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received from larry polansky on aug 4 1995 3498w

Larry Polansky

Selected and Annotated List of Compositions as of 8/5/95 [further somewhat selected by jh for northern california connections] (Most recent scores published with Frog Peak Music)

The Casten Variation, for piano, or piano and ensemble, HMSL composed score, 1993-4. Premiered Mills College, April, 1994 (piano version).

Study: Anna, the long and the short of it (hop stop baby bop), (1993). 1 minute tape piece, based on my daughter Anna's cries. On Ariel/What's Next CD.

Three Studies (for performers and live computer): 1. Rhythm, 2. Melody, 3. Harmony (1990); premiered by the Downtown Ensemble, NYC., 5/90. Also performed at Telluride Composer-to-Composer and Darmstadt Festival (July,1990), Darmstadt (1990). Software distributed by Frog Peak Music.

Four Voice Canon #7 (1990), for gamelan Son of Lion. Premiered NYC, 5/90.

Duet (1990), any number of melodic instruments and live interactive computer; premiered by LP and Nick Didkovsky, guitars, NYC, April, 1990. Revised version performed by the Downtown Ensemble, NYC, 5/90.

Horn (1990), for french horn and live computer in harmonic series tuning (algorithmic version of Psaltery); premiered by Chris Bobrowski, Mills College CCM concert, 3/90. Revised score, 1992, revised computer part (HMSL/CSound), 1993-4. Recorded on CD, Simple Harmonic Motion.

Bedhaya Sadra/Bedhaya Guthrie (1989; 1990), for voices and kemanak, with gamelan accompaniment; computer generated work based on tunes by Woody Guthrie and I Wayan Sadra; premiered by ASTRA Choir (John McCaughey, conducting), Melbourne, 8/89. Revised version premiered NYC, Gamelan Son of Lion, May, 1990. Revised score, 1992. Solo clarinet version, premiered by Daniel Goode, 8/92, Knitting Factory, NYC.

Lonesome Road (The Crawford Variations) (1988-9) solo piano (about an hour and one-half long), set of variations on Ruth Crawford's harmonic setting of an American folksong. Premiered 3/94, Zurich, Switzerland by Martin Christ, Tomas Bachli, and Urs Egli.

Simple Actions/Rules of Compossibility (1989), collaboration with Chris Mann for live interactive computer and voice; version of earlier piece, Simple Actions, premiered in Melbourne, 8/89; version with Paul Dutton performed in Toronto (1990). Recorded on Artifact CD.

17 Simple Melodies of the Same Length (for Dan Goode) (1987-8), for clarinet and live interactive intelligent computer; in HMSL (portable live computer music piece); performed in NYC by Dan Goode, in Seattle by William Smith, in San Francisco by George Brooks, in Toronto by John Oswald, in Europe by Ann LaBerge; on cassette from Frog Peak Music. Software distributed by Frog Peak Music.

Cocks crow, dogs bark, this all men know. But even the wisest cannot tell why cocks crow, dogs bark, when they do (1987), for three performers, computers and stuff (live electronic work written in HMSL for Amiga and HMSL controlled digital signal processor). Premiered Center for Contemporary Music, Mills College, 5/87, revised 10/87; revised 4/88 in collaboration with Melody Sumner and John Bischoff; recorded on Frog Peak cassette.

The Time is Now (1987), text by Melody Sumner; for voice, flute, clarinet, viola, guitar, and bass; premiered by ISKRA, Berkeley.

Study for Milwaukee Blues (1986), for three tap dancers (or three percussionists), premiered NYC, 3/87; percussion verison performed St. Louis, 1988.

Buy Some for Spare Parts (1986), collaboration with Phil Burk, live computer music installation consisting of Simple Actions and Draw Piece, in which the audience creates the music through a graphic interface to HMSL; San Francisco Museum of Modern Art 11/86.

Simple Actions (1986), computer installation piece done in HMSL, consisting of a large number of "simply explainable" musical events which, through sharing simple data, interact in complex ways; part of above Buy Some for Spare Parts; Simple Actions 2, major revision of piece written in HMSL 3.12, 10/87; premiered Mills College CCM, 11/87.

