This project is barely off the drawing boards. The idea is to create a special program somewhat apart from the Artists' Enclave through which individual performing musicians as well as, ultimately, a full symphony orchestra are brought into residence at I-Park at the same time that a select group of contemporary composers is at work. This would likely involve, at least initially, a 4- to 6-week period during the summer. Resident composers would have the opportunity to reserve time with the orchestra as well as individual instrumentalists to try out new ideas and ultimately practice and perform their pieces. The program would culminate with a symposium and festival-type performance of new works in a garden setting at I-Park.
Because of the long-term nature and great cost associated with developing such a program (including housing for orchestra members, the construction of a performance hall, etc.), the hope is to establish an interim capability by organizing a smaller, but still authoritative, chamber orchestra consisting of digital instruments, principally keyboards. The premise is that this kind of ensemble could put out as much sound as a traditional symphony orchestra for a fraction of the cost. Composers working in a traditional mode would utilize this group as a stand-in for the full orchestra - a compromise. Or, alternatively, hopefully, they will break with tradition and write music specifically for this new type of medium, thereby availing themselves of the expanded acoustic and technical/performance potential that digital synthesis promises to bring to the world of orchestral music: unlimited tonal and dynamic range, sequencing, ease of manipulation and reproducability,
I-Park predicts that the emergence of such a digital chamber orchestra could be at least part of the solution to the crisis of the symphony orchestra. Although it is understood that this ensemble will not (at least at present) be able to replicate the subtle textures of a traditional orchestra, the relative strengths of this still emerging technology far outweigh any potential drawbacks. Who really cares if you can't perfectly replicate a Steinway grand when you've got 3,000 powerful, new, synthetic 'instruments' with unique timbres and associations waiting to be explored? An entirely new and rich direction for contemporary composition awaits exploitation by this generation's musical pioneers.
I-Park aspires to embrace the future by encouraging the serious exploration of live performance digital orchestration and the emergence of a dynamic group of contemporary composers committed to giving voice to this new genre.
