Taped Audio-Musical Works
Though all are based upon texts, none are simple reproductions of live readings; indeed, none can be performed live as they are heard here. Compact discs or audio cassettes (with Dolby B or C, or DBX), stereo (unless otherwise noted), can be supplied from, and should be returned to, my address. Fees are negotiable. Where a visual component exists, it is described. All public performances should be reported to ASCAP or its European affiliates.
Invocations (1981) incorporates prayers spoken by over four dozen ministers, in over two dozen languages, into duets, quintets, choruses and successive solos that are ultimately about the sound of the language of prayer. Recorded in West Berlin, this was mixed at the Electronic Music Studio of Stockholm and subsequently acknowledged in Thomas B. Holmes’s EleThough all are based upon texts, none are simple reproductions of live readings; indeed, none can be performed live as they are heard here. Reel to reel audiotapes or cassettes (with Dolby B or C, or DBX), stereo (unless otherwise noted), can be supplied from, and should be returned to, the above address. Fees are negotiable. Where a visual component exists, it is described. All public performances should be reported to ASCAP or its European affiliates.ctronic and Experimental Music (1985), among other books. There are six versions that are identical for 58’ but have different openings that are roughly 3’ long: 1) Hebrew-Assyriac; 2) English; 3) Swedish-Danish-English; 4) Latin; 5) German; 6) Mediterranean languages. The first is available on Folkways (FRS 37092).
Americas’ Game: Baseball (1988) is an extended composition of and about sounds unique to the most popular game in North and Central America, in two parts, 29:40 & 29:55.
New York City (1983-84) is three compositions of and about sounds particular to my hometown, initially commissioned by Westdeutscher Rundfunk for a series of programs about the world’s great metropolises, which can be played with thousands of slides of images likewise unique to New York, in either a concert or continuous installation—one 60’ for international broadcast, another 87’, and a third version 140’ for American audiences.
The Gospels (1982) is a continuous fugue of the opening four books of the New Testament here, since they tell the same story, heard simultaneously--an exhausting piece that, in my considered opinion, is nonetheless filled with luminous passages, 120’. Die Evangelien (1982) is the same, but in German and considerably abridged, 60’.
Excelsior (1975) swiftly portrays a seduction in single-word paragraphs, spoken in stereo by two voices, which sound as though they may be the same voice, 1:20.
Plateaux (1975) has a solo voice reciting a text about a love affair to the background of a steadily declining synthesizer. 2:50
Milestones in a Life (1976) tells, amidst changing reverberation, of 77 years of a bourgeois life in terms of the single most important event (milestone) to happen in each year, 3:55
This Is My Poem (1977) is a series in which that root phrase is subjected to several kinds of tape-delay, each of which accents different parts of the phrase. They too can be broadcast individually, in immediate succession, or between others works, :55, :54, :42, 2:10.
Declaration of Independence (1975) is based upon a text written for the American bicentennial, in which the familiar words of the historic American document are read backwards word by word, in this case by a chorus of male voices, each one trying to be in unison with the others, but ultimately failing. One version of this work, perhaps more suitable for popular radio broadcast, incorporates into the course of the piece three sets of explanatory voice-over remarks, 10:01.
Foreshortenings (1976) has 84 sentences that are rearranged in several systematic ways to suggest alternative stories. Here they are read in one version by the author in dialogues with a quartet of himself (26:00) and in another version by the author in a duet with John Morgan (23:00). Incidentally, Charles Dodge has incorporated a portion of this text into a piece of computer speech synthesis entitled He Met Her in the Park in English and Han Motte Henne I Parken in Swedish. The first is 25:00; the second, 17:00. Both are available from him at Holland Hill Rd., Putney, VT 05346, 802-387-4610.
Seductions (1981) contains sixteen seduction stories told by sixteen different amplifications of the same voice and interwoven one sentence at a time into a continuous, albeit spatial narrative, 24:46.
Relationships (1983) is an extended recital of a man’s recollections of why he slept with certain women, as well as his conjectures of why they slept with him, all elaborately processed electronically, and, in truth, not recommended for juvenile audiences, 31:10.
