Source: Neuma Records.
Points of Departure
Five works for orchestra performed by The University of Delaware Symphony Orchestra and soloists, James Allen Anderson, conductor. If you drew a Venn diagram showing the overlap of Handel, Pachelbel, Haydn, Wagner, Feldman, John Luther Adams, Philip Glass, and John Cage, it would only have one name in the middle: Robert Moran. His working style is the very essence of cosmopolitan: a refined artist with a unique and recognizable voice drawn from an amalgamation of diverse compositional techniques, all in the service of expressive art. Points of Departure gathers five orchestral works together that showcase the composer’s contemporary Romanticism, quirky Baroque-ness, and seductively throbbing Post-Minimalism. In a word, Moran-esque.
Kenneth Gaburo Conducts New Music Choral Ensemble I (live in concert, 1967)
It was 1967, the summer of love, and the young radicals were huddled together experimenting, sweating in a tiny airless room. Gibberish, scat, sighs, whispers, as well as more refined musical tones, were coming from their vocal cords. For this was not Haight-Ashbury but Urbana, Illinois, and the New Music Choral Ensemble (NMCE) was merely exploring the boundaries of music. Instigated by Kenneth Gaburo, pioneer of electronic tape music and compositional linguistics at the University of Illinois, the sixteen student singers formed the first ensemble in the U.S. dedicated to contemporary vocal compositions. Advances in analog synthesizers, music theater, multimedia, and extended instrumental techniques were happening around them but choral music had been left high and dry. They were determined to fix this situation and more than equal to the task. With forty works in their repertoire and as many public concerts on their touring schedule, they established the standard for other generations to follow.