Distance Music (1986), set of pieces for any number of performer programmers using live microcomputer systems. Several have been performed, including Distance Music I ("The Metric System") (for Charles Ames), Distance Music IV "Drawing Unnecessary Conclusions,"Distance Music V ("The Roots of Learning") (for John Bischoff, Tim Perkis and Jim Horton), and Distance Music VI ("The World's Longest Melody") (for David Feldman); published in Perspectives of New Music.

___ __ (al het) (for the people of Nicaragua) (1986), for soprano voice (Javanese style), and solo percussionist (slendro gender and pelog barang gambang, tumbuk 6); for Jody Diamond and Gino Forlin; written for International Gamelan Festival, Expo' 1986, Vancouver; recorded on Leonardo Music Journal CD, and notes on piece published in LMJ #2.

Four Voice Canon #6 (1986), for computer ("homebrew" digital sampling algorithms), realized on HMSL, CCM, 1986; sound sources: rebab (Jody Diamond), baritone sax (Anthony Braxton), Kurzweil 250 sine wave preset, Mills College frog pond; recorded on Artifact CD.

______ (B'rey'sheet) (In the Beginning) (Cantillation Study #1) (1986), for voice and voice controlled live computer. Premiered March, l986 Center for Contemporary Music, Mills College; Jody Diamond, voice; revised version, premiered ICMC, Illinois, 1987; on Artifact CD, and JIN Compilation #2 (Numbers Racket).

Toyoji Patch III and Toyoji Patch II (1986), for flute controlled computer and flute (Ann LaBerge, flute), and for computer only.

Gottlieb Variations (The Year of Jubalo) (Guitar Trio #2), (1985-6) for 'cello, guitar, and harp.

______ ___ (E'leh Tol'd'ot) (these are the generations) (Cantillation Study #3) (1985-6), for William Winant; four marimbas or four marimbas and computer commentary; premiered 3/94, Zurich, Switzerland.

Conversation (1985), an electronic installation, with John Levin and Richard Povall, San Francisco Museum of Modern Art.

Buka Bucha (1985), live performance collaboration with Ron Kuivila, computer generated sounds, digitally processed guitar, live computer sounds.

Hensley Variations (Guitar Trio #1), (1985), for flute, viola, guitar; recorded for Opus One Records; premiered by ISKRA, San Francisco. ...untitled... (1985), tape work collaboration with Richard Povall; fabric for a set of dances by NYC choreographer Ann Rodiger.

Four Voice Canon #5 (1984), for any four percussionists, recorded and premiered by William Winant, NY; computer generated score. Recorded on Artifact CD.

Psalm 138 and Psalm 131 (1984), for soprano, flute/piccolo, trombone, mandola, gender; music for my own wedding; 1/85.

Milwaukee Blues (1984), for two tap dancers and five saxes (3 tenors, 2 altos, first tenor also sings); for Anita Feldman; arrangement of Charlie Poole song; premiered NYC, 3/87.

_____ (V'Leem'Shol) (...and to rule...) (Cantillation Study #2) (1984), for five flutes (with optional alto flute doubling "trope"); second set of 17 verses of Torah, part of set of Cantillation Studies; dedicated to Ann LaBerge and David Rosenboom, composed using FORTH/HMSL compositional algorithms. Premiered by Ann LaBerge, Center for 21st Century Music Concert, Mills College, 3/85; revised version, 1987, in complex just intonation, recorded by Ann LaBerge.; just intonation version recorded on Centaur CDCM CD.

Little Maggie (1984), for solo violin, 45-minute long set of variations on fiddle tune. Not yet performed.

Four Bass Studies (1983), for solo contrabass, re-orchestration of Violin Studies for dance by Ann Rodiger, premiered by Joe Tamosaidas, NY; published, Xenharmonikon X.

Sascha's Song (for the peoples of Chile) (1983), ensemble version, tape and seven instruments (trpt., trb., fr. hrn., vln., cl., bass), written for Chile: Ten Years After Concert, San Diego, commissioned and conducted by Vincent Plush.

