21 Results for : expressively
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The Symphony, Hörbuch, Digital, 1090min
From its humble beginnings in the 17th-century Italian opera overture and the Baroque ripieno concerto, the symphony has evolved into one of the longest lived, and perhaps the most expressively inclusive, genres of instrumental music. Along the way, it has embraced nearly every trend to be found in Western concert music. In this series of twenty-four 45-minute lectures, Professor Greenberg guides you on a survey of the symphony. You'll listen to selections from the greatest symphonies by many of the greatest composers of the past 300 years. You'll also hear selections from some overlooked works that, undeservedly, have been forgotten by contemporary audiences. Your tour of the symphony includes an examination of how the simultaneous development of the orchestra and the opera were crucial to the birth of the symphony as a genre; a look at the earliest true symphonies that were exponents of the galant style that emerged in the period between the High Baroque and Viennese Classicism; an exploration of Haydn and Mozart, the titans of the Classical age; the sublime and iconoclastic Beethoven and his Fifth Symphony; a study of Berlioz's Symphonie Fantastique, which combined the extreme emotions and drama of the opera house with an explicit, intimately autobiographical narrative; and national developments in France, Russia, Vienna, Bohemia, Scandinavia, America, and Great Britain. The course concludes with an investigation of Dmitri Shostakovich's Tenth Symphony, which became, in Professor Greenberg's words, "a model for what the new, post-Stalin Soviet music might aspire to be-a more personally expressive, less explicitly programmatic work, one that both engaged and challenged its listeners." PLEASE NOTE: When you purchase this title, the accompanying reference material will be available in your Library section along with the audio. Language: English. Narrator: Robert Greenberg. Audio sample: https://samples.audible.de/bk/tcco/000316/bk_tcco_000316_sample.mp3. Digital audiobook in aax.- Shop: Audible
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American Legends: The Life of Carole Lombard , Hörbuch, Digital, ungekürzt, 80min
Carole Lombard's tragic death means that something of gaiety and beauty have been taken from the world at a time they are needed most. (Errol Flynn) A lot of ink has been spilled covering the lives of history's most influential figures, but how much of the forest is lost for the trees? In Charles River Editors' American Legends series, listeners can get caught up to speed on the lives of America's most important men and women in the time it takes to finish a commute, while learning interesting facts long forgotten or never known. On January 16, 1942, just a few weeks after Pearl Harbor brought the United States into World War II, the nation suffered what were considered the first civilian deaths of the war when a plane crashed into the side of a mountain southwest of Las Vegas. Aboard the plane were 15 servicemen, but the plane was also carrying one of Hollywood's biggest stars: actress Carole Lombard. Although Lombard's death and her marriage to Gone with the Wind star Clark Gable have overshadowed her career, her untimely death in 1942 cut short the life of one of Hollywood's most prominent stars at the time. In fact, Lombard's platinum look and her unique mannerisms had helped her become the biggest star of the screwball genre by the end of the 1930s, and her movies were so successful that she was the highest paid actress in Hollywood by the start of the 1940s. As English critic Graham Greene said of her, "Platinum blonde, with a heart-shaped face, delicate, impish features and a figure made to be swathed in silver lamé, Lombard wriggled expressively through such classics of hysteria as Twentieth Century and My Man Godfrey." Indeed, despite dying at the age of 33, the American Film Institute recognized her as one of the biggest film icons of the 20th century. ungekürzt. Language: English. Narrator: Wendy Almeida. Audio sample: https://samples.audible.de/bk/acx0/038405/bk_acx0_038405_sample.mp3. Digital audiobook in aax.- Shop: Audible
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Ballet for Martha: Making Appalachian Spring , Hörbuch, Digital, ungekürzt, 45min
