About this work:
MILLing in the ENNIUM is an audio-video excerpt from the 60-minute work comprising station #1 of the installation "The Ultimate Symphonius 2000," a huge 8- station audience-interactive multimedia premiered at the Massachusetts Museum of Contemporary Art (MASS MoCA) for the Millennium celebration in February of 2000. To accompany the video, Barton McLean composed a music collage with synthesizer obligato. The collage technique, with a particular homage to Charles Ives, employs a constant stream of musics from many centuries and cultures, with the idea of seeking out their common denominators. All musical excerpts are taken directly from the various sound stations of the installation. Priscilla McLean's video, subtitled A Celebration of Fire, Earth, Air, Water and the Arts" has a similar plan as the music -- an historical collage of dance, artists in motion, drama, singers and instrumentalists performing, represented through the modern media of video and film and artfully mixed with the basic elements which allow for all life through the millennia to exist. This audio excerpt is taken basically from the last section, where a large collage of music-producing hands are superimposed, and dancers are performing inside other dancers, and inside piano interiors! But it exists as a collage composition in its own right.
My website (where you can find my email as well)
Phone: 518 658 3595
YouTube playlist (with 32 videos and counting)
Also check out my entry in Wikipedia
Although I, Barton McLean, hold the copyright, I nontheless hereby gladly authorize anyone to make copies and perform the work for noncommercial and/or educational purposes providing that my name is reasonably displayed as the composer. I do not under any circumstances authorize selecting portions of the work to appear intact in another person's composition, or to appear under any other composer's name, without my written signed authorization.
Regarding the audio file accompanying this work: I, Barton McLean own the copyright to the composition itself. Being aware that this work has been released on a commercial CD, and that the CD company might possess the copyright to that particular sound recording of the composition, I nonetheless claim copyright to this specific sound recording posted here, because it is not the exact recording released on CD. Rather, it is another mix down and revision of that work which may approximate the commercial CD in most respects but nevertheless is a distinct sound recording of which I claim the copyright.