Electronic Arts, the Smithsonian Institute, the World Saxophone Congress in Japan and France, Chicago Symphony Orchestra Chamber Music Series, the Musik Factory in Bergen, Norway and many others. Sandroff is currently Director of the Computer Music Studio and Senior Lecturer in Music at The University of Chicago and Professor of Sound Art with the Radio/Sound Department of Columbia College.

    In June 1996, Sandroff was invited by Maestro Pierre Boulez to attend the dedication of the new I.R.C.A.M. facilities at the Georges Pompidou Center in Paris where Alain Damiens, soloist with the Ensemble Intercontemporain, performed Sandroff's 1990 composition, Tephillah: for clarinet and computer.  The work was commissioned by Yamaha Corporation of America for Chicago Symphony clarinetist, John Bruce Yeh, and has also been recorded by Alain Damiens.  Loosely based upon Hebrew liturgical chant, Tephillah owes its inspiration to the style abstraction of the seemingly disordered and spontaneous manner in which a service is conducted by Orthodox Jewish men of the Ashkenazic tradition. The word, tephillah, is Hebrew for prayer.  The work consists of three movements which are performed without pause. Movement I is a declaration of the material. Movement II is styled like a cadenza. Movement III is also declarative in character using more robust versions of the opening sound objects. The construction and material of Tephillah is consistent with my aesthetic goal of using static sound objects that, rather than develop, are varied by their continually changing association with other sound objects. The audio processing systems consists of digital delay, reverberation and mixing systems under the control of a Macintosh computer. These systems are manipulated in real time by a second performer who essentially "plays" the sound of the live clarinet. The combination of clarinet and audio processors exists as a single instrument rather than the more traditional approach of duet between the acoustic and electronic instruments.

    This work is dedicated to the memory of my maternal grandfather, Henry Faber, who though avowed atheism, knew God.


(notes by Howard Sandroff)

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