from Paul Creston’s Sonata for Alto Saxophone and Piano. Written in the fall of 2004, the piece draws inspiration and its title from the words of composer and pedagogue Narcis Bonet. Through rhythmic and harmonic variation of the saxophone part, coupled with real-time and pre-recorded transformations of pitched and unpitched sound materials, is the same… is not the same, attempts to create a continuously shifting sound world where the interactions between saxophonist and computer can range from complementary and harmonic to confrontational and antagonistic. -R.H.

Entire work (14’48″)

Degradations IV-b was written as part of After Now Concert Series. The Degradations series explores various parameters in a sound mass’ desecration, each work approached differently in its compositional process. All works within the series reflect upon the following (taking note of how some things are preventable and asking humanity how they may inhabit the world).

ice -> heat — water -> cold — ice
human body -> time — loss of youth ->
morals/integrity -> culture/society — degradation of character ->
human -> disease — death
environment -> human — ____

Recording session with members of the 2005 High Zero Festival
Kasprzyk with Rosie Hertlein & LaDonna Smith (vls), Andy Hayleck, (saw), Rose Hammer, (bari sx), and Peter Jacquemyn (cb)