Music Outpost

Licensing Music on The Sonic Frontier

David Borden/Mother Mallard - (USA)

David Borden (born December 25, 1938 in Boston) is an American composer of minimalist music, an electronic musician and a keyboardist. In 1969, with the support of Robert Moog, inventor of the Moog synthesizer, he founded the world’s first all-synthesizer ensemble in Ithaca, New York.  The first incarnation of the ensemble was called Mother Mallard's Portable Masterpiece Company. Using Moog’s MiniMoog prototype and other synthesizers for instrumentation and the Moog factory in Trumansburg for rehearsal space, Borden recruited keyboardist Steve Drews (and soon after, Linda Fischer) and began performing pieces by modern composers such as Robert Ashley, John Cage, Jon Hassell, Daniel Lentz, Terry Riley, Philip Glass, and Steve Reich. Soon, however, the ensemble began composing original works for live synth performance. On Easter weekend of April 1970, Borden composed “Easter”, his first tonal pulse-piece for Moog synthesizer. His performance of that piece with Drews at Cornell University two weeks later marked the world’s first-ever live performance with a MiniMoog. In June of that year. Borden and Drews premiered the Mini-Moog in NYC. By 1971, Mother Mallard was performing and recording only works by its composer-performers Borden, Drews, and Fisher.

In 1973 the group released its first LP recording on its own label, Earthquack Records.  Featuring compositions by Borden and Drews, it was enthusiastically received by critics. In 1975 Judy Borsher replaced Linda Fisher, and Mother Mallard released a second LP on Earthquack, called Like a Duck to Water, which was also a critical success. [Cuneiform reissued both of these albums on CD: 1970-1973 in 1999, and Like a Duck to Water in 2001, in addition to releasing two vinyl Mother Mallard recordings: Anatiadae (1986) and Migration (1988).] In 1977 Chip Smith replaced Steve Drews, and this is when the group was entirely directed by David Borden, and played his music exclusively.

Mother Mallard has reformed several times since 1978, and expanded its instrumentation over the years to include acoustic, electric and digital instrumentation in addition to analog synths. The group has performed at most of the avant garde venues in New York City, including the Kitchen, the Knitting Factory, the WBAI Free Music Store, The Alternative Museum, Danceteria, Town Hall and Lincoln Center.  In Europe, MM has performed at the Barbican Center in London, the Portsmouth Festival and The Tivoli Koncertsalen in Copenhagen, Denmark in addition to many universities and festivals in the United States and Canada, cultivating a dedicated following worldwide.

Borden's oeuvre is filled with remarkable compositions, but his masterwork is probably The Continuing Story Of Counterpoint, a 12-part musical cycle that is a Borden composed between 1976-87. Lasting 3 hours, Cuneiform has released this seminal work on 3 CDs, each containing 4 parts. The music is a pleasing and highly listenable mixture of classical forms, dense textures, strict counterpoint, and high energy electronics. AUDIO Magazine had this to say about the series: "When released in its entirety, this series may stand as the 'Goldberg Variations' of minimalism, a canon of work that defines a style and an era."

Mother Mallard's leader David Borden was the Director of Cornell University's Digital Music Program from 1987 until his retirement c. 2010; he currently serves as Professor Emeritus.  He first came to Ithaca in 1966 on a Ford Foundation Grant as Composer-in-Residence for the Ithaca City School District, and in 1968 he began working at Cornell University as the Composer-Pianist for Dance (Dept. of Athletics). In addition to his work with electronics and the Mother Mallard ensemble, Borden has written music for various chamber and vocal ensembles. He is also an accomplished jazz pianist; his first composition teachers were Jimmy Giuffre and Jaki Byard. Borden, who holds two Masters degrees in Music, was educated at the Eastman School of Music and Harvard University. At Harvard he studied with Leon Kirchner and Randall Thompson, and at Eastman with Bernard Rogers and Howard Hanson. He was also a Fulbright student in Berlin Germany, where he studied at the Hochschule für Musik. His teachers have included Gunther Schuller, Howard Hanson, Wolfgang Fortner, Boris Blacher and Aaron Copeland.   His music has been performed the world over.