In 1944 the modern American ballet Appalachian Spring premiered at the Library of Congress in Washington, D.C. The collaborators behind the performance anxiously awaited the critical response to their artistic achievement: Would the world understand what they had done? In Ballet for Martha, the journey to this stage and the success shared among choreographer Martha Graham, composer Aaron Copland, and artist Isamu Noguchi is expressively captured by acclaimed children’s book authors Jan Greenberg and Sandra Jordan. Together they tell the exceptional story of the collaborative efforts behind the creation of Appalachian Spring. Martha Graham, famous American dancer and pioneering choreographer, ignited the process with her innovative dance routines and desire to create a ballet that would represent America. With Martha’s spirit and choreography in mind, Pulitzer Prize-winning composer Aaron Copland built upon the melodies of an old Shaker hymn to create the original score. He titled it simply "Ballet for Martha". Upon Martha’s request, artist Isamu Noguchi created the stage design for the ballet, using a simple and angular style that reflected the movements of Martha’s choreography. This story, first chronicled in the award-winning book, is now brought to life in an original audiobook production by Brilliance Audio. Acclaimed actress Sarah Jessica Parker captures the voices and emotions of Martha Graham, Aaron Copland, and Isamu Noguchi as they work together to produce the dance, score, and set of this beloved American ballet. Accompanying the narration is a full performance by the Seattle Symphony of the very score which fueled and inspired the ballet. Listeners will be delighted by the layered collaborations brought together in this audio production. From the three trail-blazing artists who labored to capture America through lyrical movement, lilting melody, and avant-garde design, to the literary, vocal, and orchestral tale ungekürzt. Language: English. Narrator: Sarah Jessica Parker, The Seattle Symphony conducted by Gerard Schwarz. Audio sample: https://samples.audible.de/bk/brll/004173/bk_brll_004173_sample.mp3. Digital audiobook in aax.- Shop: Audible
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ISIS: Behind Enemy Lines , Hörbuch, Digital, ungekürzt, 108min
The monstrous act of terrorism has caused many a grief that they have had to live with throughout their lives. To terrorism, many have lost loved ones, many have had their innocence ripped apart and even faced the harshest brutality that no one would ever believe humans have the capacity to commit. One wonders and many questions then begin to clog the mind as to whether terrorists really do have conscience and whether their happiness is hinged on the grave atrocities they commit on a daily basis. But come to think of it. Of what gain or fame does a barbaric terror organization like ISIS justify their heinous atrocities? Catching a glimpse into the world of terrorism like that of the Islamic State of Iraq and Syria (ISIS) is something that only a few would mutter the courage to have. In less than a year, the world has been fast forwarded to a new world of terrorism that has since not only changed many a world view of dealing with what has claimed thousands of lives but also something whose expression of ideological differences and ways of settling scores is terrifying. ISIS is perhaps the worst that the world has ever witnessed of a terrorist group whose fundamental principles by which it is established is to enslave, crucify, burn, behead, rape, and expressively create a state that glorifies horrific evil. The question is: what is the world doing? Behind Enemy Lines explores to lay bare what transpires in the ISIS self-declared caliphate. Capturing thousands of hectares of land straddling Iraq and Syria would not have been enough to let the world know what ISIS seeks to achieve in the 21st century but redefining terror, misinterpretation of laws, and misrepresentation of religion; ISIS believes is the best way to be felt, heard, feared, and let to be. Cast into limelight as an up to no good terrorist group, this book delves into the very speculative biting, stinging and burning issues that the ISIS "world" is made of. ungekürzt. Language: English. Narrator: Jim D. Johnston. Audio sample: https://samples.audible.de/bk/acx0/034969/bk_acx0_034969_sample.mp3. Digital audiobook in aax.- Shop: Audible
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Amorosi Pensieri-Vokalmusik der Renaissance
This collection is both historically fascinating and stunningly performed. The music is beautiful and sensuous, with the polyphonic arts familiar from sacred works of this period now put to the service of earthly emotions. An expressively melancholic vein pervades many of these works, and one can see them as a precursor to Monteverdi's madrigals.- Shop: odax
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L'Art Du Violon Seul...