Resting Place/Ann's Solo Boogie (1983), tape work based on Yiddish worker's song "Mayn Rue Platz," for dance by Ann Rodiger; realized at CCM.

Here to Stay (1983), for solo violin and pitch-sensing microprocessor, for Mary Oliver and Mark Trayle, published in Active Listener.

Three Rimbaud Settings (1979-83), for soprano and percussionist, for James Tenney, Charles Ives, and Victor Jara, premiered Toronto; published in Ear Magazine.

Three Monk Tunes (1982-3), tap dancer and percussionist, written for Anita Feldman (movements dedicated to David Rosenboom, Ann Rodiger, Jody Diamond); premiered by Anita Feldman, Cal Arts Music Festival, 1983; many performances around the United States and in Japan.

Four Violin Studies (what to do when the night comes for Jim Tenney) (1981), for solo violin, studies for third variation of Little Maggie, premiered by Mary Oliver for dance by Ann Rodiger; published in Perspectives of New Music.

V/I (Born To Boogie) (1981), tape work for organ, four violins, mandolins, mandolas, mandocelli, commissioned by dancer Nancy Bryant and choreographer Barbara Roesch, performed in SF by Nancy Bryant, recorded CCM.

Another You (17 variations for solo harp in just intonation) (1979-80), for solo harp, premiered by Alyssa Hess, NY; in press: Diapason Press, The Netherlands. Recorded on CD, Simple Harmonic Motion.

Field Holler (1980), for solo contrabass (doubles as untrained male voice) and sustaining instruments, for Dan Thomas, premiered by New Kanon New Music Ensemble.

Unhappy Set of Coincidences for Richard Myron (1980), for bass and guitar, bass and flute, solo piano, or any high and low instruments or ensembles, based on "When Sunny Gets Blue," many performances by New Kanon New Music Ensemble, and by Richard Myron and LP across U.S.; orchestra version arranged by Gary Schmidt.

Will You Miss Me When I'm Gone (1980), ensemble version for flute, bass, Harrison-Colvig "transfer harp," and untrained male voice, premiered on tour by NKNME; published in Xenharmonikon; released on AFMM video.

Riddled and Ragged (1980), ensemble version of piano rag, co-arranged with Gary Schmidt; flute, bass, piano, and mandolin, premiered by NKNME.

Horse Turds and Roses, (1979), for flute and piano. Not yet performed.

Piano Study #1 for Carl Ruggles, (1976-81), for solo piano.

Psaltery (1979), for Lou Harrison, tape piece over 100 tracks of specially tuned Appalachian hand-held bowed psaltery with minor electronic modification, realized at U. of Illinois Experimental Music Studios. Recorded on Artifact CD.

Glass (1979), for 51 tuned water glasses, 11 players, commissioned by The Glass Orchestra (version of Psaltery)

Flutes (1978), for Ann LaBerge, piccolos, flutes, alto flutes, bass flutes (or euphonium) (version of Psaltery).

Canon for Flute (1978; revised edition, 1990), for Ann LaBerge for one live flute and up to eight pre-recorded flutes, in just intonation (version of Psaltery) premiered Ann LaBerge, Illinois. Published in 1/1, The Journal of the Just Intonation Network, 1990, 6(2).

'Cello (1978), for solo cello and up to eight tracks recorded cello, in just intonation (version of Psaltery).

Cata/Tonic (1978), for solo violist, (version of Psaltery)

Prayer without Words (1978), for Debra Zae Munn, male and female voice, cello.

Four Children's Songs (1978), verbal/musical/conceptual exercises in experimental aesthetics and sonic awareness for young kids. Published in Frog Peak Anthology.

___(Sh'ma): Fuging Tune in G (1978), for flute, alto flute, violin, viola, cello, contrabass, percussion (and harmonica), dedicated to Arnold Joseph Polansky; published Soundings 11; winner BMI Young Composer's Competition; premiered at Mills College, conductor David Rosenboom.

