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Written in response to Bartok’s ‘44 Violin Duos’(1931) which were based on traditional East European melodies. Bartok was concerned that such tunes would become extinct and wanted to preserve them. ‘Birds Reply’ is also intended as an educational resource although the pieces are original compositions with Celtic, English, Balkan and Klezmer influences. On this recording Chris Prosser plays both violin parts.

• Prosser: Birds Reply to Bartok; computer-set 

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• Prosser: Birds Reply to Bartok: 44 Violin Duos; computer-set 

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• Accordatura Violin - Chris Prosser 

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• Prosser: Birds Reply to Bartok - 44 Violin Duos  Year: 2003 

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• Besser and Prosser: Dark Wind Spring Rain  Year: 1986 

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• Besser and Prosser: 2 Islands  Year: 2004 

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• Besser and Prosser: Dark Wind Spring Rain  Year: 1986 

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This single movement work is structured as follows: A – variation1(a) – var2(a) – B – var1(b) – var2(b) – var2(c ) – var1(c ) – C Capital letters refer to themes, “var” refers to the different variations upon those themes. Although there is only one continuous movement, it is divided into three sections with the aforementioned contrasting variations. “A” is a transcription of a prison work song I had five long years recorded at the notorious Angola State Penitentiary in Louisiana in 1959 by Harry Oster (released on Folk-Lyric Recording Co., Louisiana Folklore Society). The original singer was James Russell and some other inmates. To appreciate the anguish and bitterness behind these prison songs, one must become familiar with the outrageous conditions to which inmates were subjected during its worst years. “B” is a transcription of the railroad song, John Henry as sung by Rich Amerson, a transient from Alabama as recorded by Harold Courlander in 1956 for Folkways Records. “I ain’t proud to be poor, but I ain’t too poor to be proud,” he was recorded as saying. Its treatment is also indicative of early jug band recordings of the 1920s which I enjoy. “C” is a transcription of the Bayou Teche Waltz as played by Columbus Fruge, a Cajun accordion player and singer recorded in the 1920s. As stated previously, each transcription is dealt with in a set of two variations. Variation 1 is a polytonal variation to be played exactly as written. Variation 2 is an optional improvised section which can either be played exactly as notated or partially as notated and/or completely improvised thereupon.

• Davidson: I had five long years; computer-set 

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• Davidson: I had five long years; computer-set 

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• Davidson: I had five long years; computer-set 

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• Davidson: I had five long years; computer-set 

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• Talencourt  Year: 2008 

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• Besser and Prosser: Dark Wind Spring Rain  Year: 1986 

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• Besser and Prosser: 2 Islands  Year: 2004 

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• Besser and Prosser: Dark Wind Spring Rain  Year: 1986 

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• Besser and Prosser: 2 Islands  Year: 2004 

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• Besser and Prosser: Dark Wind Spring Rain  Year: 1986 

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• Besser and Prosser: 2 Islands  Year: 2004 

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Quintro was conceived as an electroacoustic, real-time performance work using a standard acoustic composition for five double basses along with the MAX or Pro Tools computer program, for electroacoustic enhancement. Either electroacoustic enhancement, or a performance with straight and unprocessed acoustic sound can be employed at the performers’ discretion. Quintro is designed to showcase unlimited aspects in sound production for the double bass either way. Basses 2 and 4 work as a unit and should be placed together on one side of the stage, opposite basses 3 and 5, who also work as a unit. Solo bass 1 should then be located in the middle of the stage, between the two groups.

The three movements are titled: 1. Smooth Flow 2. Ebb 3. Return. ‘Smooth Flow’ begins the musical voyage in a relaxed, unhurried manner with the solo over top of a constant quaver flow spread throughout the ensemble. The structure includes a retrograde in the solo from mid-way to the end. ‘Ebb’ is largely abstract, with eerie glissando harmonics and low pedal drones. The ensemble conveys a sense of improvisation, in contrast to the steady cross-rhythms and melody of the outer movements. Improvisation of any sort by the performers is encouraged by the composer for this movement. ‘Return’ picks up the pace for a speedy journey home. The constant, but faster quaver flow keeps the momentum while the solo alternates different melodies and effects over the top. The work ends with a recapitulation of a pizzicato segment from the ‘smooth flow’ melody, at bar 34 of the first movement.

• Stabler: Quintro for five double basses; computer-set 

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• Stabler: Quintro for five double basses; computer-set 

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• Quintro 

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• Quintro for five double basses 

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• Besser and Prosser: Dark Wind Spring Rain  Year: 1986 

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• Besser and Prosser: 2 Islands  Year: 2004 

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• Besser and Prosser: Dark Wind Spring Rain  Year: 1986 

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• Besser and Prosser: 2 Islands  Year: 2004 

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