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Die Gr​ö​ß​te Fugue

by Elliott Sharp Operas

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1.
2.
Dieser Ton 16:47
English: THIS SOUND So beautiful, this....this... What can I call this? Do I have a word? A taste in my mouth? A touch on my fingertips? Thi....Th t t thisssssssss th th th t t t t th th th th th this SOUND - even a deaf man can hear it I can feel it in my rotten guts like the purest bell tone I can feel it in my poisoned snake like a bolt of lightning i need this sound -i want it to be mine i can taste it - so bitter and bright I want to feel it in my fingers in my fingers just like a guitar but what ….a guitar? But what a guitar! This sound This guitar whose strings come from a burnt and charred earth this place I know all too well - this place in my heart an earth brutal and cold after life has gone ...it seeps out, marching like soldiers in retreat in the February snow, limping home, dragging and wounded - this is a sound I know - a sound that I can sing a sound that a string will sound a string will sing I would rather write 10,000 notes than a single letter of the alphabet. Art! Who comprehends her? With whom can one consult concerning this great goddess? Beethoven can write music, thank God, but he can do nothing else on earth. To play a wrong note is insignificant; to play without passion is inexcusable We mortals with immortal minds are only born for sufferings and joys, and one could almost say that the most excellent receive joy through sufferings. Mistakes - mistakes - you yourself are a unique mistake! A number of unfortunate incidents occurring one after the other have really driven me into a state bordering on mental confusion. Only art and science make us suspect the existence of life to a higher level, and maybe also instill hope thereof. Music is the electric soil in which the spirit thinks, lives and invents. All that's electrical stimulates the mind to flowing surging musical creation. I am electrical by nature. This existence I have built up rests on shaky foundations...What a destructive, disorderly life I see and hear around me: nothing but drums, cannons, and human misery in every form." Oh you men who think or say that I am malevolent, stubborn, or misanthropic, how greatly do you wrong me. You do not know the secret cause which makes me seem that way to you. Oh how harshly was I flung back by the doubly sad experience of my bad hearing. what a humiliation for me when someone standing next to me heard a flute in the distance and I heard nothing, or someone standing next to me heard a shepherd singing and again I heard nothing. Such incidents drove me almost to despair; a little more of that and I would have ended my life - it was only my art that held me back. But It seems unthinkable for me to leave the world forever before I had produced all that I felt called upon to produce What do you say to this dead peace? I no longer expect to see any stability in this age. The only certainty we can rely on is blind chance. The guitar is a miniature orchestra in itself. Do you think I give a damn about your and your pathetic violin? I shall hear in heaven! My misfortune is doubly painful to me because it will result in my being misunderstood. For me there can be no recreation in the company of others, no intelligent conversation, no exchange of information with peers; only the most pressing needs can make me venture into society. Deutsch: Dieser Ton So schön, das ... das ... Wie kann ich das nennen? Habe ich ein wort Ein Geschmack in meinem Mund? Eine Berührung meiner Fingerspitzen? Thi .... Th t t t t t t t t t t t t t t Dieses Geräusch - selbst ein Gehörloser kann es hören Ich kann es in meinen faulen Eingeweiden fühlen wie den reinsten Glockenton Ich kann es in meiner vergifteten Schlange wie einen Blitz fühlen Ich brauche diesen Sound - ich möchte, dass er mir gehört Ich kann es schmecken - so bitter und hell Ich möchte es in meinen Fingern in meinen Fingern fühlen wie eine Gitarre aber was ... eine Gitarre? Aber was für eine Gitarre! Dieser Ton Diese Gitarre, deren Saiten von einer verbrannten und verkohlten Erde stammen diesen Ort kenne ich nur zu gut - diesen Ort in meinem Herzen eine Erde, die brutal und kalt ist, nachdem das Leben vergangen ist ... es sickert aus, marschiert wie Soldaten auf dem Rückzug im Februarschnee, humpelt nach Hause, schleppt und verwundet - Das ist ein Klang, den ich kenne - ein Klang, den ich singen kann Ein Klang, den eine Saite erklingt, wird singen
3.
