Release Date: March 11, 2016
Catalog #: RR7926
GILGAMESH & ENKIDU (2012) Ted Moore
Enkidu String Quartet | Erik Rohde and Samuel Rudy, violin;
Benjamin Davis, viola; Lars Krogstad-Ortiz, cello;
Ted Moore, laptop
1 I. the fall of Enkidu
2 II. The Dark
3 III. Lament
4 IV. “the silence was deeper than before”
5 V. the river, the flood
6 Epilogue: Names and Monuments
All tracks recorded January 9 2013,
at Art Institute International Minnesota in Minneapolis MN
Session Producer Ted Moore
Session Engineer Brian Hallerman
Mastering Engineer Mike Olson at Totally Intuitive
Executive Producer Bob Lord
Audio Director Jeff LeRoy
Production Engineer Nate Hunter
Art & Production Director Brett Picknell
Graphic Designer Emily Roulo
A&R Chris Robinson
Marketing Specialist Morgan MacLeod
ALSO ON RAVELLO RECORDS
GILGAMESH & ENKIDU
Composer and sound designer Ted Moore presents his Ravello release Gilgamesh & Enkidu, a six-movement interpretation of the ancient Mesopotamian epic poem scored for string quartet and laptop. The work follows the friendship of Gilgamesh and the wild Enkidu, his enemy-turned-friend, as they defy the gods and defeat their beast, Humbaba, in the name of humanity. After the gods murder Enkidu as punishment, Gilgamesh falls into despair and wanders the earth in search of the secret of immortality so he can resurrect his friend. When an empty-handed Gilgamesh returns to his kingdom, he sees that, in his absence, his people have built great monuments in his honor. He realizes that humanity is destined for mortality, and that overcoming adversity is part of the full human experience.
The Enkidu String Quartet deftly navigates Moore’s complex and demanding score. Moore and the Enkidu Quartet create a distinctive sonic environment, where convention and the familiar meet strangeness and the unknown. Moore illustrates the myth’s vibrant images with various musical effects, including polyrhythms knocked out on the bodies of their instruments, scratchy sounds from playing behind the bridge, and eerie harmonic glissandi. The most ambitious effects, however, come from the use of electronics with the programming language SuperCollider. In live performance, SuperCollider captures the sounds of the strings, manipulates them, and moves them around the performance space. Moore does not, however, let these stunning effects overshadow the riches to be found in the work’s more grounded moments, just as Gilgamesh comes to realize the value of humanity’s mortality.
Moore holds degrees in music composition, having studied with Brook Joyce at Luther College for his bachelor of arts and with Warren Gooch and Charles Gran at Truman State University for his master of arts. He has also participated in workshops at Stanford University’s Center for Computer Research in Music and Acoustics
Moore has been composer-in-residence at Kimmel Harding Nelson Center for the Arts, as well as a featured sound installation artist at the St. Paul Public Library, TC Make, and Minneapolis’ Northern Spark Festival
Moore is co-founder of Spitting Image, a composer collective with a mission of bringing together composers, performers, and listeners in order to strengthen the Twin Cities new music community. He is also a member of the American Society of Composers, Authors, and Publishers, the American Composers Forum, the Society of Composers, Inc., and the Iowa Composers Forum
Moore’s work focuses on live electronic processing with live performers using the digital signal processing programming language Super Collider. He has composed several chamber works involving electronics, including The Lotus Flower, if two things… and leviathan. His music has been performed across the country, by ensembles such as the International Contemporary Ensemble, Spektral Quartet, Yarn/Wire, AVIDduo, Firebird Ensemble, and Renegade Ensemble
Moore has taught music and electronic music in a variety of capacities, including at The Walden School’s Young Musicians Program (Dublin, NH), MacPhail Center for Music (Minneapolis, MN), Slam Academy (Minneapolis), and McNally Smith College of Music (St. Paul, MN)
Moore is an avid electronics improviser, notably as one half of Binary Canary, a woodwinds-laptop improvisation duo. He is also active as a sound designer, having worked with several independent companies and organizations, such as on original productions of Savage Umbrella Theater
Ted Moore is a composer, sound designer, and music educator living in Minneapolis, MN. His work has been reviewed as “an impressive achievement both artistically and technically” (Jay Gabler, VitaMN), “wonderfully creepy” (Matthew Everett, TC Daily Planet), and “epic” (Rob Hubbard, Pioneer Press). Moore’s work focuses on live electronic processing with live performers using the digital signal processing programming language SuperCollider. His music has been performed by the International Contemporary Ensemble, Spektral Quartet, Yarn/Wire, AVIDduo, Firebird Ensemble, RenegadeEnsemble, and the Enkidu Quartet, and has been performed across the country including Fredericksburg VA (Electroacoustic Barn Dance); Berkeley CA (Festival of Contemporary Music); Chicago IL (Access Contemporary Music); Kirksville MO (New Horizons Music Festival); Champaign-Urbana IL (NASA); Denton TX (Denton Women’s Club); Minneapolis MN (Cedar Cultural Center, The Southern Theater); Decorah IA (Luther College); and Richmond KY (Eastern Kentucky University).
Moore has been composer-in-residence at the Kimmel Harding Nelson Center for the Arts (Nebraska City), and has been featured as a sound installation artist by the St. Paul Public Library, TC Make, and notably at the 2014 Northern Spark Festival in Minneapolis. He is also an avid improviser, performing on the laptop, especially as one half of Binary Canary, a woodwinds-laptop improvisation duo (binarycanarymusic.com). As a sound designer, Moore has worked with many independent companies, notably on Savage Umbrella’s original productions: Care Enough, Emma Woodhouse is Not a Bitch, Rain Follows the Plow, Leaves, Rapture, and These are the Men. He has taught music and electronic music in a variety of capacities, including at The Walden School’s Young Musicians Program (Dublin NH), MacPhail Center for Music (Minneapolis), Slam Academy (Minneapolis), and McNally Smith College of Music (St. Paul). tedmooremusic.com
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