"...Glodeanu's... a fine player, producing a wonderfully rich, expressively varied tone on her Groblicz Baroque violin and showing intense involvement throughout with the style and content of the music." (Gramophone Magazine)- Shop: odax
- Price: 30.89 EUR excl. shipping
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Farewell Beirut O Scarlet Tramp
I am a singer-songwriter, a writer and a visual artist who has traveled far, expressively, emotionally, spiritually and geographically. I've drifted between Beirut, London, Lagos, Paris, LA, New York, and am now based in Montreal. My musical career started in Lebanon, when at the age of eleven, I recorded my very first original song "A toi maman" a romantic French ballad. It is still played yearly on the airwaves in Lebanon on Mother's Day. I compose daily, by way of intuition. It is the foundation of my music. My latest musical project, 'Farewell Beirut, O Scarlet Tramp' is an album that blends experimental pop, indie rock, electronic, free-form jazz, nature sounds and African and Middle-Eastern beats. John Cage once emphasized the integration of chance into music. I wish to detach myself from a propagandist notion that if one composes he necessarily wants music. Completion is not in neatly tying things up in a little packaged story, or telling "the truth". Music is. Music is... so complex. It has little to do with recording. It's a construction in one's head, of all your senses at the same time and everything you've ever experienced, leaving one with something to explore in the moment rather than just something to listen to. Instead of merely fusing world music and western music, I wish to deconstruct the underpinnings of music. I compose my experiences, meshing all the sounds that inspire me into a unique one that brings forth the disparate soul that lies within, while elucidating the without: the mysterious source-energy that is at the core of the divinity in music. Nature plays an important part in my compositions. There is something much deeper in sounds of nature than mere frugality. I try to bring the real world into music, not have it separated, machine-made. When all these different musical elements are gathered, then there are no rules. It is one ensemble of musical sounds, in which many ideas and forms have been woven together, creating a unique yet universal, transcendental and healing musical journey. To my mind the most beautiful and powerful musical realization, is one which tone and mood equally unite the spiritual to the cerebral. One that is recognized instinctively - proof perhaps of the universality of communication through music. This connection is huge, essential, and we are all part of this immensity, yet this immensity is also internal. Music, I believe expresses this best.- Shop: odax
- Price: 24.47 EUR excl. shipping
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Licorice Stick
Chamber music composed by Libby Larsen who is one of America's most prolific and most performed living composers. ' Licorice Stick' (2002) Cl Pi: The term 'Licorice Stick' is an American slang term for the clarinet developed during the heyday of big band clarinet playing in the 1930's. It was commissioned by Stefan Harg and Katarina Ström-Harg, who premiered the piece 2 July 2002 in Stockholm. 'Song without words' (1986) Cl Pi: It was composed as a musical epitaph for Richard Lamberton, a beloved friend who had a particular love for the clarinet. 'Mephisto Rag' (2000) Pi: Is a ragtime fantasy grand piano showpiece, recalling Franz Liszt''Mephisto Waltz'. 'Dancing solo' (1994) Cl: Dancing alone-improvising with the shadows, the air, on an inner beat, upon a fleeting feeling-has always enthralled me.(L.L) 'Songs from letters, Calamity Jane to her daughter Janey 1880-1902' (1989) Sop Pi: ' is, 160 years later, the natural and long-awaited successor to Robert Schumann's... song cycle, Frauenlieben und leben' (The Los Angeles Times) 'Slang' (1994) Vi Cl Pi: Is a one-movement work in three sections. It's title refers to the use of both jazz and boogie slang and twentieth century ´new music' slang throughout the composition. Libby Larsen (b. 24 December 1950, Wilmington, Delaware) is one of America's most prolific and most performed living composers. She has created a catalogue of over 400 works spanning virtually every genre from intimate vocal and chamber music to massive orchestral works and over twelve operas. Her music has been praised for it's dynamic, deeply inspired, and vigorous contemporary American spirit. Constantly sought after for commissions and