1970 "Peace" used for a dance by C. Carvajal
1970 "Peace" used for a dance by C. Carvajal article
"Gold" feature film score
"Bloodknot" A.C.T. at Geary Theatre - Music by Warner Jepson
1970 ACT - American Conservatory Theatre - cover
1970 ACT - program 'The Blood Knot'
1970 March "The Eighties Show" U C Berkeley Art Museum artists were asked to make a piece they thought might reflect what would be happening in the '80's. I made an enclosure of various plastic materials and hanging strips of videotape for a person to enter and listen quietly to electronic music. The first Buchla 100 series I contend made much more beautiful [i.e. warmer] "nature" sounds than later series. I believe that's why people were more attracted to them.
Art Forum Jean Jaszi; "First of all, let nobody think that the Projects for the Eighties show has anything to do with the future. This show is, now, period.... I would like to mention seriously three or four presentations, which I found somewhat comparable to the lyric poetical form in that they allowed the unexpected to happen....
"If you don't have it, make it--if you can remember it," is a structure by Warner Jepson only a little larger than a phone booth but full of charm. Instead of doors there are colored plastic loops filled with liquid. Visually as bright as a carnival booth, the inside is mostly blue, there is a circular foam object on the ceiling, there is a low bench or step to sit on, and there are ear-phones to put on your head. All around you loudly a sound tape is playing and when you wear the earphones you can hear the very same thing only, as Warner Jepson remarks, "privately." You could be riding on a train or accompanying the flight of insects. This is a pleasure trip, and as many people as can get in at once are welcome to come along...."
1970 Project for the 80's 'The Eighties Show' U C Berkeley Art Museum
1970 Apr. 23 “A Plastic Presence" at SF Museum of Art ,
Also at The Jewish Museum and Milwaukee Art Center
1970 A Plastic Presence - program
1970 A Plastic Presence - SF Chronicle article and photos 1
1970 A Plastic Presence - SF Chronicle article and photos 2
Apr. 24 Fri. SF Examiner: "Giving Eleanor Dickinson, whose nudes emblazoned the plastic swing a push on the swing was talented Zap composer Warner Jepson, provider of the electronic tape music, and the 21st century-lawyers-for -savant-causes Michael Stephanian and Terence "Kayo" Hallinan..."
Apr. 24 Fri. SF Chronicle: "Plastic Playground A Museum Hit" "Wading in the plastic sandbox and swinging in the plastic hammock were diversions last evening for those attending the packed preview of the exhibition, "A Plastic Presence" at the San Francisco Museum of Art. ...Although the opening night crowd was fascinated by the collection of plastic sculpture, the real action was in the big rotunda gallery which was transformed into a sort of plastic playground...by Warner Jepson....which echoed last night to [his] throbbing electronic music."
"Ski Touring" film score KQED
1970 Apr. 23, Ascent, film for KQED. This was an adventurous step for Virginia Duncan, a quiet determined monied wife who was a producer at KQED. She had no idea if electronic music would work for a nature film that she envisioned. It worked, won her an award, so we did a second film, "Ski Touring," for which I won an award from the National Academy of Television Arts and Sciences.
Apr. 23, SF Chronicle, Terence O'Flaherty: "It isn't a television show; it's an experience....There is an added pleasure to "Ascent" which I am delighted to point out. For the first time in the history of the television documentary, the sound track is a welcome addition rather than an aggravating intrusion. The heavy breathing of the climbers... provides most of the sound The original electronic score was composed by Warner Jepson who used it sparingly and therefore to maximum effect. 500-piece European orchestras playing “Tales From the Vienna Woods” or the “William Tell Overture”... accompany most adventure programs on TV TV Guide: Warner Jepson composed the original score for electronics and guitar.
1970 - Close Up - 'Ascent' Rock Climbing film with Warner Jepson's original score
Saturday Sept 5th “Peace” Premiere, Wings on the Horizon, Dance Spectrum, Carlos Carvajal, AD, Veterans War Memorial Auditorium
1970 Sep 5, 15 Carvajal's "Peace," based on Warner Jepson's theater piece for flute and electronic score was a visual meditation of the central peace idea.