Five Piano Haiku (1978), for piano solo, on Biblical "haiku", premiered by Gary Schmidt and Jan Cameron U. of Illinois, later subject of extended variations by Gary Schmidt.

Two Can Float as Cheap as One (1978), for solo piano, for Mark Haag and Ann Rodiger.

..but a girl who wandered into the bus co..../For Paula and Zella (1978), tape work for dance by Paula Ravitz set on Zella Wolofsky, realized U. of Il. Experimental Music Studio, on tour with Toronto Ind. Dance Enterprise.

Always Move Towards the Hoop and Go Up Strong, (1978), for solo tuba, for Paul Lucas. Revised, new edition, 1991.

Around the Horn, (1978), for unvalved french horn, amplified acoustic piano, electronic drone in just intonation, based on Star Spangled Banner, premiered in Toronto to dance by Karen Rimmer.

Christopher Columbus/Cristobal Colon (1978), for male speaker with microphone, originally for dance (choreographed by Andrea Smith) and use with Four Voice Canon #4, premiered by LP, William Winant, Andrea Smith, Toronto, on CBC. Revised and re-recorded for new performance in Vancouver, 3/89.

Departure (1978), SATB, on poem by Rimbaud.

Fifty Miles of Elbow Room (1978), for 3 trumpets, 2 trombones, untrained male voice, setting of Carter family song, for James Tenney.

"for a girl of fifteen... " (1978), for male speaker with microphone, originally for dance, performed (LP) Toronto.

"....getting rid of the glue..." (1978), for solo classical guitar, for Jon Sidall, premiered by New Music Co-Op, J. Sidall, Toronto.

A Minor Miracle (1978), for solo electric guitar and dancer, for Chris Banterman, who first performed it, later performed with Ann Rodiger, Illinois.

Four Voice Canon #4 (1978), for 1-4 marimbas, for William Winant, recorded and performed by Winant and also frequently used in a dance by Ann Rodiger; on Artifact CD.

Movement for Andrea Smith (My Funny Valentine for Just String Quartet) (1978), for two violins and two violas, scordatura (in just intonation), extended use of natural harmonics; recorded by John Casten for Tellus Cassette Magazine; published in Xenharmonikon 7/8. Recorded on CD, Simple Harmonic Motion.

Movement in E Major for John Cage (1976), for violin, piano; premiered in Santa Cruz and performed (1990) by Abel-Steinberg-Winant trio.

Movement for Lou Harrison (for just bass quartet) (1975;8), for four contrabasses tuned in just intonation, natural harmonics, premiered in Illinois; revised, 1988, for publication in Xenharmonikon XII. Recorded on CD, Simple Harmonic Motion.

Le Musique qui peu Importe (1978), 2 melody instruments, rudimental tenor drum, for John Borg; premiered in Toronto.

Quartet in F for Paula Ravitz (1978), for cl. in A, trb., vla., piano; premiered by ARRAY, Toronto.

Riddled and Ragged (1978) piano rag for Ron Riddle.

Will You Miss Me When I'm Gone (1978), for solo male voice (untrained) and Harrison-Colvig "transfer" harp, setting of Sarah Carter song, in 18-tone, 13-limit just intonation, premiered (LP), Illinois.

Gauss Music/Dance of the Tombstone (1978), for Jean Moncrieff, for dancer and homemade electronics, score consists of "constructed" regular heptadecagon and homebrew circuitry, several performances in Toronto, including A-Space.

Conversation (A Rite for Kate Kuper) (1978) for any number of performers, with mixers, microphones, speakers, performed in Toronto with Susan McKenzie, Chris Banterman.

Seventeen Parables of Love (1978), for spoken voice, electronics and optional piano, performed at A-Space (Toronto) with Jean Moncrieff and others, and in California with Molly Holm; short story published in MusicWorks.

Four Voice Canon #3 (1977), tape work digitally synthesized and composed by computer algorithm, realized at Stanford Artificial Intelligence Labs.; recorded on Mills College Centennial Album and Artifact CD.

Stochastic Studies #1; #2; #3 (1977), tape, digitally synthesized and computer composed, realized at Stanford.