premieres by major artists, ensembles and orchestras around the world, Libby Larsen has established a permanent place for her works in the concert repertory. Larsen has been hailed as "the only English-speaking composer since Benjamin Britten who matches great verse with fine music so intelligently and expressively" (USA Today), as "a composer who has made the art of symphonic writing very much her own." (Gramophone), as "a mistress of orchestration" (Times Union), and for "assembling one of the most impressive bodies of music of our time" (Hartford Courant). Her music has been praised for it's "clear textures, easily absorbed rhythms and appealing melodic contours that make singing seem the most natural expression imaginable." (Philadelphia Inquirer) "Libby Larsen has come up with a way to make contemporary opera both musically current and accessible to the average audience." (The Wall Street Journal). "Her ability to write memorable new music completely within the confines of traditional harmonic language is most impressive." (Fanfare) Libby Larsen has received numerous awards and accolades, including a 1994 Grammy as producer of the CD: The Art of Arlene Augér, an acclaimed recording that features Larsen's Sonnets from the Portuguese. Her opera Frankenstein, The Modern Prometheus was selected as one of the eight best classical music events of 1990 by USA Today. The first woman to serve as a resident composer with a major orchestra, she has held residencies with the California Institute of the Arts, the Arnold Schoenberg Institute, the Philadelphia School of the Arts, the Cincinnati Conservatory, the Minnesota Orchestra, the Charlotte Symphony, and the Colorado Symphony. Larsen's many commissions and recordings are a testament to her fruitful collaborations with a long list of world-renowned artists, including The King's Singers, Benita Valente, and Frederica von Stade, among others. Her works are widely recorded on such labels as Angel/EMI, Nonesuch, Decca, and Koch International. As a past holder of the 2003-2004 Harissios Papamarkou Chair in Education at the Library of Congress and recipient of the Eugene McDermott Award in the Arts from the Massachusetts Institute of Technology as well as a Lifetime Achievement Award from the American Academy of Arts and Letters, Libby Larsen is a vigorous, articulate champion of the music and musicians of our time. In 1973, she co-founded (with Stephen Paulus) the Minnesota Composers Forum, now the American Composers Forum, which has been an invaluable advocate for composers in a difficult, transitional time for American arts. Consistently sought-after as a leader in the generation of millenium thinkers, Libby Larsen's music and ideas have refreshed the concert music tradition and the composer's role in it. © Libby Larsen.- Shop: odax
- Price: 31.92 EUR excl. shipping
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Border Crossings
Border Crossings Performed by members of Pacific Serenades Mark Carlson, flute Gary Gray, clarinet Clayton Haslop, violin (Concierto barroco) Connie Kupka, violin (2nd, Three Folksongs & Pacific Serenade) Miwako Watanabe, violin (1st, Pacific Serenade) Roger Wilkie, violin (1st, Three Folksongs) Roland Kato, viola (Three Folksongs) Simon Oswell, viola (Pacific Serenade) David Speltz, cello Patricia Mabee, harpsichord Joanne Pearce Martin, piano The Music All of these works were commissioned and premiered by Pacific Serenades. Concierto barroco for flute, violin, cello, and harpsichord (2002) Commissioned by Jack & Florence Irving for Pacific Serenades. A few years ago I had the opportunity to read the novel Concierto barroco, written in 1974 by the brilliant Cuban writer Alejo Carpentier (1904-1980). The novel mentions a chance encounter in the city of Venice at the beginning of the 18th Century between three great musicians of the time: Domenico Scarlatti (1685-1757), George Frideric Handel (1685-1759), and Antonio Vivaldi (1678-1741). In an amusing passage, it tells how they get together and play their favorite instruments, Scarlatti at the harpsichord, Handel at the organ, and Vivaldi at the violin, and perform an exceptional jam session. I did borrow the novel's title for my quartet but, in spite of my great admiration for the music of Scarlatti, Handel, and Vivaldi, my intention in Concierto barroco was not to imitate these or other great composers of the 18th century, but rather, to create an original baroque musical style of my own. My objective was not unlike that of the Mexican composer Manuel M. Ponce (1882-1948) in his baroque