1970 Sep 7 Mon. SF Chronicle, Marilyn Tucker; "Peace" - Warner Jepson composer - review
1970 - SF Chronicle, Marilyn Tucker; "Peace"- Warner Jepson composer 1
1970 - SF Chronicle, Marilyn Tucker; "Peace"- Warner Jepson composer 2
1970 - SF Chronicle, Marilyn Tucker; "Peace"- Warner Jepson composer 3
1970 Dec 8 Tue 'The Relapse' ACT production opens SF Examiner, Stanley Eichelbaum: "...The production also profits from Warner Jepson's lovely musical score, which adds considerably to the round of delights." A.C.T. hired a baroque! quartet [harpsichord, oboe, flute, cello] to play live for the performances of the play, both incidental music and accompaniment to a couple songs, that I wrote in a 17th c. style.
1970 Dec 8 'The Relapse' ACT production opens - review SF Examiner
1970 Dec 8 'The Relapse' ACT - American Conservatory Theatre - Program cover
1970 Dec 8 'The Relapse' ACT - American Conservatory Theatre - Playbill
1971 Feb. 4,5, "TOTENTANZ" Grace Cathedral Feb. 5 Palo Alto Times: "TOTENTANZ", when it was first done at the Opera House in the spring of 1967, was then considered to be the first ballet ever set to a score of completely electronic "music." Warner Jepson, a San Francisco composer, created the score especially for "TOTENTANZ." ...The semi-darkened cathedral with its majestic nave and sweeping arches, provided a perfect setting. In fact, the work seems even more eerie and frightening in the cathedral. ...The tableaux created by Carvajal looked as if they were right out of 14th century woodcuts. The maniacal mass dance of death and the victory of Death over all at the end brought the ballet to a stunning climax.
"Vis a Vis" happening w/ music (P. Maccan's busts) S.E.C.A. Belgian Consulate opening for Marie Renk's SF de Young Museum ???
1971 April 27 Tue. "Vis a vis-tete a tete" Happening with Music. SECA presents at the Belgian Consul: "The society for the Encouragement of Contemporary Art announces the Vernal Equinox Special Award. A sum of up to $1000 will be awarded each year to an artist or group of artists in the Bay Area to underwrite in part or in full a project in the visual or combined arts. This award is intended to promote a project in which the artist will have an opportunity to undertake a highly experimental work not circumscribed by the usual criteria and involving a high risk potential based on the idea that art is nature made by man, and that new forms...derive from a prodigal abundance prevailing over often meager survival potential.. All Entries are to be mailed to: SECAVESA San Francisco Museum of Art..."
The invitation read: "About 20 heads scattered about. One is alive. One will come looking for her face. What's-her-face's face is made. [made up] Sound singers secrets soliloquies silence. Bring, if you can, a flashlight, so they may see in the dark. Come prepared to actively participate. Bring a pillow, a flashlight, some extra clothes and an open mind...."
I recruited Peter Maccan to place 20 of his white plaster busts (stylized heads) about the room, John Graham to dance among them, a costumed woman to station herself among them, and the audience to sit about the room to view and hear it.
1971 May "Luminous Procuress", feature film score (Steven Arnold)), premiere SF Film Festival. Premiers at the International Film Festival, Palace of Fine Arts, and later has a run at the Presidio Theater on Chestnut St.
The film had been all but edited when the backers decided that it needed much help from someone other than the director, as well as music. Upon hearing the recorded dialog it proved useless, badly recorded, acted, and scripted. I decided to try foreign language in its place as the film was vivid enough and was meant to be somewhat pornographic, but wasn't; simply an exotic woman, sorceress, escorting two young men to visual delights above and below ground. I took about a year at home with the film using a hand viewer to see the feature length 16mm film and to synch music for it that I composed on a small Farfisa organ I'd acquired and from my Buchla sound collection, using a Revox to make a stereo tape. I enlisted a young Israeli, a Japanese woman, a Swiss-German girl, and Italian guy to record the voices for the two sets of lovers, Natasha Wilkinson, a Russian princess.
