Junior Recital, February 23, 2014

by James Vitz-Wong

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04:09
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03:07
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03:44
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02:31
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01:47
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01:54
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04:44
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06:56
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05:19
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about

Performed 4:30 pm February 23, 2014
without any pre-recorded material or synthesis
in Stull Recital Hall, Oberlin Conservatory, Ohio
as a Degree Recital for the Double Bass Performance Major
studying with Tracy Rowell.

Additional teaching
Peter Swendsen
Tom Lopez
Lyn Goeringer
Ryan Miller
Eli Stine
Sam Fisher
Matt Omahan



Tonal Aethers - the atmospheric medium which conducts the propagation of tonality.

In music of the Baroque Period, it is common practice for a performer to ornament and embellish upon the notes of the composer. This project (in its current form) takes that notion in a completely different direction, and embellishes all of the space in between the movements of the Cello Suite, using live electronics and extended techniques. The intention is not to augment J. S. Bach's music, rather it is to highlight using modern timbres. The material in each of the interludes (or meditations) is mostly derived from the notes of the bordering movements. In this way, these embellishments create a sonic world of connective textures for Bach's movements to inhabit.

credits

released March 29, 2014

Chelsea de Souza - piano
Ryan Miller / Randall Chaves Camacho - sound reinforcement, mixing
Matt Omahan - tech assistant
Julian Ring - recordist
Katy Early - photography

tags

license

all rights reserved

about

James Vitz-Wong Oberlin, Ohio

Bassist, improviser, electroacoustic artist, dancer, sound-designer

from Seattle, WA, currently living in Oberln, OH

contact: jambotvw [at] gmail [dot] com

Also check out my bluegrass/folk roots band!
www.missrosie-band.com
Going on tour summer 2016
... more

contact / help

Contact James Vitz-Wong

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Track Name: ] Nascence
A bass drone, a key, a tonal focus, the beginning of an idea

from Tonal Aethers (2014) for bass and live electronics [MAX6]
by James Vitz-Wong

opening drone recorded minutes before house was opened
Track Name: ) Prelude
Between the notes, resting upon the chords, here we have the entire suite

from Suite No. 1 in G major (1717) for cello
by Johann Sebastian Bach (1685-1750)
Track Name: ] Troposphere
Falling from the clouds of notes, drops of melody

from Tonal Aethers (2014) for bass and live electronics [MAX6]
by James Vitz-Wong
Track Name: ) Allemande
Ever-elongated phrase flows in and out, never quite finishing, wondering where to go next

from Suite No. 1 in G major (1717) for cello
by Johann Sebastian Bach (1685-1750)
Track Name: ] A Retrograde
The reversal of the upwards arpeggio

from Tonal Aethers (2014) for bass and live electronics [MAX6]
by James Vitz-Wong
Track Name: ) Courante
You'd better run

from Suite No. 1 in G major (1717) for cello
by Johann Sebastian Bach (1685-1750)
Track Name: ] Disinterment
Extracting the slow melody from the turbulent chaos

from Tonal Aethers (2014) for bass and live electronics [MAX6]
by James Vitz-Wong
Track Name: ) Sarabande
We are grounded, even as we march forward

from Suite No. 1 in G major (1717) for cello
by Johann Sebastian Bach (1685-1750)
Track Name: ] Worn Creases
Here are chords we have become used to, here is how they rearrange

from Tonal Aethers (2014) for bass and live electronics [MAX6]
by James Vitz-Wong
Track Name: ) Menuets I & II
Keep your momentum constant

from Suite No. 1 in G major (1717) for cello
by Johann Sebastian Bach (1685-1750)
Track Name: ] Accumulation
At the end of the suite, we have gathered enough tonicization to propel us to the very end

from Tonal Aethers (2014) for bass and live electronics [MAX6]
by James Vitz-Wong
Track Name: ) Gigue
There is much reason to celebrate, let us not forget

from Suite No. 1 in G major (1717) for cello
by Johann Sebastian Bach (1685-1750)
Track Name: : Aria
There's something wrong with me....


from Aria et Rondo (1953) for bass and piano
by Alfred Desenclos (1912-1971)

with Chelsea de Souza, piano


...but I still haven't figured out what it is.
Track Name: : Rondo
This is fun. We are having a good time. Everything is ok, I swear.

from Aria et Rondo (1953) for bass and piano
by Alfred Desenclos (1912-1971)

with Chelsea de Souza, piano
Track Name: } Idioteque
Who's in bunker, who's in bunker?
Women and children first
I'll laugh until my head comes off
I swallow till I burst

Who's in bunker, who's in bunker
I've seen too much
I haven't seen enough
You haven't seen enough
I'll laugh until my head comes off
Women and children first

Here I'm allowed, everything all of the time

Ice age coming, ice age coming
Let me hear both sides

Ice age coming, ice age coming
Throw me in the fire

We're not scaremongering
This is really happening

Mobiles working
Mobiles chirping
Take the money and run

Here I'm allowed, everything all of the time


from Kid A (2000)
by Radiohead
Thom Yorke (b.1968) / Jonny Greenwood (b.1971) / Colin Greenwood (b.1969) / Ed O'Brien (b.1968) / Philip Selway (b.1967)
with Paul Lansky (b.1945) / Arthur Kreiger (b.1944)

Arranged for bass, beatboxing, voice, and live electronics [Max6] 2012-2014 by James Vitz-Wong (b.1992)
Track Name: } Idioteque [Bonus soundcheck recording]
Who's in bunker, who's in bunker?
Women and children first
I'll laugh until my head comes off
I swallow till I burst

Who's in bunker, who's in bunker
I've seen too much
I haven't seen enough
You haven't seen enough
I'll laugh until my head comes off
Women and children first

Here I'm allowed, everything all of the time

Ice age coming, ice age coming
Let me hear both sides

Ice age coming, ice age coming
Throw me in the fire

We're not scaremongering
This is really happening

Mobiles working
Mobiles chirping
Take the money and run

Here I'm allowed, everything all of the time


from Kid A (2000)
by Radiohead
Thom Yorke (b.1968) / Jonny Greenwood (b.1971) / Colin Greenwood (b.1969) / Ed O'Brien (b.1968) / Philip Selway (b.1967)
with Paul Lansky (b.1945) / Arthur Kreiger (b.1944)

Arranged for bass, beatboxing, voice, and live electronics [MAX6] 2012-2014 by James Vitz-Wong (b.1992)

Recorded during soundcheck/setup 2-23-14, before house opened.