English: A DREAM UNHEARD A dream a dream Music is like a dream A dream that I can see but one that I cannot hear Oh you men who think or say that I am malevolent, stubborn, or misanthropic, how greatly do you wrong me. You do not know the secret cause which makes me seem that way to you. Oh how harshly was I flung back by the doubly sad experience of my bad hearing. I am obliged to live like an outcast. A dream a dream Music is like a dream A dream that I can feel but one that I cannot hear I will take fate by the throat; it will never bend me completely to its will. Love demands all, and has a right to all. I shall hear in heaven. How glad I am to be able to roam in the wood and thicket, among trees and flowers and rocks ... in the country, every tree seems to speak to me, saying, "Holy! Holy", in the woods, there is enchantment which expresses all things. A dream a dream Music is like a dream A dream that I can see but one that I cannot hear Everything should be at once surprising and inevitable. Only art and science make us suspect the existence of life to a higher level, and maybe also instill hope thereof. We mortals with immortal minds are only born for sufferings and joys, and one could almost say that the most excellent receive joy through sufferings. A dream a dream Music is like a dream A dream that I can see but one that I cannot hear Deutsch: Ein unerhörter Traum Ein Traum ein Traum Musik ist wie ein Traum Ein Traum, den ich sehen kann, den ich aber nicht hören kann Oh ihr Männer, die denken oder sagen, dass ich bösartig, stur oder menschenfeindlich bin, wie sehr tust du mir Unrecht? Sie kennen die geheime Ursache nicht, die mich Ihnen so erscheinen lässt. Oh, wie hart war ich von der doppelt traurigen Erfahrung meines schlechten Gehörs zurückgeworfen. Ich bin verpflichtet, wie ein Ausgestoßener zu leben. Ein Traum ein Traum Musik ist wie ein Traum Ein Traum, den ich fühlen kann, den ich aber nicht hören kann Ich werde das Schicksal am Hals packen; es wird mich niemals vollständig seinem Willen beugen. Liebe fordert alle und hat ein Recht auf alle. Ich werde im Himmel hören. Wie froh ich bin, im Wald und im Dickicht zwischen Bäumen, Blumen und Felsen herumlaufen zu können ... auf dem Land scheint jeder Baum zu mir zu sprechen und zu sagen: "Heilig! Heilig", im Wald gibt es Verzauberung, die alle Dinge ausdrückt. Ein Traum ein Traum Musik ist wie ein Traum Ein Traum, den ich sehen kann, den ich aber nicht hören kann Alles sollte gleichzeitig überraschend und unvermeidlich sein. Nur Kunst und Wissenschaft lassen uns die Existenz des Lebens auf einer höheren Ebene vermuten und vielleicht auch Hoffnung wecken. Wir Sterblichen mit unsterblichem Verstand werden nur für Leiden und Freuden geboren, und man könnte fast sagen, dass die Besten Freude durch Leiden erhalten. Ein Traum ein Traum Musik ist wie ein Traum Ein Traum, den ich sehen kann, den ich aber nicht hören kann
4.
English: ROAR AND STORM Tones sound and rage and storm around me until I write them down. Deutsch: Brüllen und Sturm Töne ertönen und toben und stürmen um mich herum, bis ich sie notiert habe.
5.
Wunder 03:08
Engllish: WONDER Wonder wonder wonder Like angels choirs like devils shouts Where do I find such hands? Such lips? Such wind and wave? The greatest viols and finest celli I feel them in my ears and belly Liquid fire but dirty and coarse just like my life just like my life I want them want them want them all Filled with beauty filled with strife At peace in mind peace in heart The peace of this most famous warrior, son of kings No separation of parts in my art I am the messenger I am the carrier the singer the warrior the prince Deutsch: Wunder Wunder Wunder Wunder Wie Engelschöre wie Teufelsschreie Wo finde ich solche Hände? Solche Lippen? Solcher Wind und solche Welle? Die größten Bratschen und feinsten Celli Ich fühle sie in meinen Ohren und meinem Bauch Flüssiges Feuer, aber schmutzig und grob genau wie mein Leben genauso wie mein Leben Ich will, dass sie wollen, dass sie sie alle wollen Gefüllt mit Schönheit voller Streit Bei Frieden im Geist Frieden im Herzen Der Frieden dieses berühmtesten Kriegers, des Sohnes der Könige Keine Trennung von Teilen in meiner Kunst Ich bin der Bote Ich bin der Träger der Sänger der Krieger der Prinz
6.
English: A RETURN And so I'm here now but from where do I return? Not a dream because I never slept just wandering as if on air stepped From places horrific and wondrous but I return Sounds so bright and thunderous for which I yearn Songs so strange and beautiful that I laugh! Songs so strange and beautiful that I cry! Paths are twisted - no maps do I have To capture this place so low so high That I may return so that I fly Masses so thick and deep like the walls of the castle Stones Stones Stones Deutsch: Eine Rückgabe Und so bin ich jetzt hier aber von wo komme ich zurück Kein Traum, weil ich nie geschlafen habe Ich wanderte nur so herum, als ob ich in der Luft wäre Von Orten schrecklich und wundersam, aber ich kehre zurück Klingt so hell und donnernd, wonach ich mich sehne Lieder so seltsam und schön, dass ich lache! Lieder so seltsam und schön, dass ich weine! Die Wege sind verdreht - ich habe keine Karten Diesen Ort so niedrig und so hoch zu erfassen Damit ich zurückkomme, damit ich fliege Massen so dick und tief wie die Mauern des Schlosses Steine Steine Steine
