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Unknown: We're really cognizant of all the different connections and some of the connections between the pieces become apparent only, I probably shouldn't tell you that. But only way after I put the programs together, you'll

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probably tell the connection between the Steve rice piece and the john adams piece. Both being minimalist composers, you know, meaning that, that there's a minimum amount of material that's repeated over and over so that when an event happens, like

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a harmonic move or a rhythmic change, it seems a lot more momentous because of the static nature of the repetition. Something I just noticed tonight, I probably shouldn't say that. But something I noticed tonight, and it's

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alright, because you will have had another piece and an intermission in between. So you won't go crazy, but they're both exactly the same tempo. So maybe that's the tempo of minimalism. And there's some interesting connections between the Copeland

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piece and not only the Chris Ross, but Chris Ross himself. When he was 13 years old, he saw the premiere of connotations on TV, it was televised, and he wrote Copeland the first letter, in a lifelong series of letters, they would communicate for

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Colin's entire lifetime. And he wrote to him and he said, I congratulate you on the premiere. And unlike the rest of my family, I actually liked the piece. So it's really interesting, because then you find out that Chris starts to

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write to Copeland about, he feels this intrinsic violence in Copeland's music, and Copeland writes back and says that I don't think it's violence. I think that I have a tragic sense of life. And then Chris writes back, it's so fascinating. He

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says, you know, for me, well, tragedy and violence are really almost the same. And to somehow Express despair for me is writing a huge, long cry, like the end of connotations. So you'll know when we're nearing the end of that piece. But

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what's really fascinating to me is that the, the piece connotations, which was written in 1962, is by far the oldest piece on this program tonight sounds almost the most contemporary, because of the style of composition, which is

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12 tone composition, meaning that instead of picking a nice melody, one has to pick 12 different tones, and that sets up the tone row basically. And that creates the structure, the harmonic structure, as well as the melodic structure. And

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Copeland Of course wants to do it a little bit differently. He doesn't just lay out the 12 tones so you can sit and while he can almost count them and but he instead he gives it to us vertically. So right away in the first measure, all 12 tones are

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there you have to count pretty fast. quite lovely, isn't it and gets better so but eventually you will hear all all 12 tones treated quite melodically in the strings.

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And then it goes into a scared so section. It's also the structure of the pieces very interesting even though it's in sort of sort of in five parts. It's also like a theme in variations. So there's a scarecrow section and if you

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count very fast, the cellos have all 12. Very good. 11 but Okay, and then we put everything together. And I can tell you're fascinated by this, but I'll tell you soon what Chris said to me. Maybe I'll just I won't do any more

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demos I'll say before, but as I got off the phone with Chris, he said, I definitely shouldn't tell you this. He said, I'm really glad that there's one other person that likes this piece.