compositions for guitar, or the Brazilian Heitor Villa-Lobos (1887-1959) in his Bachianas Brasileiras cycle. The compositional process that I undertook involved combining traditional forms of the baroque period, of the Spanish baroque, and modern Latin American dances. -Enrique González-Medina Three Folksongs for clarinet and string quartet (1992) Commissioned by Elizabeth H. Henderson for Pacific Serenades Three Folksongs was composed in 1992, a commission from Mark Carlson and Pacific Serenades. Each of the three movements is centered on a vernacular-styled melody, which is placed in a traditional Western classical form. In the first movement, a Scotch/Irish ballad is contained by sonata form, the second is a theme and variations on an African-American-styled spiritual, the third movement is a Brazilian samba, realized as a rondo. At the time, I was interested to see whether these different 'ethnic' themes could co-exist in a piece without it sounding like a hodgepodge. But if Bach used French, Italian, and German styles incorporated into the distinct movements of a suite, then, I thought, I should be able to do so with Irish, African, and Brazilian music! In the years since composing this piece, my interest in incorporating the vernacular with the classical styles has only deepened and continues to grow. It is how I hear music. My thanks to Mark Carlson for his terrific support and for the unique work that he does in bringing new work into the world. Thanks also to the performers for their artistry and for their passion. -Robert Livingston Aldridge Sonata for cello and piano (1998) Commissioned by Virgil & Lynn Roth for Pacific Serenades As is almost always true with my music, this piece is rather eclectic, various styles being blended and juxtaposed, reflecting my varied musical roots and interests. The opening and closing movements are both rather busy, the first one often agitated and the last an upbeat dance. The middle movement begins and ends in relative calm, though in it's middle section a high singing melody in the cello evolves into a sort of subdued anguish. The third movement deserves special note here, as it is based on a kind of dance and song peculiar to Venezuela, the merengue, which is in 5/8 time. My fascination with this kind of music stems from three trips to Venezuela, during which I began to explore the folk and popular music of this uniquely multi-cultural country. My piece here is not meant to be a replica of the merengue so much as a kind of synthesis of it's rhythms and overall form and my own language. I guess I am sort of a stylistic sponge: music that I hear and am attracted to often gets absorbed into my personal vocabulary. This movement is a further manifestation of my long-standing attraction to South American popular music, and I have a hunch that it will be one of a number of pieces influenced by Venezuelan music. I wrote the piece especially for David Speltz and Joanne Pearce Martin, and they premiered it on a Pacific Serenades concert in 1998. -Mark Carlson Pacific Serenade for clarinet and string quartet (1998) Commissioned by Dr. Eberhardt & Deedee Rechtin for Pacific Serenades Written in 1998, Pacific Serenade is a "peaceful serenade"-a serenade as in: romantic, quasi-improvised music which should be sung at night under the stars. The main "singer" here is the clarinet. In general, the music is extremely quiet, delicate, sensuous, and sentimental. The sensuousness is created by Latin song elements, especially the nostalgic Brazilian folk song, which is at times combined with blues-style melody and harmony. The string quartet has a technically and expressively challenging part, which is not merely the accompaniment to the clarinet, but rather it is responsible for setting the mood in which the clarinet sings. This is my opus 59, and it was commissioned and premiered by Pacific Serenades in Los Angeles in 1998. Of course, the ensemble's name inspired the name of this work, as well as it's mood, since Gary Gray is the clarinetist. In an age of boom boxes, media bombardment of information, and pop culture becoming increasingly aggressive, boisterous, and violent, I felt the need to write just the opposite, to show once more that less is more. Pacific Serenade is published by Peermusic/Theodore Presser. Later, I wrote versions for optional saxophone and piano. -Miguel del Aguila The Composers Composer Robert Aldridge's music, for orchestra, opera, music-theater, dance, solo and chamber ensembles, has been performed throughout the United States, Europe, and Japan. He has