Sascha's Song (for the peoples of Chile) (1977), quadraphonic or stereo tape work, realized UCSC.

Meditation and Exultation in C=256 c.p.cs. for Harry Partch (1977), for Fender Rhodes in just intonation, guitar, clarinets, reeds, bass, drones, assorted percussion (three players), long improvisational structure in just intonation, premiered by Ken Durling, LP, Santa Cruz.

Movement for Iannis Xenakis (1977), for clarinet and digitally synthesized tape, premiered by Ken Durling, Santa Cruz.

Piano Study #2 (March in D for Melissa) (1977), solo piano, premiered Santa Cruz.

Piano study #3 (Stabilite Structurelle for G. Cantor) (1977), solo piano; premiered Santa Cruz.

Piano Study #4 (Et Morphogenese) (1977), for any number of pianos or unspecified instrumental ensemble, version of "four voice canon" premiered Santa Cruz.

Piano Study #5 (for JPR) (1977), for just Fender Rhodes and drone, performed in NYC, CA, etc., published Xenharmonikon #7, premiered Santa Cruz.

17 for the 36 (A Hymn) (1977), for ocarina, soprano sax, flute, female speaker, based on text by Gershom Scholem, published in Generation magazine.

In Memoriam: Stefan Wolpe (1976), for solo trumpet, premiered Santa Cruz.

Silence Study #4 for Joe Pinzarrone (1976), for four actors and violist; premiered Santa Cruz, and Maple Sugar, Toronto.

Hoy Comienza Una Nueva Etapa (1976), for Sal Martirano and Dr. Salvador Allende, quadrophonic or stereo tape work based on first sentence of Che Guevara's Bolivian diaries.

Permutations and Banshee (1976), with Larry Tyrell, improvisational structure for Interdata Model 3 minicomputer, Moog, homemade circuitry, live mix, etc.

A Very Slow Lament for Solo Oboe (which happens to be 51 measures long) (1976), premiered Santa Cruz.

Four Voice Canon #2 (1975), tape work for specially built and programmed Interdata Model-3 based hybrid system.

Silence Study #3 (1975), for solo cello with three tuned tom-toms, premiered Santa Cruz.

Dialogue 37 1/2" (1975), for two actors.

COLLABORATIONS, ARRANGEMENTS, JAZZ WORKS, OTHERS

Collaborations

The Birth of Peace, collaboration with Chris Mann, Alistair Riddle, Simon Veitch and others, 7/89. Live interactive computer piece with live goldfish controlled HMSL system, text, and source materials including the music of Nietzche, Wittengstein, and Levi-Strauss. Premiered at the Australian Center for Contemporary Art, Melbourne Australia, co-sponsored by Goethe Institute. Cassette/book documentation from NMA Australia.

Delicate Computations (1986), computer music work written by Philip Corner; wrote software and realized piece on HMSL; published in Perspectives of New Music.

Dear.John (1986), composition by Pauline Oliveros for West German Radio John Cage Birthday celebration: wrote all computer software to generate work (in HMSL).

Arrangements

"Sacco, Vanzetti," arrangement of Ruth Crawford political song for voice, mandolin, mandola, mandocello, and guitar; published, New Music for Plucked Strings.

Milk and Honey, (1982), mandolin quartet arrangement of James Tenney piano rag, for the Berkeley Mandolin Ensemble; published, New Music for Plucked Strings.

R.O.B. (1983), for two electric guitars, mandolin, two pianos, bass clarinet, percussion, two voices, "arrangement" of Chuck Berry tune, performed by Mills Contemporary Music Ensemble.

Sweet Sue (1986), arrangement for guitar and baritone sax, LP and Anthony Braxton, premiered 3/86.

Sweet Sue (1980-2), guitar and bass (w/untrained male voice), "extended" arrangement of jazz tune, performed NYC and California by LP and Richard Myron. Also arrangement for tenor sax, bass clarinet, guitar, trio arrangement of above, performed by Roulette with David Pate and David MacDowell.