7.
Natur 10:58
English: NATURE Nature! We are surrounded by her and locked in her clasp: powerless to leave her, and powerless to come closer to her. Unasked and unwarned she takes us up into the whirl of her dance, and hurries on with us till we are weary and fall from her arms. She creates new forms without end: what exists now, never was before; what was, comes not again; all is new and yet always the old. Her crown is Love. Only through Love can we come near her. With a few draughts from the cup of Love she repays for a life full of trouble. To every one she appears in a form of his own. She hides herself in a thousand names and terms, and is always the same. She has placed me in this world; she will also lead me out of it. I trust myself to her. What is true and what is false, she has spoken it all. Everything is her fault, everything is her merit. Deutsch: Natur Natur! Wir sind von ihr umgeben und in ihrem Verschluss eingeschlossen: machtlos, sie zu verlassen, und machtlos, näher zu ihr zu kommen. Ohne Aufforderung und ohne Warnung nimmt sie uns mit in den Wirbel ihres Tanzes und eilt mit uns weiter, bis wir müde sind und von ihren Armen fallen. Sie schafft neue Formen ohne Ende: Was jetzt existiert, war noch nie zuvor; was war, kommt nicht wieder; alles ist neu und doch immer das alte. Ihre Krone ist Liebe. Mit ein paar Entwürfen aus der Tasse Liebe zahlt sie für ein Leben voller Ärger. Jedem erscheint sie in einer eigenen Form. Sie versteckt sich in tausend Namen und Begriffen und ist immer dieselbe. Sie hat mich in diese Welt gebracht; Sie wird mich auch herausführen. Ich vertraue mir ihr an. Was wahr und was falsch ist, hat sie alles gesagt. Alles ist ihre Schuld, alles ist ihr Verdienst.
8.
English: DEATH APPEARS Death appears to stupidity he chance Justice was happily higher repair are all that can be beneficial Agree majority and fall below gives his who comes our state heart Suffering fate the for Humanity own or taste and one stay? Proof of the will made an art that you world of all Disappointment in the state and we other beauty what should the heart Then people against no clockwork. Idea animal is the source of freedom for this The truth of it all has to be sad fight the existence of the die will make the big perfect is us admits that to beauty when abstract always Many of the for and escape man exchanged freedom please Individuals are so enlightened themselves Barbarians it gods the thunderstorm As with air It still has to do a must arises bike learns no pain cause things of some life like that with it he urges through up decorate that while it is in its being Your human is an all form It is short and it ain't no meat everywhere that of Lass shining comes in Werretten Morning gate of the deepest grace for heaven never small but must be what knowledge in the age repairs that your heart with us for life in mechanics The act is familiar is in vain as revolutions not to say against that draws your time that it will run out and just not theirs too through your influence Soul never beauty But the peak price perfectly wise humanity own or will be living coincidence Own mankind or Deutsch: Tod Erscheint Tod erscheint Dummheit er Zufall Gerechtigkeit befand hat glücklich hoher reparieren ein sind alles föhlende kann ist Stimme es Mehrheit die und unter gefallen gibt seiner der kommt Unser Zustand Herz Mitleidenschaft Schicksals den für Menschheit eigenen oder Geschmack und einem bleiben? Beweis zu Das sich gemacht Willen eine Kunst die Sie sie Welt Der ein allen Entt”uschungen Sie Staates in und wir anderes Schö–nheit was soll an das das Herz Mensch dann gegen kein Uhrwerke Um Idee tierischen ist die dafür Quelle Freiheit Wahrheit der muss Ganzen was traurige k”ampfen ihm dem des Existenz des die die werden den groþ perfekt l”sst ist uns machen gibt das zu Schö–nheit Wenn abstrakte immer Vielen der für und entkommen Man ausgetauscht Freiheit gefallen Individuums sei R”üder selbst so aufgekl”rt Barbaren es Gü–tter die Gewitter Wie mit Luft Es noch die macht müssen ein muss Nur Taten entspringt Rad lernt Schmerzen kein verursachen Dingen der einige Leben so damit riskieren dringst er durch Auf schmücken das w”harend die ist in seiner wird Ihrer Mensch ein alles Form ist Es kurze Die und der ist keinen Fleisch nicht ¸überall Uhr dieser des Lass S–honen kommt in Werretten Morgentor des bitten tiefsten Gnade k–nönen für Himmels nie klein sondern aber müssen ist was Erkenntnis zu Zeitalter das repariert dein mit für uns Leben in Mechaniker der Herz Die ist wirken ist vertraut zu vergebens des als Revolutionen Gegen dem nicht mit sagen zieht Ihren der Zeit dass es der auslaufen Die und bloþer nicht ihren zu durch Einfluss dein Seele niemals der Sch–önheit V”ätern Aber der Bergen Preis vollkommen Weisen Menschheit eigenen oder wird lebenden h”ängen Zufall Menschheit eigenen oder
