Lightgeist

Choreographic movement and the visual spectacle associated with theatrical dance have long been a remarkable stimulus for composers. Marden Pond has collaborated with numerous dance creators and producers, composing scores which have stirred the dance community and which have been performed throughout the United States, in Canada, Europe, and other parts of the world. The collection included in this album contains several of his significant compositions for the theatrical dance stage.
A question often asked by audiences is, "Which comes first when creating a dance production, the music or the choreography?" The answer is "Yes!" This album contains selections where the musical concept came first ("Nights Dream," "Shadow Dance," "The Little Prince"), pieces where the dance steps were created first ("Windows"), and works where there was a true ongoing collaboration between choreographer and composer ("Lightgeist," "Gebungé").

Night's Dream: In 1993 a new staging of Shakespeare's masterpiece, "Midsummer Night's Dream," was directed by Agnes Broberg and produced by Randall King for the theater season at Utah Valley University. The composer was approached to create an overture for this production, the director noting that the visual approach to the play would be somewhat "Tolkien-esque." Pond produced an overture which was stimulating enough that the director had the music choreographed by Kirsten Johnson, pulling the audience -- visually, aurally, and kinetically -- into the ethereal and evocative opening scene.

Lightgeist: The Young DanceMakers, a company of energetic teens and children under the auspices of Brigham Young University, received an invitation to perform for the festivities of the International Year of the Child in 1991. Artistic directors/choreographers, Kathie Debenham and Christine Ollerton extended a commission to Marden Pond for a new score. Creating a stunning visual/choreographic spectacle, the movement of the youthful modern dancers portrayed, not a traditional narrative idea, but a succession of changing moods and actions, punctuated by the use of innovative lighting along with the enchanting episodic musical score.

Gebungé: Composition of the music for this work was commissioned by the Barlow Endowment for Music Composition. Shirley Ririe (co-artistic director of the Ririe Woodbury Dance Company, one of the premiere professional modern dance companies in the United States, whose tours have taken them across the country, to Europe, the Far East, and other worldwide venues) was experimenting with the choreographic potential of a harness which had been developed for training acrobatic skiers in Park City. This harness, suspended from a set of bungee cords, enables the wearer to practice acrobatic moves on a trampoline, spinning 360 degrees in both vertical and horizontal directions. Ririe, with the composer present at rehearsals over a period of three months, explored the kinetic and expressive possibilities for a dancer wearing the harness, culminating in a completed piece which premiered at Salt Lake City's Capitol Theatre in April 1992. The performances elicited an enthusiastic response from audiences as well as acclaim from dance critics, such as this comment from Ann Poore of the Salt Lake Tribune: "This joyous work moved from the athletic to the magical with aplomb. Surely there was fairy dust scattered over the stage." The Deseret News also praised the "dreamy electronic score."

Windows: In April of 1988, under a research grant from the University of Utah's Department of Modern Dance, Shirley Ririe completed a choreographic work for Performing Danscompany. The electronic score utilized music from three composers, with Marden Pond providing the largest amount of music and the musical transitions from one scene to another. The loosely organized concept of the work focuses on what a curious young woman views as she looks in various windows in an imaginary urban setting. Four of the five movements by Marden Pond are included on this recording. After a successful run with Performing Danscompany, the work also appeared as part of the 1988-89 season of the Ririe Woodbury Dance Company. Dance critic, Dorothy Stowe wrote: "The score . . . was just right, going with the flow of the piece, or perhaps inspiring that flow . . . . One can't help noticing that dancers do their best when they have something worth dancing about."

Shadow Dance: Despite its title, this is the one composition in this collection which was not initially conceived for dance. It originally appeared in 1980 on the album, "Castle Valley Impressions." The music, along with a set of accompanying original art prints by Brent Haddock, was commissioned by the College of Eastern Utah in Price. The music and artwork endeavored to depict the composer's and artist's impressions of several scenic geological wonders in Southeastern Utah. After hearing music from the album, Shirley Ririe began to use this music for teaching/demonstrations of choreographic "space," including the electronic score on the company's educational video on choreographic improvisation, and performing the work literally thousands of time during the company's ongoing tours.

The Little Prince: In May of 1984, this ballet premiered at Salt Lake City's Kingsbury Hall, with the Children's Ballet Theatre and with the composer conducting the Kingsbury Ballet Orchestra. Pond had consulted with Bruce Marks (at the time, artistic director of Ballet West; later the artistic director of the Boston Ballet) in developing a scenario from St. Exupery's profound children's story. Julie Orlob, director of the Children's Ballet Theatre, created a charming and innocent choreography. Premiere of the work was funded by grants from the National Endowment of the Arts, the Salt Lake Arts Council, Meet-the-Composer (New York), and Questar Corporation.
Described by Bruce Marks as "a children's story for adults," this enthralling tale of "The Little Prince" centers around an innocent, yet engaging, child prince who lives on an asteroid where he takes care of his flower. Desiring to know about beings on other worlds, he leaves his asteroid and flower to explore the universe, being carried by a flock of migrating birds. Among the characters he encounters are: a king who only gives commands which are already being obeyed; a dandy who proudly believes that all other creatures exist merely to admire him; a tippler who drinks in order to forget how ashamed he is of drinking; and a businessman who claims ownership of anything he can count and record. The Little Prince visits earth where he meets: his own shadow; a snake (who, by striking him, can send the Little Prince back to the world from whence he came); flowers in a garden (who remind the Prince how much he misses the flower on his own asteroid); a fox (who teaches him the importance of friendship and giving oneself to others); and a pilot who has crash-landed in the desert. The pilot is the character who learns of the Prince's story and shares it with us. After becoming close (finding life-giving water together and having the Prince assist in repairing his downed plane) and learning the real meaning of existence from the Prince, the pilot, sadly yet ultimately with some peace and joy, helplessly watches as the Prince is struck by the snake. The Prince has returned to his own world and his special flower. Yet the Prince has promised that every time the Pilot looks to the stars in the sky, a smile will come because he will be reminded of the never-ending friendship which the Prince from the asteroid shared with him.
In 1993, as part of his activity as the composer in residence for the Snowbird Institute, Pond reworked the ballet score into an orchestral suite for concert performance. Music columnist, Karla Wagner, described this work as "a much-loved ballet fantasy . . . subtle music . . . creating a mood of mystic wonder." This album includes all of the movements of the orchestral suite, in an electronically realized performance. (For details on availability of the orchestral score, please contact the composer.)

Note From the Composer:
I would like to extend sincere appreciation to the choreographers, dancers, producers, and directors who have provided the stimulus for the creation of the music which is contained in this album. Their eagerness to work with new music, their creative vision, and their exceptional ability to share their talents with all of us are an ongoing source of inspiration for me.
I am also grateful for the many listeners and audience members whose enthusiasm for this music has been a significant factor in the concept and production of this album. The music contained here is rather eclectic in its stylistic content. It is hoped that this diverse range of material will keep the listening experience continually fresh and full of discovery for those who hear.
Most of all, I am thankful for an untiringly supportive wife, Judy, and for the friends and professional colleagues who have encouraged me during the years in which these compositions were created.
-- Marden Pond