Play the first minute of Chaoborus.
This recording is from a live recording by Linda Lampkin, flute; Elizabeth Nelson, oboe; Trina Gross, clarinet; Takehiro Sasaki, bassoon; Eric McIntyre, horn; David Mekled, trumpet; Carolee Brakewood, trombone; Chris Richards, percussion; Muhiddin Durruoglu-Demirez, piano; Jeff Howard, Michael Milton, violins; Gardner McDaniel, viola; Stefan Freund, cello; Ryun Schienbein, bass; Tim Hankewich, conductor.
The EvorEnsemble Contempor‚neo, …vora, Portugal (January 2006)
University of Louisville Contemporary Player, Frederick Speck, cond., University of
Louisville, Louisville, KY (April 1995)
Tim Hankewich, cond., Indiana Univeristy, Bloomington, IN (October 1993)
Bass Drum, Bell Plate, Vibraphone, Crotales (pitches: E, F, A),
Chimes (i.e. Tubular Bells; pitches: Db, E)
Chaoborus (pronounced Ka-OB-or-us) was written from October 1992
to the beginning of 1993. It is scored for four woodwinds, three brasswinds, five strings,
percussion and piano. It is approximately eight-and-a-half minutes long.
The Chaoborus is a phantom midge, found in the profundal zone of lakes. According to
Wetzel (Limnology, 2nd ed., Saunders, 1983, p. 663):
the larvae can develop to the fourth instar in six to
The first and second instars are the larvae can develop
fourth instar in six to eight weeks. The first and second
are always limnetic and positively phototactic, and
rapidly in a few weeks. The third instar, mostly
limnetic but also
occurring in the sediments, is of much longer duration.
variable period of up to several months, ecdysis to the
instar occurs; this instar is limnetic much of the time.
instar of many species of Chaoborus undergoes strong
It is this last trait which attracted me to the Chaoborus as a possible title.
The piece is in one movement, the tempo the same throughout. Formally Chaoborus
breaks down into four parts with an introduction and a coda. In the introduction the basic
conflicts between chords and melody, and between "whole- tone"-like material and more
chromatic material are presented. The first main section is anchored by a nearly continuous
rocking minor third, over which there are several melodies. Interrupting the anchor and the
melodies are the loud chords first heard in the introduction. In the second section the loud chords
take over, shifting and changing abruptly until, just as suddenly, they end. The third section of
the piece has slower rhythmic motion, and it is more nebulous and fractured in nature. In the last
section all of the previous elements of the piece are heard against each other, piled up like
building blocks: the elements are not affected by the music around them, and their arrangement is
somewhat orderly, somewhat haphazard. The piece ends with an almost backwards recapitulation
of the opening.
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