Based in Ithaca to the present day, Borden remains active as a composer, and Mother Mallard  

Borden was the Director of the Digital Music Program at Cornell University where he had been teaching since 1968.  Before coming to the Music Department in 1987 he was Composer-Pianist for Dance in the Department of Women's Physical Education (now defunct) and the Department of Athletics.  He earned his undergraduate degree at the Eastman School of Music and holds Masters Degrees in Music from both Eastman and Harvard University.  He first came to Ithaca in 1966 on a Ford Foundation Grant as Composer-in-Residence for the Ithaca City School District. Before this, Borden attended the Hochschule für Musik in Berlin, Germany as a Fulbright student. His teachers have been many: Leon Kirchner, Gunther Schuller, Howard Hanson, Bernard Rogers, Wolfgang Fortner, Boris Blacher and Aaron Copeland.  His first composition teachers were jazz musicians: Jimmy Giuffre and Jaki Byard whose influences can still be heard in his music.  His music has been performed the world over.

Currently there are four CDs available of MM from Cuneiform which includes the entire Continuing Story of Counterpoint cycle as well as some of the Birthday Variations.

David Borden is the Director of the Digital Music Program at Cornell University where he has been teaching since 1968.  Before coming to the Music Department in 1987 he was Composer-Pianist for Dance in the Department of Women's Physical Education (now defunct) and the Department of Athletics.  He earned his undergraduate degree at the Eastman School of Music and holds Masters Degrees in Music  from both Eastman and Harvard University.  He first came to Ithaca in 1966 on a Ford Foundation Grant as Composer-in-Residence for the Ithaca City School District.  Before that, he attended the Hochschule für Musik in Berlin, Germany as a Fulbright student. His teachers have been many: Leon Kirchner, Gunther Schuller, Howard Hanson, Bernard Rogers, Wolfgang Fortner, Boris Blacher and Aaron Copeland.  His first composition teachers were jazz musicians: Jimmy Giuffre and Jaki Byard whose influences can still be heard in his music.  His music has been performed  the world over.

http://cuneiformrecords.com/bandshtml/borden.html

http://mothermallard.com/David/Mother_Mallard.html

http://en.wikipedia.org/wiki/David_Borden

David Borden/Mother Mallard - "Esty Point, Summer 1978"- Full Length = 8:21

A delicate, fluttering note and mellow synth pattern provides a foundation for a blissful, pastoral synth melody and then a soaring electric guitar solo, to which is added an amplified cello and touch of dramatic percussion before the piece fades into silence with the tolling of a single bell.

David Borden/Mother Mallard - "Enfield in Winter"- Full Length = 9:09

The repetition of rich, rolling synth chords and the eventual addition of several simple interlocking melodies creates a dreamy but somewhat icy aural landscape with strong intimations of a winter season.

David Borden/Mother Mallard - "Enfield in Summer"- Full Length = 10:00

Haunting, overlapping melodic drones slowly emerge out of silence, evoking a still, tranquil landscape, with shimmering and rhythmic synth patterns added as the piece builds to an exultant, propulsive finish.

David Borden/Mother Mallard - "Ah Eden, A Rib"- Full Length = 6:53

Ominous minor key synth chords and vague rumblings slide into consciousness, creating an aura of suspense and mystery, pushed along by quiet but insistent metallic percussion.

David Borden/Mother Mallard - "Droneland"- Full Length = 5:42

A jaunty synth pattern opens this piece, supported by a wash of drones and then a syncopated, horn-like synth melody with a strong jazz element.