Piano Tuning for Jon Hassel (1977), theoretical tuning for trumpeter, later used on Lovely Music album Vernal Equinox.

Jazz pieces, works in other styles, pedagogical, etc.

Three Northwest Fiddle Tunes; I. Pretzels and Ice Cream (Reel), II. Ballard Bitter in Milk Cartons (Can't Be Flat) (Strathspey), III. On The Warning Track (Hornpipe) (1987-88), for David Mahler.

Beat me Mikey, 5 to the bar. Beginning piano piece for my nephew, 1993.

American Music for Fretted Strings, entire concert of American "traditional" musics arranged for guitars of all types, ukeleles, and mandolin family instruments, all solo, including jazz, country, fiddle tunes, rags, marches, and original works.

Little Maggie (1980), for two mandolins, highly structured improvisational version of solo violin work, performed NYC with Frank Pergolezzi, California with Paul Binkley (and LP).

Four Easy American Tunes, (1980), flute and guitar, rag, march, blues, fiddle tune, simple arrangements of original compositions.

Steppin' Out (1978), for male and female dancers/musicians, for Mark Haag and Ann Rodiger, stage illusion.

Rebecca (1979-82), for large jazz ensemble (bass, perc., kb., two saxes, bass, male vocals), 30-40 minute work with accompanying narrative premiered in NYC (Roulette) by LP with David Pate, David Weinstein, Richard Schwarz, Richard Myron and others.

P.M. (1978) and Ralph (1975) jazz tunes, performed by several groups.

Chief Dave's Major Mojo; Situation Normal All Funked Up; And on the Seventh Day Take Five; Bossa Nostra; Ja-Da Jive; Brooklyn Nights, Brooklyn Lights, (1980) jazz-funk tunes written for NYC saxophonist Dave MacDowell, and subsequently arranged by LP and performed and recorded by MacDowell's band.

Arrangement of David Mahler's Christmas Time of Year, for recording, for guitars, slide guitar, mandolin, sax, and other instruments; also participated in the recording arrangement of his Elvis is Watching You.

11 extended instrumental/vocal arrangements for "The Toptones," (1979-80), NYC based New Wave/R&B band. Performed many times in clubs in and around NYC.

HAIGAS

The following works are each one-page visual/musical pieces for a specific artist and/or friend, some meant to be performed, some not. (This is a highly selected list of many such works.) Haiga: A little farfetched and hard to believe (a complete surrogate biography of Larry Wendt), for the cover of special issue of furnitures, #10, 1993.

Haiga: A Meditation on the 13 possible primitive ternary forms for I Wayan Sadra - and - Haiga: A Meditation on the 14 impossible primitive ternary forms for I Wayan Sadra (1988).

Haiga for John Bischoff and Evangel King: The World's Longest Melody (excerpt) (1986).

Lou and Bill Sail for the East (1983) for Lou Harrison and Bill Colvig.

Three Balungan (1983) for Jody Diamond.

Always look for the outlet pass.. (1982) for Jody Diamond.

Haiga for Billy and Jean (Three Mountain Tunes) (1981) for percussion and voice.

Hitting the Open Man (1981) for David Pate, solo tenor sax.

A Short Ballad with No Changes for Chuck Wayne (1980).

A Small Note for Amy (1982) for Amy Rubin.

Eliezer's Revenge (1980) for Malcolm Goldstein.

Shir Ha'shabat (l980) for Steve and Beryl Reich.

You Can Count on Me Phil (1980) for Phil Corner, for 17 voices.

In Review: Phil Corner (1979).

Hanging in There (1979) for Topper Lilien.

Experiencing Uncertainty I (1979) for Alyssa Hess.

Experiencing Uncertainty II (1979) for Alyssa Hess.

Haiku for Zella (1979) for Zella Wolofsky.

A Meditation on the Unsuccessful Pursuit of Loneliness (1980) for Barrie Karp.

MacDowellmusic (1979) for Dave MacDowell.

A Short Piece and a Haiga for Bill Hellermann (1980).

Letter for Susan Mackenzie (1978).

Lines for M. Manion (1978).


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