I asked them to speak to each other of the pleasures of eating but without mentioning any food, then steering them to other pleasures, which they could speak of without embarrassment since neither could understand the other. After the two couples were successful in portraying an erotic intimacy I asked the two women to speak together continuing the mood. They succeeded without worrying about the homosexual overtones, as did the men, only one of them being gay. For the sorceress I found a Russian matron to speak of anything, taking her words and splicing them or, with the Revox, recording and re-recording little snippets of words or phrases that would be impossible to speak or understand but that took on a fascinating rhythm.
For a love theme I got a saxophonist, oboist, and violinist to play the written melody and used the Revox to combine them, both contrapuntally, and as a canon. I found this easier than writing a piece for many musicians that would take time, money, and much more from me than working by myself to achieve the same results.
When through I had put sound to every inch of the film. There was no story, only a series of episodes, each having its separate "sound." When seeing it later in theaters I would find the sound exhausting.
1971 - Luminous Procuress - IMDB credits - Original Score by Warner Jepson
1971 - Luminous Procuress poster
1971 award American Academy of Television Arts and Sciences for "Ski Touring"
"Totentanz" revived at Grace Cathedral
"The Shell" film score
"Plastique Picnique" party w/ music SFMOMA
"Centennial Ball" program director SF Art Institute
1971 Jun. "The Shell" Roy Nolan Productions a small fantasy film about a man discovering a "world" inside shells on a beach, another testimony that people of the drug culture were finding fantasy worlds where they could. I've renamed the score for this film "The Sea."
1971 Jun. 9 Wed “Women's Wear Daily Art Institute Anniversary "...a party to celebrate the school's 100th anniversary. The students put the whole event together with the direction of Warner Jepson. ...an all-black labyrinth of thin Mylar sheets of reflecting strobe lights. Light shows were bounced off outside walls to Jepson's electronic music. ...[that gradually] filled with the smell of pot." "It was the best party yet." "You should have been at the last one two years ago [the dedication party]."
1971 Area Television Academy Award "Outstanding Achievement-Single Program", The San Francisco Chapter of The National Academy of Television Arts and Sciences : Honors Warner Jepson, composer, for contributing to the winning of an for "Ski Touring" KQED;
1972 Apr 8 "N. R. A." Premiere, tape collage for SF Ballet, SF Opera House
1972 Apr 8 "N. R. A." Premiere, tape collage for SF Ballet, SF Opera House - review SF Chronicle
"Video Synthesis" (S. Beck) NCET-KQED
"Irving Bridge" score (W. Gwin) 48" NCET-KQED
"Illuminated Music" score (S. Beck) NCET-KQED
"Homage a Mattisse" score (W. Rosenquist) NCET-KQED
1972 Feb. 16,17,18,19 "TOTENTANZ" Revival, Grace Cathedral
1972 May 1 National Center for Experiments in Television I become composer-in-residence, after first being asked to compose music for Stephen Beck's "Videosynthesis." One morning in late April, while I was working at the synthesizer to Steve's video, the noted French composer of music concrete, Pierre Schaefer, was visiting. Later that day the invitation to join the center was offered..
1972 Stephen Beck's "Videosynthesis" [10 min.] and Bill Gwin's "Irving Bridge" [50 min.] National Center for Experiments in TV, KQED S.F. my first scores as composer-in-residence on the Buchla 200 whose sounds I didn't like as well as those of the 100 at Mills.
1972 Nov. 10-12 "An Electric Concert" NCET at Southern Methodist U, Dallas TX Stephen Beck, on his video synthesizer, and I on Buchla's audio synthesizer, collaborated in a half-hour video and audio improvised presentation. In Dallas, 5 days with all our equipment from SF NCET.
