FRANK STEMPER, COMPOSER
Trio Politic (2004-5)
for viola, cello and piano in three movements [15 mins.]
I. GREED II. CONTEMPT III. NEPOTISM
Performed by Celliolapia 17 September 2005 at the Bridges Hall of Music in Pomona California
Opus 53 — A.S.C.A.P. work I.D. 500999586
SCORE
Opus 53 — A.S.C.A.P. work I.D. 500999586
SCORE
PROGRAM NOTES:
The harmony used in TRIO POLITIC is tonally, or perhaps modally or bi-tonally, conceived, yet pan-tonally realized. Obviously, hearing certain functional bipartisan harmonies out of context can imply (and thus create) a relationship to the tonal arena, while having little to do with the actual structure in its current situation. After all, the success of any discourse that is sustained by this harmony is always a subjective judgement that can be creatively manipulated, en mass, (if you will) through skillful rhetoric (before or after the fact) inspired by thoughtless ambition, desire for personal gain, and completely unrelated to the present, yet cleverly and successfully communicated. And the listener is taken in by this smooth discourse, charmed by the slick lines that are so professionally delivered, and eventually convinced of their worth by the underlying rhythm that subliminally adds to the deception through repetition and silence. Then, there is recapitulation.
The harmony used in TRIO POLITIC is tonally, or perhaps modally or bi-tonally, conceived, yet pan-tonally realized. Obviously, hearing certain functional bipartisan harmonies out of context can imply (and thus create) a relationship to the tonal arena, while having little to do with the actual structure in its current situation. After all, the success of any discourse that is sustained by this harmony is always a subjective judgement that can be creatively manipulated, en mass, (if you will) through skillful rhetoric (before or after the fact) inspired by thoughtless ambition, desire for personal gain, and completely unrelated to the present, yet cleverly and successfully communicated. And the listener is taken in by this smooth discourse, charmed by the slick lines that are so professionally delivered, and eventually convinced of their worth by the underlying rhythm that subliminally adds to the deception through repetition and silence. Then, there is recapitulation.
Commentary:
"Frankie Baby, that trio's a keeper."
—Composer Lee Hyla
"Frankie Baby, that trio's a keeper."
—Composer Lee Hyla