received fellowships and awards from the Guggenheim Foundation, the American Academy of Arts and Letters, the National Endowment for the Arts, the New York Foundation for the Arts, the Lila Wallace Reader's Digest Fund, Meet the Composer, and the American Symphony Orchestra League. He was commissioned by Orpheus Chamber Orchestra and the Los Angeles Chamber Orchestra for a clarinet concerto, which was premiered in 2005. His tone poem, Leda and the Swan, a four-orchestra consortium commission, was premiered in 2003. His opera, Elmer Gantry, was given it's full stage world premiere by Nashville Opera in 2007. He holds a Doctorate in Composition from the Yale School of Music, and is Director of the John J. Cali School of Music at Montclair State University, where he is also an Associate Professor of Music Composition/Theory. Composer Mark Carlson's lyrical, emotionally powerful, and stylistically unique music has earned him the admiration of audiences and musicians throughout the United States, Canada, Mexico, and Europe. A versatile composer, his works include art songs, chamber music, choral music, concertos and other large ensemble works, and songs for musical theater. He has been commissioned by the National Shrine in Washington, DC, and the New West Symphony, among other organizations, as well as by many individual performers. One of his CDs, The Hall of Mirrors, was a winner of the Chamber Music America/WQXR Records Awards for 2001. He has taught music theory and composition at both UCLA and Santa Monica College for many years. The Founder and Artistic Director of Pacific Serenades, he is also active as a flutist. Carlson attended the University of Redlands, graduated from CSU Fresno, and received MA and PhD- Shop: odax
- Price: 27.21 EUR excl. shipping
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Storyteller
Mary writes: I have always been drawn to music with evocative images, emotions, and stories. I did not have to search out the songs, instead, the music for Storyteller found me. Ordering the selections into an unusual sequence allowed me to interpret the songs in a more effective manner: characters could be more readily defined, circumstances more expressively detailed, and closure created for the pieces that lacked tidy endings. I had the feeling of creating my own opera in the selection and ordering of this program. I have included several poems here as way to further develop the drama of the musical works with which they are paired. "What lips my lips have kissed, and where, and why" is a perfect match for Poulenc's Fiançialles pour rire, echoing the meaning of Louise de Vilmorin's text of the song cycle. In "Monica's Waltz," "Sympathy," and "Green Finch and Linnet Bird," the desire to escape terrible circumstances is very strong. These three songs tell of individuals held captive and their longing for freedom. Monica's imagination is the vehicle of her escape, by playing with her mute friend, Toby, she creates a world that provides her with the love and respect she most desires. Poet Paul Laurence Dunbar relates his experiences of the cruelty of racism in captivating imagery. Johanna looks to her birds to find her voice: "if I cannot fly, let me sing." I find Calamity Jane a mystery. She is at once an extraordinary, independent woman of her time, a woman who yearned to belong and mourned her lack of friends. Her love for her daughter, Janey, brought her the greatest happiness in life as well as the greatest sorrow. The excerpt from The Great Gatsby seemed a fine match for Michael John LaChiusa's "Tom". I was reading F. Scott Fitzgerald's book while I was programming Storyteller, and this passage jumped out at me. I was thrilled to find an excerpt that captured the heart-racing moment of attraction and also flowed seamlessly into the song. Though Edith Sitwell's poems are enigmatic, William Walton's settings are brilliantly crafted, specifically in the use of the piano to evolve musical realizations of Sitwell's evocative descriptions. Still, trying to explain these poems is like the effort to recount a vivid dream that you struggle to remember. The retelling lacks the visceral impact of the original experience. We produced this recording over a two-day period in the recital hall at the College of Mount St. Joseph in Cincinnati, in December of 2005. I was two months pregnant with my beautiful twin daughters-all my blood was rushing to my belly! A second recording, Approaching Eden, consumed a third day (Approaching Eden will be released in 2009).- Shop: odax
- Price: 27.21 EUR excl. shipping