1972 Nov. 10-12 "An Electric Concert" NCET at Southern Methodist Univ. Warner Jepson on Buchla's audio synthesizer - Program2
1972 Dec. 1,2 "An Electric Concert" repeated at "Arts/Media" symposium National Council on the Arts [NEA] Washington DC letter Ex. Sec Fed Council on the Arts and Humanities.: "...Stephen's and Warner's concerts were marvelous. It was exciting to see the number of people both Friday and Saturday who "swarmed" to the synthesizers and their artists to ask questions."
Dec 2 Sat : The Washington Post...The program concluded with another audiovisual performance, this time with both music and imagery generated electronically. The composers-performers were Stephen Beck and Warner Jepson, resident artists at San Francisco's National Center for Experiments in Television. As an imaginative fusion of arts and media, it made a fitting coda for the day's activities."
1972 Dec 5 "Irving Bridge" played for students at Harvard
1972 Dec 7 "An Electric Concert" repeated at Brooklyn Academy of Music
1973 "N. R. A." revived by Ballet West, Utah
"Duet Improvisations" N.E.A. Wash.D.C., Harvard, Brooklyn Academy of Music, Southern Methodist U. Dallas, TX, U.C. Berkeley; NCET-KQED S. Beck and I
"The Dome" (R. Meyer) environment Live Oak Park Gallery Berkeley
"See is Never All the Way Up" score (W. Roarty) PBS NCET -KQED
"Lostine" score (W. Rosenquist) PBS NCET-KQED
"Point Lobos" score (W. Gwin) PBS NCET-KQED
"Star Walk" elec. tape for group exhibit
"Illuminated Music" "Lostine" "Point Lobos" "See is Never All the Way Up" shown on Public Broadcast Television Annual Convention Am. Inst. of Architects UC Berkeley Museum
1973 more works created at NCET resulting in 5 half-hour programs that were broadcast on Public Broadcast System under the title of "Video Visionaries." One, "Lostine," was awarded an emmy in '75. "Illuminated Music" (Stephen Beck); "Lostine" (Willard Rosenquist); "See Is Never All The Way Up" (William Roarty); "Point Lobos State Reserve" (Billy Gwin)
1973 Feb.” Town and Country” Publication - 'Warner Jeppson' (typo on spelling) - Fog Lifter The Lively Artists (right above Francis Ford Coppola)
1973 Feb.” Town and Country” Publication
1973 Apr. 19,20,21,26,27,28; 23 Mon.; "The Awakening
Apr. 23 SF Chronicle William Albright: Warner Jepson's tape score provided a canvas of sounds like surf and birds in rhythmic patterns...
1973 - Scene from Carvajal's ' The Journey' dance at Lone Mountain
Apr. 21 Sat SF Examiner, Alexander Fried: "It's taped score by Warner Jepson built up intense moods of obsession by its rhythmic accents mindful of telegraph codes and the mingled voices of myriad birds."
Apr. 21 Sat Oakland Tribune: "...Warner Jepson's quadraphonic electronic sounds, buzzing and jabbering in a primeval way."
1973 May 5 Festival of Contemporary Arts, Oberlin College Videotapes: Illuminated Music III & IV by Stephen Beck [video] and Homage a Matisse by Willard Rosenquist [video], Warner Jepson [audio] for both
1973 May 8 American Institute of Architect's Convention at UC Berkeley Art Museum Buchla music throughout the building for the party
1973 - Oakland Tribune review - 'The Awakening' electronic music by Warner Jepson
1973 - May 26th Midnight showing of “Luminous Procuress” at the Presidio MovieTheatre
1973 - May 26th Midnight showing of “Luminous Procuress” at the Presidio MovieTheatre -poster
1973 June 19 contract signed between "Rick Meyer, inventor of DOME and Warner Jepson, composer of music for DOME 2. The program lasted about 45 minutes.
The opening music was changing drones tuned to make the red laser beam that was shown on the roof of the dome to make various patterns that were not as chaotic
as ordinary music or, conversely, noise would produce.
First done at Live Oak Park, Berkeley, later at the Exploratorium, and then the SF Museum of Modern Art.