Conversations (1983) are a sequence of twenty-seven pieces1 various in length, in which three German words -- Jah, Nein, Doch -- are exchanged in various, infinitely suggestive ways. This was composed on a Fairlight CMI during a residency at PASS in New York City, :32, 1:25, :24, 1:30, :15, :57, :21, 1:22, 5:49, :18, :40, 1:06, 5:00, 1:46, 1:55, :27, 1:35, 2:13, :24, 2:15, :46, :17, :42, :17, 4:29, 2:51, :52. Like other multi-part sets of mine, these pieces may be played individually, in continuous sequence, or interspersed between other pieces.
Dialogues (1975) are skeletal, implicitly erotic conversations between two voices--one male, the other female--speaking only two words, “yes” and “no”, :35, :30, :35. A later version was done in German (1983), with the addition of a third voice (‘tdoch” for sure), all processed on a Fairlight CMI (computer Music Instrument), :40, :30, :18, :12, :09, :07, :045, :03, 1:00, 2:00, 3:00, :03. Individual sections of both versions may be played/broadcast individually, in immediate succession or apart from each other, say, between other pieces in the course of a concert/program.
Richard Kostelanetz Mantra (1977) sounds as though I am repeating the trochaic rhythms of my name without taking a breath, as its volume runs down into silence. It is the most appropriate coda to any concert of my work, 1:~40.
What’s in a Name (1983) explores, in six movements, the trochaic rhythms of my name with various superhuman enhancemnets (mostly from a Fairlight CMI), 7:25.
Restine (1986), with me reading about me, with linear disintegration and variable disintegration, both processed by Skip Brunner, each 37:20.
Turfs/Arenas/Pitches/Fields (1980) are four-word poems--one hundred in English, eleven in French--spoken in unison by a chorus of four, processed in various ways at EMS, 21;26. Grounds, etc. is a sequel with sets of eight related words spoken in unison by a chorus of eight, 10:28.
Carnival of the Animals (1988), a poem of animal names, produced with a sampler and synthesizer, read by the author in English, and in an acoustic German translation by Tilman Reitzle, each 14:03. Onomatopoeia (1988), produced with similar equipment, in two versions, one heavily processed, the other not, both read by the author, each 10:42.
The Drunken Boat/Le Bateau Ivre (1986), a binaural reading, with the French original on one side and English translations on the other, one by Jonathan Cott read by Janet Cannon (and processed by Skip Brunner), the other by Charles Doria, each, 5:38
Praying to the Lord (1977, 1981) has two sacred texts, the Lord’s Prayer in English and a comparable Hebrew prayer, which are successively and progressively multiplied into fugues of eight voices, sixty-four voices and 512 voices, 5:40.
The Eight Nights of Hanukah (1983) is the familiar prayer for lighting the candles, here read by two dozen laymen of diverse ages speaking Hebrew with a variety of accents, in various styles, mixed with each other into eight separate fugues of successively increasing voices, 5:20.
Asdescent/Anacatabasis (1978) are electronically processed readings of two related pieces that draw upon the texts of my reworkings of sentences from the Biblical I Corinthians 13. Each is 23:00, mono, and, in truth, more difficult as a listening experience than most of my works.
Epiphanies (1982-92) is a large number of single-sentence stories that are given individual settings. About 238 minutes have been finished German translations of selected stories, with sixteen readers, are available in two sets of mono tapes: 26:15 & 27:00; or 9:30, 9:07, 9:25, 8:53, 8:30, !0:31.. Chinese translations, with six readers, both native Chinese and Americans, 6:00.
Kaddish (1990) is an acoustic representation of the Jewish diaspora in the various ways that the Aramaic prayer for the dead is declaimed, in solos, duets, quartets, and choruses, commissioned by Westdeutscher Rundfunk, composed on a Lexicon Opus, with Opher Finkelthal, engineered by Frank Cunningham, 23:22
No, I’m Richard Kostelanetz (1973), in which various voices of myself debate acoustic authority, a comic masterwork produced with Marilyn Ries, 7:06.
Ululation: Acoustic Fiction # 1 (1992), an erotic story told exclusively in sound, with a spoken preface by the author, engineered by Andrew Benker under a grand from NEA-Media Arts, 25:56.
If any producers wish to audit cassette copies of any
of these works (or Audio Writing, a 92-minute
narrated sampler), inquire about fees or ask any other
questions, please write the author/composer at the
address at the top of this page. All works are
published by Wordsand Music, ASCAP. The date of this
catalogue is August 1993. Thank you for your