David Borden/Mother Mallard - "Her Inner Lock"- Full Length = 4:00

This piece features a subtle Latin rhythm, unusual electronic timbres, and the liquid, woody tones of a bass clarinet (or a very convincing synthesized equivalent).

David Borden/Mother Mallard - "Unjust Malaise"- Full Length = 6:10

Vigorous dissonant keyboards create frantic cyclical patterns, which alternate with an ominous synth drone and somber piano keyboard interludes. An unsettling piece.

David Borden/Mother Mallard - "for Rose Mary Harbison"- Full Length = 6:20

Chiming church bells introduce a deep and somber synth ostinato pattern, with an amplified violin then providing the melancholy and lyrical melodic element.

David Borden/Mother Mallard - "for Bob Haskins"- Full Length = 7:17

A crashing cacophony of electronic chimes and other tuned percussion gives way to dynamic cyclical patterns on harpsichord and a sonorous electronic vocal chorus. An electronic organ timbre provides the dominant melody line, first in a high tenor register and then in a deep, resonant bass as the piece concludes.

David Borden/Mother Mallard - "for Laurie Spiegel"- Full Length = 6:03

Somber, eerie synth drones of various intriguing timbers and textures are blended to create an ethereal, magical soundscape.

David Borden/Mother Mallard - "Part 1 (Excerpt #1)"- Full Length = 9:31

Rapid-fire sixteenth-note sequences on Moog synthesizers and wordless female vocals are featured in this dramatic piece, which has the inexorable momentum and subtle variation of a serene but fast-moving river.

David Borden/Mother Mallard - "Part 2 (Excerpt #1)"- Full Length = 10:33

A dreamy, leisurely adventure in intricate synthesizer counterpoint, repetitive but restless, with a choral element and cathedral organ sound which introduces a questing, spiritual dimension.

David Borden/Mother Mallard - "Part 3 (Excerpt #1)"- Full Length = 13:34

Swirling, hypnotic minimalism, with synthesizers supporting a vocal with lyrics which pay homage to famous Renaissance composers.

David Borden/Mother Mallard - "Part 4 (Excerpt #1)"- Full Length = 19:46

A three-part piece with an opening slow-paced, thoughtful minimalist section, then a dignified but vigorous movement with female vocal counterpoint, and finally, a moody, ethereal, minimalist structure with plaintive interlocking melodies and a deep, sonorous synthesizer bass.

David Borden/Mother Mallard - "Part 8"- Full Length = 8:42

Bouncy minimalist synth patterns lay the foundation, with complementary melody lines and abrupt key changes adding drama and complexity.

David Borden/Mother Mallard - "Part 1 (Excerpt #2)"- full track = 9:31

Rapid-fire sixteenth-note sequences on Moog synthesizers and wordless female vocals are featured in this dramatic piece, which has the inexorable momentum and subtle variation of a serene but fast-moving river.

David Borden/Mother Mallard - "Part 1 (Excerpt #3)"- full track = 9:31

Rapid-fire sixteenth-note sequences on Moog synthesizers and wordless female vocals are featured in this dramatic piece, which has the inexorable momentum and subtle variation of a serene but fast-moving river.

David Borden/Mother Mallard - "Part 2 (Excerpt #2)"-

A dreamy, leisurely adventure in intricate synthesizer counterpoint, repetitive but restless, with a choral element and cathedral organ sound which introduces a questing, spiritual dimension.

David Borden/Mother Mallard - "Part 3 (Excerpt #2)"- full track = 13:34

Swirling, hypnotic minimalism, with synthesizers supporting a vocal with lyrics which pay homage to famous Renaissance composers.

David Borden/Mother Mallard - "Part 3 (Excerpt #3)"- full track = 13:34

Swirling, hypnotic minimalism, with synthesizers supporting a vocal with lyrics which pay homage to famous Renaissance composers.