1973 (probably) - The Art of Film Music - program - Feb 27 ; Composing for the Independent Film with Warner Jepson
1973 (probably) - The Art of Film Music - program - Feb 27 ; 'Composing for the Independent Film' lecture screening with Warner Jepson
1973 (probably) - The Art of Film Music - program - Feb 27 cover
1973 Dec. 'Videospace Electronic Notebooks' a TV series produced by the National Center for Experiments in Television
1973 December - Focus: The Magazine of KQED TV and Radio - Cover
1973 December - Focus: The Magazine of KQED TV and Radio - article and photo WJ
1974 "Sound Images" -Both-Up Gallery Berkeley, one-man show of music and constructions
1974 Jan 10 "Sound Images" -Both-Up Gallery Berkeley Telegraph - Electronic music tapes composed on Buchla
1974 Emmy for "Lostine" (W. Rosenquist, W. Roarty,) PBS KQED
1974, March 25,"Totentanz" revived at Grace Cathedral - Dance of Death, Dance Spectrum's final performance
1974, March - Totentanz revived at Grace Cathedral - mailer
"The Dome" revived w/ additional music (R. Meyer) SFMOMA
"Videola" (D. Hallock) NCET-KQED at SFMOMA
"Sidewinder" (Sam Shepherd) U.C.Berkeley
"N. R. A." revived by Ballet West, Utah
1974 April 2 Mon. "Peace" Flute concert by Janet Millard, music by Richard Felciano, Wayne Peterson, Charles Boone, Charles Shere, Robert Hughes and Warner Jepson review William Albright: "The two most impressive works were Warner Jepson's "Peace" 1969 and Robert Hughes' "Sonitudes" 1970. Jepson, like Felciano, is a composer-in-residence at the National Center for Experiments in Television. His short piece is a colloquy between flute and Buchla synthesized tape. Gentle bird-call-like sounds establish the pastoral mood at once, and some ominous, threatening tape tremolos and trills soon swell and subside into a liquid background for the becalmed flute lines."
1974 April 26-28 The Electric Weasel Ensemble, Arch Street 26 Fri. music by George Crumb, Charles Buel, Toshiro Mayuzumi, Danial Lentz.... 27 Sat music by Mort Subotnick, Allen Strange, Paul Demarinis, Don Buchla... 28 Sun music by Wm O. Smith, MacDermed, Warner Jepson (Peace)... I set up the geodesic globe [from SF Museum's Plastic Presence 1970] outside on the grass
1974 Feb. 3 Sun "Musica per Machina" by AleaII, Stanford Ensemble for New Music Palo Alto Times C.D.MVES: "'POINT LOBOS STATE RESERVE' was a videotape by Billie Gwin. ...For once the music was more arresting than the images. Warner Jepson's electronic score hummed and twittered lyrically, like Debussy's "La Mer" reconceived for the space age."
1974 Mar 21,22,23,28,29,30 "TOTENTANZ" Grace Cathedral, KQED Newsroom: "Warner Jepson's electronic score sounds awesome in the cathedral, swirling around us the sounds of gongs and clangs, rhythmic Buchla sounds that echoed and re-echoed. There is as much theater as dance to TOTENTANZ, opening with an agonizing procession up the center aisle to the stage in front of the altar. These characters are traditional: Christ, Mary Magdalene, Roman soldiers. Flagellant monks, a Popess and penitents watching silently create the medieval perspective. And what a chilling moment to see Death, a real horror figure, maniacally conduct it all from the great pulpit, a platform we usually reserve for collared clerics.
The scenes that follow might come from an ancient castle tapestry. Death...separates young lovers, takes a baby from its mother's arms, and kisses the lady good-bye. And dispatches helmeted knights and crowned heads. Finally, in the dies irae, a day of wrath, the mood breaks with medieval, the choreography becomes frenzied and erotic. It is the witches' Sabbath before the altar of Grace Cathedral, or a crowded bar on a Saturday night...."
