Then Elephant Speaks Elena Talarico & Francesco Zago

• Bill Whitley:
• 1Then Elephant Speaks08:40
• 2The Circles (Version for Piano & Electronics)04:21
• 3Then Elephant Speaks (Shaun Michaud Remix)08:43
• 4The Circles (Version for Piano & Electronics) [Shaun Michaud Remix]04:16
• 5The Circles (Version for Solo Piano)03:05
• Total Runtime29:05

Info for Then Elephant Speaks

Composer Bill Whitley is no stranger to storytelling through the art of composition. Central themes in his works include that of embarking on a journey, the thrill and spontaneity of discovery, and the comfort and reflectiveness of the eventual returning home. These form a story arc as old as time, beautifully transcribed and made new through Whitley’s compositions.

THEN ELEPHANT SPEAKS is no exception. Like the symbol of the elephant, the works on this album are strong and powerful, representing the search for truth. The instruments, whether they be piano, harp, vibraphone, electric guitars, or electronics, build patiently, gathering up every second to create one living, breathing force.

According to Whitley, as the piece Then Elephant Speaks was being written, the shootings at Marjory Stoneman Douglas High School occurred. The event influenced not only the mood of the piece, but the approach to remixing the songs as well. Like every great story, the narrative belongs in the hands of different perspectives which all work together to find truth. Motifs are shared among the original compositions and remixes, but each reiteration makes you rethink what you once knew about the piece, giving a new truth to the listening experience.

Whitley’s second composition on the album, The Circles, is remixed twice. Each of the three tracks share the spirit of the cyclical journey, but each offers a unique perspective. The original track sets a relatively conventional tone with piano melodies over electronic harmonics. The first remix takes the same melodies and asserts a greater electronic influence over the composition, driving the piece into a realm of ambient music. The second remix, one that was written seven years earlier than the first two, is the skin and bones; uninterrupted piano leading the listener through the sonic journey.

Elena Talarico, piano
Lucia Foti, harp
Stefano Grasso, vibraphone
Francesco Zago, electric guitar, electronics
Bill Whitley, piano

Bill Whitley
Elements of Gregorian chant, Indian raga music, gamelan, rock, and progressive rock are frequently present in Bill Whitley’s work. Western composers who continue to influence his work include Brian Eno, John Cage, Laurie Anderson, Meredith Monk, Tetsu Inoue, Giacinto Scelsi, Morton Feldman, Lou Harrison, Pauline Oliveros, and Paul Dresher.

Whitley’s music has been performed primarily in Italy, Russia, and the United States by ensembles ranging from symphony orchestra to solo electric guitar. Commissions consist of chamber, choral, vocal, and orchestral works. His most recent work, commissioned by Civica Scuola di Musica in Milan, is scored for two guitars, harp, vibes, and two pianos.

Whitley was born in the Northwest United States and received a Bachelor of Arts in 1994 from Gonzaga University in Spokane WA where he studied organ, piano, and composition. In 2000 he earned a Master of Music degree in composition at the University of Idaho in Moscow ID, and in 2007 he earned a PhD in composition at the University of Oregon in Eugene OR.

Whitley has studied composition with Robert Kyr, David Crumb, Robert Dickow, Dan Bukvich, and Fr. Kevin Waters and has had master classes with Lou Harrison, George Crumb, Veljo Tormis, John Adams, and John Corigliano.

Whitley has taught at The University of Idaho, Western Oregon University, The University of Portland, and The University of Oregon. He currently teaches Music Theory, Aural Skills, Composition, and Piano at Chemeketa Community College in Salem.

Whitley’s music is recorded on Teal Creek Music and Ravello Records, and his sacred choral works are published by Trinitas Choral Series.

This album contains no booklet.