Concerto Grosso

The concept of the "Concerto Grosso" (1985) grew out of my earlier work with the computer-enhanced multi-player piano system that I began developing in 1982. In works employing that system, such as "Solo for Three Pianos" (1982) and "Digital Piano Music" (1984), material played live by the composer-performer was instantly read into computer memory where it was processed (delayed, overlaid, looped, transposed, speed-changed, randomized, etc.) and simultaneously played out by two Marantz Pianocorder Vorsetzer units attached two additional grand piano. In this way a single pianist achieved simultaneous control over three pianos in live performance. Programming this system was done through the use of the PatchControl Language (PCL) , which was written in collaboration with software engineer Mark Bernard in the the U.S. in 1983.
The "Concerto Grosso" employs this three piano system, with the addition of a four channel MIDI interface that I developed while I was living in Berlin (1984-85). This interface made possible the control of the Pianocorder Vorsetzer from a MIDI synthesizer keyboard, and / or the control of the MIDI-based synthesizers form the piano keyboard. With the further addition of a pitch-to-MIDI converter, it also made possible the control of both pianos and synthesizers by acoustic melody instruments such as winds and brass.
The "Concerto Grosso" employs these technical means in the creation of a work in which each member of a group of three acoustic instrumentalists (piano, winds and trombone) while performing the function of the "concertino" group in the traditional concerto grosso may also "direct" the computerized "ripeino", which is made up two mechanically - played pianos, digital FM synthesizers (Yamaha DXand TX series) and digitally sampled strings, percussion etc. (Kurzweil 250). Through a complex MIDI network, the musical gestures of each player are directed through one or more specially designed computer programs to effect any of the synthesizers or mechanical pianos in real-time. These include PCL programs derived from my earlier Digital Piano Music and programmed by Stefan Tiedje, and also a separate system employing FORTH programs by George Lewis, all networked through a daisy chain with a number of selectable MIDI channels.
Among the numerous textures and combinations possible are solos, duos and trios among the acoustic human concertino, similar combinations among the robotic ripieno, and interactive "accompanied" solos, duos or trios between and amongst the two groups. Thus, for instance, the Concerto Grosso begins with a trio of interlinked pianos one human and one robotic) and an independent solo saxophone. At other times the saxophone (and trombone) interact with computer-directed synthesizers or even the machine-drive pianos. The programs are designed to"listen" to the acoustic instrumentalists and respond to aspects of the musical gestures they hear by modifying their outputs accordingly. They do not play out preprogrammed musical sequences, but only generate musical output in response to instantaneous human musical input from the musicians, who play both in response to each other and to the artificial ripieno that is itself responding to them.
To me the continuous acceptance of real-time (musical) input as stimulus for responsive behavior by the computer is of critical importance now. In this regard I am much indebted to the work of may colleagues for inspiration and advice, among whom I would have to mention David Behrman and George Lewis above all. And of course all the "angel-engineers" mentioned above.
I would also like to thank Rene Block of the D A A D in Berlin for his support in completing this projecl. And lastly, I would Iike to thank Anthony Braxton for his music, inspiration, and friendship for almost twenty years.


Technical Background

This opus was realized with the real-time interactive multipiano performance system (three grand piano controlled by two Apple ll computers, one D-track 68000 computer with four channel MIDI interface); also a Kurzweil 250 synthesizer, three Yamaha DX7 synthesizers, a TX 816 synthesizer in a network for real-time performance. The work is executed by Richard Teitelbaum (piano and keyboards), Anthony Braxton (winds etc.), George Lewis (winds and other instruments).


Iro Wa Nihoedo

The text and title of this piece come from one of the most famous and unusual poems in the Japanese language. Traditionally ascribed to Kukai (Kobo Daishi), the founder of Shingon Buddhism, it was composed some 1000 years ago to demonstrate the newly invented phonetic hirigana alphabet. It possesses the remarkable property of using every one of the 47 hirigana syllables once and once only, and has therefore been memorized by Japanese children as a mnemonic device to "learn their ABC's" ("i-ro-ha"). Semantically, the poem is strongly Buddhist in nature, and though probably not actually written by Kukai himself, it was almost certainly written by one of his Buddhist followers. Though highly allusive and difficult to translate, a rough paraphrase might be:

Though colors (flowers) are fragrant
They will fade (fall)
In this world of ours
non lives forever.

Today I cross the high mountain of life's illusions.
There will be no more shallow dreaming, no more intoxication.

Musically, I have tried to pattern my piece along the lines of traditional Shingon shomyo chant, which is made up of a total of some sixty set melodic formulas, a smaller subset of which (perhaps 10 - 15) may be patched together to form any single piece. The notation employs neumelike symbols, each of which may represent a single note or be combined to describe extended vocal melismas. They represent graphically the ornately embellished melodies with the microtonal inflections and subtle nuances that so strikingly characterize Shingon shomyo - in a way that Western notation can never capture.
I have taken sets of these neumes (and of course the melodic patterns they represent) and attempted to compose new "shomyos" derived from, but also extending the traditional structures and forms. The piece follows a sequence of the traditional Nikka Hoyo liturgical service, the opening section being based ona tengu (hymn of praise), shichi no bongo (Sanskrit words of four wisdoms), a middle part on bai (a quieting song) and the conclusion on the famous sange ("song on falling flowers") when flower petal are normally scattered during the actual service.
My composition means include chance operations employing the I Ching to generate original sequences of neumes, which are then subject to modification according to certain stylistic considerations in consultation with Mr. Kojun Arai. The score also incorporates freer graphic notations derived from the traditional hakase (neumes) as images for improvisation (a technique not normally used in shomyo).
I would Itfe to offer my sincere thanks to Mr. Kojun Arai for hie enlightening and tireless gutdance during the time I spent in Japan preparing this work.