SF Chronicle, Heuwell Tircuit: For the opening of Lent, the Cathedral is presenting four performances of Carlos Carvajal's "TOTENTANZ"...with brilliantly theatrical electronic score by Warner Jepson. ...Carvajal has presented his "TOTENTANZ" several times in Grace Cathedral. It is almost a tradition. ... Warner Jepson's chilling electronic score was beautifully served by an uncommonly fine sound system. The whole technical side of the performance was amazing--lights, slides, the bare ropes of a set, costumes and music. Grace Cathedral never had it so good.
1974 Mar 29 SF Progress; "Lostine" receives a local Emmy Award "Lostine", an innovative television-as-art presentation from the National Center for Experiments in Television, was produced by Willard Rosenquist, with score by Warner Jepson and mix by William Roarty.
1974 June, The Both/Up Gallery [over Cody's Bookstore, Berkeley] "Sound Images" One man exhibit of music and constructions on the walls. CORRECT DATE??
1974 Art Forum, Cecile McCann: "Strange and gentle, Warner Jepson's electronic music has an almost visible presence. It can make a room seem to expand and contract, make objects in the room seem close or distant. Within this sculptural sound environment,...Jepson has scattered the cheerful surprise of ordinary things that shape themselves into playful sculptures. ...Listening Booth is a big blue bolster against a wall, surrounded by a curtaining fringe of magnetic tape that hangs like rain.
90 minutes of individual Buchla pieces played continuously for a month in the gallery with constructions I added about the room so that it wouldn't be so empty. They had nothing to do with the sound one listened to, just another form of entertainment. Some of the sound pieces were longer and more shaped than before. One of my favorites was "Star Walk" a gradual ten minute ascension of a pretty rhythmic pattern. Another one that totally fascinated me for spatial and rhythmic depth was "I'm going to stay here and see why I'm going to stay here and see why I'm ..."
1974 July, Sam Shepherd's “Sidewinder”; songs and incidental Buchla music, UC Berkeley Drama Department. I was hired to do incidental music of the Buchla type, but was also asked to compose pop type music for the integral songs that had been played by The Who, in the New York production that were unusable here.
1974 Halloween Party at the San Francisco Museum of Art: "Electronic Music for a Night Sky" from a letter of director: "...The effect of music and the room size projections of night phenomena was spectacular! The audience loved it."
1975 Feb 8 – May 11"N.R.A." Revival, SF Ballet
1975 Feb 8 – May 11"N.R.A." Revival, SF Ballet - Program cover
1975 Feb 8 – May 11"N.R.A." Revival, SF Ballet - Program 1
1975 Feb 8 – May 11"N.R.A." Revival, SF Ballet - Program 2
1975 Feb 8 – May 11"N.R.A." Revival, SF Ballet - Program 3
1975 Feb 8 – May 11"N.R.A." Revival, SF Ballet - Program 4
N.E.A. grant for audio/video experiments "Prelude" small piano piece
"Exchange Show" audio/video tapes Dallas/Fort Worth museum \
1975 Jan 10, National Endowment for the Arts Grant to work with the Buchla synthesizer connected to a video mixer, colorizer, and keyer.
FEB 22 1975, N.R.A SF Ballet - (National Recovery Administration era of the 1930's) - ' Robert Gladstein's nostalgia piece heightened to make more significant historical commentary through important revisions ... begins with humorous recollections in Warner Jepson's collaged music and words from radio and newsreels, Glenn Miller, Benny Goodman and other unforgettable stylists.'
1975, N.R.A SF Ballet - SF Chronicle review 1
1975, N.R.A SF Ballet - SF Chronicle review 2
April 19-28 “The Awakening” at the Lone Mountain, Carlos Carvajal
1975 Jun. 27,28,29 "The Awakening" revived, Dance Spectrum - Program
1975 Jun. 27,28,29 "The Awakening" revived, Dance Spectrum - Program 2
1975 June, Electronic Arts Intermix of New York buys and begins distribution of NCET videotapes Lostine [w/ Rosenquist, Roarty]; See is never all the way up [w/ Roarty]; Irving Bridge, Point Lobos State Reserve [w/ Bill Gwin]; Illuminated Music [w/ Stephen Beck]
1975 November December "Exchange/DFW/SFO" exhibition at The Fort Worth Art Museum [Texas] by Bay Area and Texas artists shown: "Excerpts from the Buchla Bulb Series," 45 minute videotape with the NEA grant and in the last space that the NCET moved into in Berkeley before it died from loss of funding, I connected the Buchla synthesizer to a video imaging machine. The Buchla would effect spectacular bands of colors that moved with its sounds. I also aimed the camera at a white lit light bulb, or upon my face, the various light levels causing a myriad of fantastic color combinations that enthralled me, that kept me doing it for hours, months.