9.
Die Sendung 06:42
English: THE BROADCAST I am what is. I am everything that is, what was and what will be. No mortal has lifted my veil. He is alone and all things owe their being to this loneliness. If the recovery is no longer possible, do I have to use? ... I often despair and would like to die ... I would have left this earth long ago, by my own hand Deutsch: Die Sendung Ich bin das was ist. Ich bin alles, was ist, was war und was sein wird. Kein Sterblicher hat meinen Schleier gelüftet. Er ist allein, und dieser Einsamkeit verdanken alle Dinge ihr Sein. Wenn die Wiederherstellung nicht mehr möglich ist, muss ich verwenden? ... Ich verzweifle oft und würde gerne sterben ... Ich hätte diese Erde schon lange verlassen, und zwar von meiner eigenen Hand.
10.
English: THE COMEDY IS OVER Music is the electric soil in which the spirit thinks, lives and invents. All that's electrical stimulates the mind to flowing surging musical creation. I am electrical by nature. I am electric. I am electrical by nature. I am electric I have flown with the currents to places that I never dreamed could exist, bringing me a joy unimagined, a joy inconceivable, a comedy divine In these places I have seen wonders and horrors that make me laugh beyond control, they make me shake with the deepest fear I have brought this electricity back with me, this current, this stream both beautiful and terrifying. This is not a brook, it's an ocean. From the glow of enthusiasm I let the melody escape. I pursue it. Breathless I catch up with it. It flies again, it disappears, it plunges into a chaos of diverse emotions. I catch it again, I seize it, I embrace it with delight... I multiply it by modulations, and at last I triumph in the first theme. There is the whole symphony. You ask me where I get my ideas. That I cannot tell you with certainty. They come unsummoned, directly, indirectly They are not ideas but the ocean itself into which I reach I could seize them with my hands electrical currents oceanic out in the open air, in the woods, while walking, in the silence of the nights, at dawn, excited by moods which are translated by the poet into words, by me into tones that sound and roar and storm about me till I have set them down in notes. This is not a brook, it's an ocean. This is not a brook, it's an ocean. This is not a brook, it's an ocean. Applaud, my friends, this comedy is over. Deutsch: Die Komödie ist vorbei Musik ist der elektrische Boden, auf dem der Geist denkt, lebt und erfindet. Alles, was elektrisch ist, regt den Geist zu fließendem Musikschub an. Ich bin von Natur aus elektrisch. Ich bin elektrisch. Ich bin von Natur aus elektrisch. Ich bin elektrisch Ich bin mit den Strömungen an Orte geflogen, von denen ich nie geträumt habe, dass sie existieren könnten, und habe mir eine ungeahnte Freude gebracht, eine unvorstellbare Freude, eine göttliche Komödie An diesen Orten habe ich Wunder und Schrecken gesehen, die mich zum Lachen bringen Außer Kontrolle bringen sie mich vor tiefster Angst zum Zittern Ich habe diesen Strom mitgebracht, diesen Strom, Dieser Strom ist sowohl schön als auch erschreckend. Dies ist kein Bach, es ist ein Ozean. Aus dem Schein der Begeisterung ließ ich die Melodie entkommen. Ich verfolge es. Atemlos hole ich es ein. Es fliegt wieder, es verschwindet, es taucht in ein Chaos verschiedener Emotionen ein. Ich fange es wieder, ich ergreife es, Ich umarme es mit Freude ... Ich multipliziere es mit Modulationen und triumphiere schließlich im ersten Thema. Da ist die ganze Symphonie. Sie fragen mich, woher ich meine Ideen habe. Das kann ich Ihnen nicht mit Sicherheit sagen. Sie kommen direkt, indirekt unbesummt Sie sind keine Ideen, sondern der Ozean selbst, in den ich greife Ich könnte sie mit meinen Händen ergreifen elektrische Ströme ozeanisch draußen im Freien, im Wald, beim Gehen, in der Stille der Nächte, im Morgengrauen, aufgeregt von Stimmungen, die vom Dichter in Worte übersetzt werden, von mir in Töne, die um mich herum klingen und brüllen und stürmen, bis ich sie in Notizen niedergelegt habe. Dies ist kein Bach, es ist ein Ozean. Dies ist kein Bach, es ist ein Ozean. Dies ist kein Bach, es ist ein Ozean. Applaus, meine Freunde, diese Komödie ist vorbei.
11.

