The last six parts: V - All Changing; VI - Increase; VII - Eb; VIII - Be Thou My Vision / Mao Melodies; IX - Can Melt; X - Pianist Will Interrupt Must Return. Eastman's "open" score is for winds, marimba (vibraphone), sleigh bells, piano, bass. A 1974 performance by S.E.M. Ensemble with the composer on piano is available on Frozen Reeds (http://frozenreeds.com/?p=300). Wild Up's interpretation includes "strategically placed solos—individual cantor-like proclamations" and "reflects a blend of strict adherence to Eastman’s specific instructions with an embrace of individual and collective decision-making within the ensemble". Richard Valitutto, piano / bells / leader; Seth Parker Woods, cello / leader; Sidney Hopson, vibraphone / prime; Andrew Tholl, violin / bells; Mona Tian, violin / bells; Linnea Powell, viola / bells; Derek Stein, cello / bells; Jiji, guitar; Odeya Nini, voice; Jodie Landau, vibraphone / marimba / synth / voice / bells; Lewis Pesacov, bells; Jonah Levy, flugelhorn; Allen Fogle, horn; Shelley Washington, baritone saxophone / alto saxophone / bells; Erin Rogers, baritone saxophone / alto saxophone; Brian Walsh, tenor saxophone; Marta Tiesenga, baritone saxophone; Isabel Lepanto Gleicher, flutes / piccolo / bells; Erin McKibben, flutes / piccolo / bells; Christopher Rountree, music director / bells.
Lucie Vítková, electronics, contrabass preparations; James Ilgenfritz, contrabass. Vítková used time stretching and additional processing to make the tape tracks, which are played along with the contrabass part. The tracks are played from only one loudspeaker, which is placed next to the performer to create an equal partner to play with. The various metal, wood, rubber, and fabric objects in the preparations on Ilgenfritz's bass are used to create a specific sonic environment where the bass and electronics are inseparable.