1975 - NCET Warner Jepson (1)
1975 - NCET Warner Jepson (2)
1975 - NCET Warner Jepson (3)
1975 - NCET Warner Jepson (4)
1975 - NCET Warner Jepson (5)
1975 - NCET Warner Jepson (6)
1976 "Exchange Show" SF Museum of Modern Art
"N.R.A." SF Ballet revised for Marge Champion
1976 -Jan 16, “Eight by Mary Shelton”, Xoregos Performing Company
1976 -Jan 16, “Eight by Mary Shelton”, Xoregos Performing Company review SF Chronicle
1976 Jan 23-Mar 7 "Exchange/DFW/SFO" exhibition at the San Francisco Museum of Art by Bay Area and Texas artists repeat of the Dallas/Fort Worth exhibit
1976 Mar 3,4,5,6 "TOTENTANZ" Grace Cathedral
1976 Mar 3,4,5,6 "TOTENTANZ" Grace Cathedral - ticket flyer
1976 Mar 3,4,5,6 "TOTENTANZ" Grace Cathedral - Program 1 cover
1976 Mar 3,4,5,6 "TOTENTANZ" Grace Cathedral - Program 2
1976 Mar 3,4,5,6 "TOTENTANZ" Grace Cathedral - Program 3
1976 San Francisco Ballet - 'The Four Temperaments' WJ?
1976 Nov. 12; letter from Media Study center Buffalo NY 207 Delaware Ave letter acknowledges receipt of copies of Bill Gwin and my collaborations at the NCET: Irving Bridge and Point Lobos
1977 "Rites of Women" (J.Broughton) revived with additional songs
"Lord of a Single Lizard" (D. Dunn) unproduced
Separated from wife, Andrea, begin taking care of 2 children, Kiira 12, Matt 10, alternately with her.
1978?? The Art of Film Music Conference
1978?? The Art of Film Music Conference - Program
1978 "Americans in the California Dream" film score (G. Bell) KQED
"Those Daring Young Film makers by the Golden Gate" film score (G. Bell)
"A Richness of Embarrassments"
1978 Feb. 8,9,10.11; "TOTENTANZ" Revival, Grace Cathedral SF Chronicle, Heuwell Tircuit: "...By the time it was done, one hardly knew if one dare applaud or just crawl out on hands and knees. "TOTENTANZ" was a great hit from its debut, back in 1967. Music by Warner Jepson.
1978 Feb. 8,9,10.11; "TOTENTANZ" Revival, Grace Cathedral - Flyer
1978 Feb. 8,9,10.11; "TOTENTANZ" Revival, Grace Cathedral - Flyer 2
1978 Feb. 8,9,10.11; "TOTENTANZ" Revival, Grace Cathedral - Program
1978 Feb. 8,9,10.11; "TOTENTANZ" Revival, Grace Cathedral - SF Chronicle Review
Feb. 8 Janice Ross: "Many of these images would undoubtedly look overdone on-stage, but in the Cathedral, and backgrounded by...Warner Jepson's majestic music, they assume the didactic veracity of living stained glass."
.. ...set to Warner Jepson's highly effective score..."
1978 Benefactors and Patrons list - SFB ?
1978AnxiousAspOld Photograph used for North Beach Fair
1979Luminous Procuress - Film by Stephen Arnold, Music by Warner Jepson - poster for return of 1971 film
1979 "Humpty D!" (P. Horan) un-produced
"Peace" for flute performed at CAMI in N.Y.C.
1980 Gershwin medley arranged for SF Gay Men's Chorus
when was this??