about

One may imagine Ludwig von Beethoven in the 1820s in ill health and nearly deaf, bitter and lonely with his economy in tatters, and clinging to his delusions of nobility. He must escape but it is impossible. Yet escape he does but not by his own agency. Spontaneously, he becomes unmoored from the tethers of his daily life and mind to travel in time to an incomprehensible future, surprisingly both magnificent and horrendous. Once he has returned to his normal daily life he processes his experiences in “this greatest fugue” (die Größte Fuge) and begins to create a string quartet, die größe Fuge.

With the loss of the physical sensation of hearing, Beethoven's musical creativity would be channeled into his Inner Ear, the true voice of his seemingly boundless sonic imagination. Fueled by the poetry and philosophies of Goethe and Schiller as well as Egyptian and Indian mythology, energized by news of scientific advances, he remained utopian in his outlook despite the pain of his existence. Beethoven revered the infinitude of the natural universe and it inspired many of the thoughts underlying his compositional approach. He created die grösse Fuge in an act of separation from his String Quartet Nr. 13 (Opus 130) and in the light of history, it may be seen as a work that leaps out from the Classical Age and into the timeless future, the first 20th Century string quartet.

From his correspondence, his references, and the effortless brilliance of his composing, Beethoven appears to have possessed a towering intellect. Could he have felt that he was not entitled to his gifts and talents because of he was not of noble birth? After all, the benefits of the Age of Enlightenment would not be bestowed on everyone instantaneously or equally. First appearing in 1810, Beethoven's delusionary belief that he was the illegitimate son of a King of Prussia could have served as validation for his own genius, a quality to which he felt he was unworthy of by station. This artifice gave him the freedom to launch his musical extrapolations, a superb artistic catalyst though ultimately a self-destructive basis for dealing with reality.

As Beethoven's deafness emerged and general health declined, he was both embroiled in family drama and tortured by failed romance. Theories as to the cause of his deafness include syphilis, lead poisoning, typhus, and even his practice of immersing his entire head in cold water as a stimulant. Regardless of the cause, the deafness became an all-encompassing burden and misery, compounding the problems he faced and adding another element from which to escape.

Drawing from its Latin root, fugo, or flight, the "fugue state" defines escape from a condition of normalcy. It may be an ecstatic movement of artistic joy or in a term from medical psychology, the release from trauma and pain. This latter condition may even result in a spontaneous physical escape devoid of rational planning to an unknown destination. A master of counterpoint, Beethoven's work in die größe Fuge implies both types of "fugue state", not only a flight from misery but an escape to a place of mysterious beauty where harmony is unfettered and melodic invention the highest priority. In die größe Fuge, Beethoven allowed himself to take his contrapuntal practice to the extreme, annihilating the esthetic standards of the day and approaching escape velocity from the gravity of diatonic harmony.

