Three Perspectives




Ted Unseth, Composer


"Great musical intuition oriented toward composition.  Purely intuitive and powerful."
--Ennio Morricone, Academy Awarded Composer

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Three Perspectives

01. Study In Contrast

"The Beast and Beauty"

From two Piano Sketches scored in the early 1970's. From Strident to Wistful. 



Think: Drama.

"The Beast and Beauty"



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02. Champion Norwegian Fiddling

"Valdres Springar"

Valdres Springar
('Spring' Fiddle Theme from Valdres, Norway)

In 1971, I saw Norwegian National Fiddle Champ Torleiv Bolstad play this at a free U of MN concert in 1971. He was accompanying a male dancer who did a special Norwegian dance (Hallingdans) 'kick': a woman held a broomstick with a man's hat on the tip of it and the male dancer's goal was to kick up, knock the hat off, do a back flip and land on two feet. He did it all right; and when he was mid-air about to kick the hat, Mr. Bolstad bowed a 'zing' note at the very moment. I notated that moment in my arrangement.

Think: Hardanger Fiddle (Hardingfele) 8 strings.

"Valdres Springar" Torleiv Bolstad



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03. Backmasking

"How Should I Know?"
Based on reverse Classic Jazz recordings.

Pertaining to the Americana Classic Jazz Orchestra:

No computers in the mid-1970's meant we did all of our transcribing via reel-to-reel tape recorder-players. Sometimes, the tape would slip off the track and flip over, playing what was on the other side backwards. Some of it sounded very interesting, so I based this on some reverse Classic Jazz recordings. We rehearsed this once, also; and it also was never performed again. I did have it on the list for an Orchestra Hall concert, but one bandmember refused to go on unless I changed it ("it's too weird, Ted."); so we played the forward version of "Why Couldn't It Be Poor Little Me?"; Fletcher Henderson Orchestra, 1926 (the reverse was the basis for my "How Should I Know?").

There's some clever arranging here and unusual timing. I sometimes think of it as an East European Folk Orchestra feature.

Think: Toe-Tap.

P.S. I've tacked-on the 1974 bass-player Chuck Greve reaction to our once-only rehearsal performance.

"How Should I Know?"