Suitable For Framing (2004) contains
Suitable For Framing (1975) for two keyboards (a collaboration with
Patterns for London (1972),
Is Art Is, that emphasized improvisation.
Collaboration in Performance (1750 Arch, 1978) contains And Out Come the Night Ears and How Much Better if Plymouth Rock Had Landed on the Pilgrims.
A Live Electro-acoustic Retrospective (Slowscan, 1987) contains
And Come Up Dripping (1968),
Trio II (1978),
In the Beginning I (1978).
Invisible Gold (Pogus, 2001) contains
Portable Gold And Philosophers' Stones (1972) and
On Being Invisible (1977).
Other compositions include:
Septet (1964) for trumpet, French horn, trombone, violin, viola, cello, piano;
Sextet (1965) for string quartet, flute, and bassoon;
A Precipice In Time (1966), a quintet (two percussionists, piano, alto saxophone, cello) with computer processing;
Then We Wound Through An Aura of Golden Yellow Gauze (1967), a John Cage-an game of creating a score out of a symbolic structure;
the theater piece She Loves Me She Loves Me Not (1968) for electronics, percussion, spoken text, light system, slide projectors, mimes, and a piano with lid removed;
How Much Better If Plymouth Rock Had Landed On The Pilgrims (1969) for unspecified instruments;
The Seduction of Sapientia (1974) for viola da gamba and electronics (whose melodies are derived from the overtones of the viola);
Is Art Is (1974) for variable ensembles;
Suitable for Framing (1975) for two pianos and South Indian Mrdangam,
documented on Suitable for Framing (2004);
the concert The Naked Truth (1976) for performance-art ensemble;
Trio I (1976) with Richard Teitelbaum and Michael Byron;
Trio II (1978);
In The Beginning (1978-81), a series of nine works for soloists, chamber ensembles, orchestra and electronics;
Future Travel (1981) for computer, electronics and acoustic instruments
(one of the first albums composed almost entirely with a digital synthesizer);
Zones of Influence (1984-85), for percussion soloist and computer instrument;
the electronic dance piece Systems of Judgement (1987), again created with interactive software;
Roundup (1987), an anthology of live electro-acoustic works;
the dance piece Systems of Judgment (1988), for keyboards, violin, sound sounds, sampling, digital synthesis (i.e., computer)
Extended Trio (1992) for improvising trio (piano, bass and mrdangam) and software;
Attunement (1999) for multiple voices;
Seeing the Small In the Large (1999) for orchestra;
the "concerto grosso" Naked Curvature (2001) for chamber sextet, whispering voices, sound effects and interactive software;
The "self-organizing" opera On Being Invisible II (1995)
involves two performers, each equipped with a device that captures their brain
activity, two improvising musicians, a computer-controlled video,
voice tapes, a real-time digital synthesis system:
the sequence in which texts, sounds and images proceed is determined by
the brain processes of the two protagonists.
This piece stands as a summation of decades of experiments in
interactive performance and multi-media art.
Two Lines (Lovely, 1996) are piano-sax duets with jazz saxophonist
Most of Rosenboom is inspired by biology, and the
cascading piano notes of Lineage (contrasted with harmonious, fluttering
saxophone or flute cycles) do evoke movements of nature.
The frantic, fibrillating piano-sax noise in Enactment
feels like a multitude of insects or bacteria moving around in their
Transfiguration is cool jazz for the computer age: the mathematical
algorithm of the piano and the saxophone build up to an electrifying sequence.
On the contrary, Transference is all tender and slow emotion and
lethargy. The math is still at work, ceaselessly weaving relationships
between notes, but the human element now prevails.
The lengthier piece, Two Lines (1989), 26-minute long,
exhibits an almost classical composure, despite the fact that it originates
from a stochastic method (amplifying the microscopic glitches of a superficially
static drone). Initially the piano and sax exchange compliments in a somewhat
shy and restrained manner. Then Braxton switches to the flute and the two
instruments engaged in a heated debate, with the piano on the dissonant side
and the flute on the melodic side of the equation. No sooner does Braxton
return to the sax that the unity collapses into a series of skewed
fractals. At about eleven minutes, Braxton duets with himself by alternating
between instruments. When he settles for the saxophone, the music returns
to the frenzied buzzing of Enactment. Eight minutes from the end, the
music pauses and then restarts more chaotic, even borrowing the first notes
of Beethoven's fifth symphony.
Emblematic of his ever more complex processes of composition/performance is
the piano sonata Bell Solaris (1998), in which the pianist's playing
triggers a piano played by the computer.
Four Lines (2001) incorporates both improvisation and the brain activity of two performers who are performing Rosemboon's own On Being Invisible II .
Brainwave Music (EM Records, 2006) collects music for brainwaves (and
sometimes piano) dating from the 1970s:
Portable Gold and Philosophers' Stones (Music from Brains in Fours) (1972), Chilean Drought (1974) and Piano Etude I (Alpha) (1971).
David Rosenboom's How Much Better if Plymouth Rock Had Landed on the Pilgrims was re-recorded from october 2008 to january 2009 and issued on a double-disc album (New World, 2009).
Life Field (2012) is a retrospective of works from 1964-2004.
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