In this opera, die größte Fuge, both definitions of the "fugue state" rise to parity. Beethoven's inspiration is here drawn directly from his experience of this total departure from his day-to-day reality. He finds himself confused by what he sees and hears and, like an infant, he is unable to frame his perceptions with a recognizable form or structure rooted in his normal reality. This hallucinatory disorientation eventually resolves to visions that somehow relate, if only obliquely, to events already within his experience yet cast as forms gargantuan and monstrous, cold, alien. He finds his imagination equally captured by visions of profound beauty, natural yet not from the nature that he is familiar with but one that is amplified both microscopically and macroscopically. He senses that his distressed mental condition has transported him to some other world, some other time, perhaps the future. Beethoven emerges from these journeys with the feeling that he has been offered a portal to traverse, one that will elevate his soul out of the agony of his daily life and allow it to flow timelessly to the infinite, to eternity.

In writing the libretto for die größte Fuge, I drew from Beethoven's letters and notes as well as from works by Schiller and Goethe. These excerpts were translated, sometimes multiple times from German to English and back again using AI translation software. In addition, some texts were run through "cut-up" software that would simulate strategies invented by Brion Gysin and often used by William Burroughs to reveal layers of meaning within a text by literally cutting up the printed words and phrases on a page and resequencing them. Some of these same strategies were employed in creating the music. The entire die größe Fuge would be time-compressed down to 90 seconds and the results transcribed and then manipulated. Analysis of the score to die größe Fuge yielded tables of frequent gestures and core chord sequences, fodder for mutation. Melodic materials would be extracted and turned into seeds that could then be expanded and layered to form vocal melodies and contrapuntal accompaniment. Rhythmic motifs would be looped and reversed, recombined and transformed. However, first and foremost, the settings of the songs are designed to flow from the words themselves so that the meaning, while layered, is always in bas-relief. Composed with the magnificent voice of Nicholas Isherwood in mind, the songs provide an understory for this counterfactual narrative, both clarification and gut-punch.
In performance, Janene Higgins’ projection design adds another layer providing commentary and nuance in addition to functioning as set design and staging.

In the end, we return from elevated realms out of time to the earthly plane and the harsh reality of Beethoven's mortality: the death of the man, the artist. But in this return we are left with the source of inspiration, die größe Fuge itself, a work described by Igor Stravinsky as "an absolutely contemporary piece of music that will be contemporary forever."

Elliott Sharp - NYC - August 2021

credits

released December 27, 2022

Nicholas Isherwood - bass baritone
Asasello Quartet:
Rostislav Kozhevnikov- violin
Barbara Streil- violin
Justyna Sliwa- viola
Teemu Myöhänen- violoncello
Electroacoustic pre-recorded tracks: Elliott Sharp - synthesizers, electric guitar, baritone guitar, bass guitar, bass drum, percussion, processing

Nikolas Geschwill - live recording
Elliott Sharp - pre-production recording

Die Größte Fuge was a production of the In Situ Art Society as part of the »Bridges – Reclaiming Beethoven« project • In cooperation with: Moers Festival • Grafschafter Museum im Moerser Schloss
Funded by: The Federal Government Commissioner for Culture and the Media • State of North Rhine-Westphalia • Rhein-Sieg District • City of Bonn • Art Foundation NRW
With the kind support of: Crossing at St. Helena| www.kreuzung-helena.de

Mixed and Mastered by E# - Studio ZOaR
Published by zOaR Music - BMI - 2022


Special Thanks: In Situ Art Society, Pavel Borodin, Anna Cheredneko, Janene Higgins, James Ilgenfritz

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Elliott Sharp Operas New York, New York

Elliott Sharp: composer, multi-instrumentalist, producer, author, leads Orchestra Carbon, Tectonics and Terraplane with compositional strategies including fractal geometry, chaos theory, and genetic metaphors. His collaborators have included Nusrat Fateh Ali Khan; Cecil Taylor; Debbie Harry; Hubert Sumlin; Radio-Sinfonie Frankfurt ... more

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