Digital Piano Music

Musical automata have existed since the 14th century, and music has been composed for them by Hassler, Mozart (including the great Fantasia in F minor, KV 608, for mechanical organ), Beethoven, Stravinsky, Hindemith and others. Unquestionably the most extensive and far-reaching exploration of the medium has been made by the American expatriate composer Conlon Nancarrow, whose extraordinary "Studies for Player Piano" have recently been "discovered" after years of neglect.
With the advent of digital electronic hardware of the type employed in the Marantz Pianocorder system, it becomes feas/bleto interface one or more pianoswith computer to create a real-time, interactive multi-piano performance system, such as that heard in tonight's concert. This system d/ffers sigfllficantly from previous musical automata in that it is simultaneously under both human and "non-human" contro!. Here the computer functions as an extension and enhancement of the pianist/composer's body and mind - affording hirn, for example, direct control over as many as eighty "fingers" per piano, and the ability to program an infinite variety of instantaneous musical responses and transformations of what he plays, as he plays it.
As my system is presently configured, material played by the pianist on one keyboard is instantly read into computer memory where it can bestored, overlayed, delayed, transposed, inverted and otherwise manipulated before being passed on to either of the other two pianos for "playback" at the performers behest. This may be done etther simultaneously, or at a fixed, selectable delay time, or stored for future recall. Any section of material may aiso be looped to form an ostinato; foot pedals controlling the "globar volume level of both remote pianos allow the performer to balance and "fade" them in or out.
For some years, I have been involved in the attempt to integrate the spontanetty and "responsiveness-to-the-moment" of improvisation with the greater degree of control and complexity which structured composotion provided. Working with analog synthesizers I have generally responded to this problem by "composing " a complex electronic system or network with a varied menu of sound and control pathways avatlable for instant selection and combination. This provided a broad range of timbral, registral, pitch and (more recently) rhythmic responses. Now, with the extension of large-scale control over the time domain, as weil as the in stant manipulation of foreground detail that digital memory and control provide, the notion of "real- time composition" begins to be a reality.
In "Solo for Three Pianos" the composer/performer selects a series of programs that represent musical processes: they command the computers (a nd pianos) to respond to the live performer in a variety of ways, functioning very much as a traditional score directs the actions of its in terpreters. Some years ago John Cage commented that when you come right down to it, composition means telling other people what to do, and that he found that an unattractive way of doing things. I find it phllosophically satisfying, as weil as musically rewarding, to be able to relegate the alienating function of "obeying orders" to machines capable of comfortably performing tasks far beyond the reach of any human perform er, whlle I malntaln my freedom to play as im agInation and Inspiration dictate.
The implications of such an approach to music and the potentials for tis contln ulng development are, I thlnk, vast.
The computer programmes were developed by Peter Anson of Toronto and Chris AbaJian of New York City. Sp ecial thanks also to John David Fullemann, electronics engineer, and Mark Bernard, programmer.

Richard Teitelbaum (USA), born in 1939 in New York City, composer and music performer. He began classical piano studies at the age of six and decided to follow a musical career. After graduation from Yale University (Master of Music) he was awarded a Fulbright Grant for two years study in Italy with Luigi Nono and Goffredo Petrassi. Teitelbaum returned to Rome in 1966 with the first Moog synthesizer to appear in Europe. Since then he has been internationally recognized as a live electronics musician and composer. 1970 Teitelbaum founded the world Band at Wesleyan University, joining musicians from Japan, Korea, Java, India, Ghana and the Middle East in a cross-frontier improvisation collective that subsequently influenced the work of many contemporary composers. In 1971 Teitelbaum taught at Cal Art. 1972-73 he established the Electronic Music Studio of the Art Institute of Chicago, from 1973 to 1976 he taught at York University in Toronto. Richard Teitelbaum's second Fulbright Grant in 1976 took him to Japan to study the traditional and contemporary music there. The encounter with Japanese music and fellow musicians has deeply influenced his work till the present day (in 1977 he composed "Bland", a piece for shakuhachi, synthesizer and percussion). since the eighties Richard Teitelbaum has been using the computer to control synthesizers and instruments. In 1982 he developed the computer controlled real-time interactive multi-piano performance system, which allows him to play three acoustic piano simultaneously. (Premiered 1982 in New York)
1984/85 Richard Teitelbaum was a visiting artist in Berlin (DAAD grant by the German Federal Government) and in 1986 an Asian Cultural Council Grant allowed him to spend six weeks in Japan to realize the vocal composition "Iro wa Niedo" for 20 Shingon sect monks. For years he has been working with various musicians both in concert and on records, integrating different sound sources with electronic music. Solo performances and performances with other musicians take him to all major metropolises and festivals (e.g. to Centre Pompidou/Paris, to Concertgebouw/Amsterdam, to the Berlin Philharmonic and the Brucknerhaus in Linz/Austria). Numerous record releases. In 1988 Teitelbaum will be in residence at the M.I.T. in Boston to compose a new work for interactive computer systems, synthesizers and acoustic instruments.

Richard Teitelbaum has been awarded an honorary mendon in computer music category by the Prix Ars Electronica '87 jury for his work "Concerto Grosso", duration 18 minutes, written in Cologne in 1985.