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foum, or Xenharmonic Variations on a Theme by Mozart

from effluve ana moontense by Jacob A. Barton

supported by
Stephen Weigel
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Stephen Weigel The contrasting moods within this tapestry are fascinating. Barton's ability to quote microtonally should not be underestimated, as it's extraordinary.
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about

In middle and high school, I participated in a web forum for young composers. In August 2003, someone—I think Chris Shaver—called for people to write variations on Mozart's Minuet in G (K1), one of the first pieces Mozart ever wrote.

Fired up on retuning from reading Harry Partch's account of the history of tuning, I whipped up a rousing variation in 19 tone equal temperament—what was to become the final variation. The results pleased and encouraged me.

By the following autumn I had grown conversant enough with equal temperaments 13 through 18 to write the first six variations, which made for a smooth-yet-jerky ride through what Ivor Darreg calls the "teen tunes".

This composition received a 2006 BMI Young Composer Award—the first of a handful of times I have actually been paid for a composition. The money enabled me to return to the School for Designing a Society for a second summer.

This new rendering was made with Pianoteq, a synthesizer which models the dynamic interactions that occur within a physical piano with exquisite detail.

Included with the album are retuned and unretuned MIDI files of each variation.

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from effluve ana moontense, released December 13, 2011
Jacob A. Barton, sequencing and sound design

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Jacob A. Barton Virginia Beach, Virginia

Jacob A. Barton (1985-) is a composer and multi-instrumentalist whose work focuses on microtonal practice and theory. He received the BMI Student Composer Award for "Xenharmonic Variations on a Theme by Mozart". He is the originator of the udderbot, a slide woodwind instrument family. He has organized many concerts and workshops, most notably Xenharmonic Praxis Summer Camp. ... more

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