1-1 Montage of 1850 Central Park, New York bird song based on historical records and sound from the Cornell Ornithological Lab. Engineered in Barton, Vermont, it is companion to "Central Park 2007", an identical structure but with appropriately 2007 birds. © 2007 Ⓟ 2007 Charles Morrow, Barton, VT.
1-2 This four-track overdub improvisation is a very loud work for playback on four widely-spaced loudspeakers. The stereo mix is from Morrow's "Bear" cassette, "Personal Chants" (SoundHead Editions, 1972). © 1971 Ⓟ 1972 Charles Morrow, Barton, VT.
1-3 The ambiance of Morrow's interactive arctic sound storeroom. Visitors open drawers and doors to reveal arctic sounds for curator Stephan Andreae's "Arktis-Antarktis" at Kunst- und Ausstellungshalle der Deutsche Bundersrepublik, Bonn. © 1997 Ⓟ 1997 Charles Morrow, Barton, VT.
1-4 This slow motion motion performance of 1597 "Sonata Plan'e Forte", from Giovanni Gabrieli's "Symponaie Sacrae", stretches it many times its normal length. Performers' physical gestures are slowed as well. A Ghost (pulsed drone) Ensemble and Grand Pauses are added to reveal the Ghosts - strolling outside the performance space in hallways, stairwell and out of doors - through open doors and windows. Morrow considers this his first real work. © 1957 Ⓟ 1973 Charles Morrow, Barton, VT.
1-5 Sidney Janis Gallery, NY. A string trio of New York session players are continuity for sound bites of Monroe films and recordings with fragments of Monroe's voice from a TV interview. The music, film and voice bites can, as well, be played back asynchronously. This sound portrait concerns the star as victim and performance as confession. © 1967 Ⓟ 1973 Charles Morrow, Barton, VT.
1-6 A two-track overdub duet using live headphone feedback while singing. This very loud work is for playback on two widely spaced loudspeakers. The stereo mix is from Morrow's "Bear" cassette, "Personal Chants" (SoundHead Editions, 1972). © 1971 Ⓟ 1972 Charles Morrow, Barton, VT.
2-1 Montage of 2007 Central Park, New York bird song based on historical records and sound from the Cornell Ornithological Lab. Engineered in Barton, Vermont. It is companion to "Central Park 1850", an identical structure but with appropriately 1850 birds. Both begin with all birds chorusing simultaneously, followed by a three-minute sound year with appropriate birds for each season. © 2007 Ⓟ 2007 Charles Morrow, Barton, VT.
2-3 and 2-4 Slow motion recording of William Billing's "Vermont Hymn". Performed in layers on violin and viola. © 2007 Ⓟ 2007 Charles Morrow, Barton, VT.
2-4 Thirty harpists in Catherdral of St. John the Divine, New York City sit in a figure 8 formation surrounded by audience. Via FM link to their headphones, harpists are conducted by a cue-track voice with drums. The harp music traces sonic waves moving across the Cathedral. Lively dance music, in an additive canon, follow. © 1984 Ⓟ 1984 Charles Morrow, Barton, VT.
2-5 follows the transition of sunset colors and was written for the 1977 New Wildness Solstice celebration at Wave Hill Public Gardens, Bronx, New York. Paul Dunkel conducts solo cello, seven virtuoso cellists and a thirty-two cello ensemble seated in a semicircle facing the audience who view sunset over the Hudson River. The music is based on wave motions. One long, ever more elaborated, cello chant is repeated in fixed phrase lengths by the soloist, echoed by the virtuosi and then the ensemble. © 1977 Ⓟ 1977 Charles Morrow, Barton, VT.
2-6 Produced by New Music America Festival Chicago, this night spectacle with radio/TV broadcast honors John Cage. Boat captains toot n blink on voice command by radio announcers. The Night Squadron speeds to Chicago's mile-long Navy Pier where larger boats in the Pier Fleet are moored. All toot n blink in the "Finale" when the Night Squadron arrives. © 1982 Ⓟ 1982 National Public Radio, USA.
2-7 This is Morrow's final radio piece for Studio of Acoustic Art, WDR Cologne, Germany. The complete twenty-eight minute work explores human consumption of life on land, in the sea and in the creative world. "Vocalise" is the final aria in each of the three realms. © 2001 Ⓟ 2001 Charles Morrow, New York and WDR, Germany.
3-1 Produced by VPRO Hilversum, Holland, this event composition celebrated colorful and at times humorous miniature paintings in the "The Book of Hours" by Flemish Master of Cleves commissioned c 1540 by Catherine of Cleves. As nature images frame each page, natural sound designs frame the music, which begins and ends outside the chruch with bell ringing. All process into the church where this music is performed with large projections of "The Book"'s miniature images. Morrow's music lends a late 20th century spin to 16th Century style. © 1992 Ⓟ 1992 Charles Morrow, New York and VPRO, Holland.
3-2 A floating sonic atmosphere created with music box sounds and clock chimes. A repeated instrumental phrase is progressively counterpointed with added musical layers. Morrow created "Feather" in MIDI in 20th century sound samples. "Feathers" is dedicated to Maija-Leena Remes. © 2001 Ⓟ 2001 Charles Morrow, Barton, VT.
All © Other Media (ASCAP), Barton, VT.
Funded in part through a grant from The Aaron Copland Fund for Music, Inc.
This recording was also made possible in part with a grant from the Phaedrus Foundation.