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Lamentations for Jerusalem, for solo saxophone and DMIX (1992)

by Daniel V Oppenheim

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1.
Lament 1 01:44
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2.
Lament 2 04:10
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3.
Lament 3 01:21
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4.
Lament 4 05:41
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5.
Lament 5 04:22
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6.
Lament 6 04:42
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about

Lamentations for Jerusalem is an interactive work that explores new ways of using computer technology to expand the performer's expressive palette. It is comprised of five laments that are loosely structured in an arch shape. The computer is constantly tracking the performer and his musical gestures and uses them as input that controls the composition of the accompanying music in real time, makes adjustments to tempo and phrasing, and controls the sonoric landscape through various sound processing modules. Thus, the performers gestures, phrasing, and intensity, all control the music and sound environment in which he is performing.

The performer’s role transcends much beyond the traditional soloist. Not only is he his own conductor, but more important, he now has expressive control over new musical aspects that become available only through the computer, such as the accompanying texture, timbre, density, motives, or phrasing. At times Lamentations becomes an 'ultimate' performance environment that taxes the soloist’s musical abilities to their very limits—not only does the performer have to create the dense musical textures that totally immerse him and, in a sense, cage him in, but he also has to brake free to regain his musical independence and freedom.

Lamentations was written especially for my close friend, composer, and virtuosi performer Mr. Stephen Horenstein. It is very rare to have the privilege of working with such an inspired, dedicated, and encouraging performer—a must when exploring the new realms of computer-assisted composition and performance. I am forever grateful to Mr. Horenstein for this wonderful collaboration and have dedicated this work to him.

Lamentations was commissioned by the Jerusalem Institute of Contemporary music and premiered at the 1992 Winter Sounds Festival in Jerusalem. It was composed, and is performed, entirely using my own software: DMIX.

credits

released January 1, 1992

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all rights reserved

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