Composer Peter Gilbert's debut full length recording features his ethereal compositions for live instruments and live electronics, and includes performances by flutist Mario Caroli, saxophonist Phillip Staudlin, and the White Rabbit ensemble.
|01||Revealing Distant Cities|
Revealing Distant Cities
|02||Allen Den Stillen Geschwistern Im Winde Der Wiesen|
Allen Den Stillen Geschwistern Im Winde Der Wiesen
|05||Passage VI: Final Passage|
Passage VI: Final Passage
|06||The Bold Arch of Undreamt Bridges|
The Bold Arch of Undreamt Bridges
Composer Peter Gilbert's debut full length recording features his ethereal compositions for live instruments and live electronics, and includes performances by flutist Mario Caroli, saxophonist Phillip Staudlin, and the White Rabbit ensemble. "Precisely somewhere at a point in between stations of the known I find what I am looking for: the act of discovery."
- Peter Gilbert
Producer: Peter Gilbert
Recording engineers: Tony DiBartolo (tr 1, 2, 4, 6), Alan Bise (tr 3)
Recorded at Paine Hall, Harvard University (Tr 1, 2, 4, 6 2005-2008), St. Stanislaus Church, Cleveland, OH (Tr 3 2001)
Mastering Engineer: Ryan Streber
Design: Peter Gilbert
Tr 1- White Rabbit, Eric Hewitt, conductor
Tr 2- Phillip Staudlin, alto saxophone
Tr 3- Orianna Webb, conductor; Jennifer Bleick, flute; Laura Sabo, clarinet; Jeb Wallace, horn; Kirsten Yon, violin; Craig Leffer, cello; Cicilia Yudha, piano
Tr 4- Mario Caroli, flute
Tr 5- Peter Gilbert, electronics
Tr 6- White Rabbit, Eric Hewitt, conductor
White Rabbit is: Jessi Rosinski, flute; Elizabeth England, oboe tr 1; Michael Norsworthy, clarinets; Phillip Staudlin, soprano saxophone tr 6; Michele Keen, bassoon tr 1; Adam Smith, basson tr 6; Sarah Botham, horn tr 1; Fred Sienckiewicz, trumpet tr 1; Mark Emery, trumpet tr 6; Daniel Linden, trombone tr 1; Samuel Solomon, percussion tr 1; Aaron Trant, percussion tr 1; Karl Williams, percussion tr 6; Gabriela Diaz, violin; Kirsten Swanson, violin tr 1; Sarah Darling, viola tr 1; Emily Rowe, viola tr 6; Alexei Gonzales, cello tr 6; Benjamin Schwartz, cello tr 1; Stephen Pfeiffer, bass tr 1
Described as “ethereal, ambient, and benignly haunting like a morning fog on the ocean”, Peter Gilbert’s acoustic and electronic music has taken on many forms in projects for film and theater, museum installations and pieces for the concert hall. In his words, he attempts to “become enveloped in a musical experience, disappearing into sound.”
Gilbert has held artist residencies with numerous institutions in Europe and the US including ZKM | Institut für Akustik und Musik, Akademie Schloss Solitude (Germany), and the Aaron Copland House and festivals such as the Tage Aktueller Musik, Nürnberg (Germany) and the Newburyport Chamber Music Festival. Accolades and commissions have come from the Barlow Foundation, New Music USA, the Ernst von Siemens Music Foundation, the Russolo Foundation, the Look & Listen Festival, the Third Practice Festival, the Washington International Composers Competition, and the Institut International de Musique Electroacoustique de Bourges.
Gilbert had composition studies with Julian Anderson, Margaret Brouwer, Chaya Czernowin, Mario Davidovsky, Joshua Fineberg, Lee Hyla, Helmut Lachenmann, Magnus Lindberg, Bernard Rands, Hans Tutschku, and David Vayo. He taught at Harvard University, Wellesley College, and the Cleveland Institute of Music, and was co-founder of the Young Composers Program at CIM and its Co-Director from 2003-2010. In 2010, he moved to Albuquerque where he is Associate Professor of Composition at the University of New Mexico. Gilbert's work as a composer and producer can be heard on New Focus Recordings, Innova, GM Recordings, Sono Luminus, Affetto, and Centaur, as well as at http://petergilbert.net.http://petergilbert.net
Peter Gilbert's program is filled with the ghosts of sounds. He captures a dark, yet hopeful wonder through variation in color, mood, and the semblance of melodies. Revealing Distant Cities is ethereal, ambient, and benignly haunting like a morning fog on the ocean, but not on the beach. There is always something hidden, just beyond what is happening, that seems to slowly reveal itself but never quite does. Underlying pedals shift and resolutions that should have happened are left hanging in your ear. The distant cities are never revealed, and the piece reaches no climax or real conclusion. Allen den Stillen Geschwistern im Winde der Wiesen has tender, almost hidden electronics that blend well with the soprano saxophone. Elegie is an 18 minute flute solo with electronics altering punctuated motives and augmenting them substantially. The title track, The Bold Arch of Undreamt Bridges takes its name from a quotation of Rainer Maria Rilke. Everything here has the same kind of atmospheric, chromatic language with an absence of extreme dissonance. Resolutions are continually hidden just below the top layer of sound, and slow shifts in color are constantly changing the soundscape gradually.