David Borden/Mother Mallard - "Part 4 (Excerpt #2)"-

A three-part piece with an opening slow-paced, thoughtful minimalist section, then a dignified but vigorous movement with female vocal counterpoint, and finally, a moody, ethereal, minimalist structure with plaintive interlocking melodies and a deep, sonorous synthesizer bass.

David Borden/Mother Mallard - "Part 4 (Excerpt #2)"- full track = 19:46

A three-part piece with an opening slow-paced, thoughtful minimalist section, then a dignified but vigorous movement with female vocal counterpoint, and finally, a moody, ethereal, minimalist structure with plaintive interlocking melodies and a deep, sonorous synthesizer bass.

David Borden/Mother Mallard - "Part 5 "- Full Length = 8:10

Tinkling, shimmering minimalist riffs on electric keyboards and guitar are supported by a deep ostinato bass counterpoint. Piano keyboards begin to pound as the piece comes to a dynamic close.

David Borden/Mother Mallard - "Part 8A"- Full Length = 8:41

Tranquil, floating minimalism, with a languid melody line forming over a staccato, rhythmic foundation. The combined electronic keyboards, classical guitar, and harp generate a marimba-like sound which is almost African in texture.

David Borden/Mother Mallard - "Part 6 "- Full Length = 14:22

A chattering, astringent rhythmic pattern on electric guitar is overlaid with a legato melody line and then a deep foghorn bass note. Guitar and sampled brass and tenor saxophone provide intricate counterpoint which weaves in and out of the mix. A restless, sometimes dramatic musical journey.

David Borden/Mother Mallard - "Part 8B"- Full Length = 8:33

Clear, bell-like electric pianos establish the minimalist rhythmic foundation, while bright classical guitar and harp add to the shimmering contrapuntal ambience.

David Borden/Mother Mallard - "Part 7"- Full Length = 7:15

Minimalist electric piano riffs are played off against lively bass counterpoint figures, while sampled violin, as well as organ and harpsichord sounds, add color and texture to this sparkling musical trip.

David Borden/Mother Mallard - "Part 8C"- Full Length = 9:17

Bright, minimalist patterns for electric piano alternate between single and double time, while intricate counterpoint is supplied by plucked bass, vibraphone, horn, and reed sounds.

David Borden/Mother Mallard - "Part Nine"- Full Length = 15:31

A long, stately, minimalist pattern piece featuring marimba-like electric piano, with legato vocalese (wordless vocals) and deep melodic drones supplying counterpoint.

David Borden/Mother Mallard - "Part Ten"- Full Length = 19:00

This long piece opens with a gentle, classically oriented canon which features unison voice and basset horn in an octave interval, with a keyboard bass ostinato providing the foundation. The piece then adopts a more vigorous double-time rhythm with featured solo excursions for tenor sax and then soprano sax. It then eases back into a relaxed groove which features operatic female vocals and alto flute before ending with staccato patterns from the keyboards and a final improvised solo from the tenor sax.

David Borden/Mother Mallard - "Part Eleven"- Full Length = 13:14

A dramatic, stately chordal sequence introduces lively minimalist patterns on electronic keyboards, with a variety of textures and shifting key signatures. Renaissance classical elements are blended with a gleeful, almost circus-like sense of sonic play.

David Borden/Mother Mallard - "Part Twelve A"- Full Length = 7:21

An lively opening marimba-like minimalist pattern is joined by a contrapuntal higher-register tuned percussive riff, to which are added a wordless vocal line and long, low ostinato motifs – all contributing to a pleasing, tuneful kaleidoscope of sound.

David Borden/Mother Mallard - "Part Twelve B"- Full Length = 7:13

A funky electronic bass line introduces a dramatic descending melody line which is rendered by electronic keyboards simulating a string ensemble, and mixed with subtle textural and melodic variations.

David Borden/Mother Mallard - "Part Twelve C"- Full Length = 5:53

– Slow, moody interlocking patterns played on electronic keyboards, complemented by a wordless vocal refrain, create an atmosphere of dreamy reverie.