68 Results for : evocations
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There Was a Child Went Forth: Songs of Nils
There was a Child went Forth - in thirty-nine lines, the poet takes us from evocations of a child's early experiences of nature, town and family life to the precipice, both dreadful and ecstatic, of existential speculation. Three American Songs - Thoreau is, relative to the fame of his prose, little known as a poet, but he has a distinctive voice, short breathed with insistent rhyme schemes. The reiteration of the opening line of O Nature is like a mantra. A Noiseless Patient Spider places the voice in a web of piano figuration. The Shangri-La quality of Rumors from an Aeolian Harp is suggested by the hypnotic six for four rhythm in the piano. March, Hymn and Waltz frames Joyce's poems, "From dewey dreams, my soul arise" (hymn) and "The twilight turns from amethyst" (waltz) with a piano prelude, (march) and postlude. The set evokes parlor music. Czeslaw Milosz wrote these two poems during the height of WWII in Warsaw. In the first one, A Song On the End of the World, the apocalypse is imagined in the penultimate line, which is then repeated. The simplicity of the music in the opening of Recovery is as though one emerged from a shelter to find the world still existent. The five songs of Mother Leads Us are settings of Shaker melodies found in Edward Deming Andrew's The Gift to be Simple. In general I have not altered the melodies with the exception of the remarkable "spelling-out" tune Love and Blessing, which is subject to numerous octave displacements. Vocalise was written for my parents, both musicians, for their thirty-sixth wedding anniversary. They read through it, mom singing and dad playing, after a church service in 1979, the only time I heard it until this recording. Five Songs is a collection, not a cycle, though there are threads of connection between the poems. They are all from the 19th C, when poetry was commonly read, and they all, in their own way, are "bright" poems. The tragic note is not sounded. A Prayer for my Daughter is not only Yeats' meditation on his young child's future but also on his failed courtship of Maude Gonne. This generates a shift in tone so radical that for ten years I could never find a way to continue with the last four stanzas. So I left the poem "rooted in one dear perpetual place." - Nils Vigeland Canadian soprano, Delea Shand, is dedicated to performing and promoting new music. She produces Opera on Tap's contemporary music ensemble, New Brew, and has collaborated, curated, and performed with: Orchestra 2001, Anti-Social Music, Quince Vocal Ensemble, Color Field Ensemble, Tactus, and Manhattan School of Music's Symphony Orchestra and Percussion Ensemble. Delea has performed at several new music venues in New York City including: Symphony Space, Issue Project Room, Galapagos Art Space, City Winery, Gershwin Hotel, Cornelia Street Cafe, Webster Hall, The Tank, and Barbes. She is a proud Banglewood alumni, having been a fellow at the Bang on a Can summer festival at Mass MoCA. A dedicated music educator, Delea teaches private lessons and was a teaching artist with the Metropolitan Opera Guild. She holds a Master's Degree in Contemporary Performance from Manhattan School of Music, where she studied with Lucy Shelton. Nils Vigeland was born in Buffalo, NY in 1950. He studied composition with David Del Tredici and Lukas Foss at Harvard College and Morton Feldman at The University at Buffalo. Since 1978 he has been active in New York City as composer and pianist. He taught at Manhattan School of Music for thirty years, retiring as Chair of the Composition Department in 2013. His music is available on Mode, Lovely Music, Focus, Naxos and Ravello CD releases. With Eberhard Blum and Jan Williams he has recorded the complete works of Morton Feldman for flute, percussion and piano for HAT ART.- Shop: odax
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Chasing Light
Mark Knippel: Marenje* The following note is provided by the composer: "Marenje is a traditional welcoming song of the Shona people of Zimbabwe. My composition is based solely on the opening material of the original song. The entrances of the first two guitars are exactly what would be played on the mbira [traditional African instrument consisting of a wooden soundboard with 22 to 28 metal keys] and marimba. One of the techniques of Shona music that I employed is having the same material played on two instruments offset by one eighth note. This idea permeates my composition, as it is one of the ideas of their music that I found especially striking." Marenje, begins as a whispering, euphoric murmur, as if you are walking into a bustling street market, taking in the sights, smells, and sounds. A minute into the piece, all four guitars crescendo into a fully-blossomed, gently-jiving, jovial sonic soundscape that grows in intensity, and culminates in a quasi-percussive, exuberant, upper register ostinato played by one guitar, fluttering over the other three like a liberated bird-of-paradise. Garry Eister: Chasing Light* Garry Eister writes the following note for Chasing Light: "Chasing Light uses a grab bag of techniques, including irregular meters, meant to evoke the rhythmic feel of Eastern European dances. The outer movements are in E minor. The middle movement is in E-flat minor, which, by it's 'sinking down' a half step below the movements that surround it, helps impart the feeling of isolation and stillness that it's title indicates. The final movement is meant to convey a sense of urgency, of running or driving as fast as possible toward the Western horizon in an attempt to delay the setting of the Sun." Throughout Chasing Light, a sense of combative harmony pervades. Each guitar is autonomous, yet interconnected with the others. Through coherent use of imitation, unison, accent, textural variation, and overlapping melodic lines, Eister creates a robust quartet in which each guitar is of equal importance, fighting and playing with one another in an ecstatic cloud of sound. Mark Knippel: Attained Elusiveness* Unlike Marenje, Attained Elusiveness possesses none of the effervescent giddiness that permeates the former. Instead, it features Steve Reich-like transient sonic fractals that flash and evaporate as snowflakes on a windowpane, elusive, yet, for a fleeting moment, attained. Darin Au: Chasing Dragons The most straightforward composition on the album, Chasing Dragons soars in a self-assured, flowing arc. There may be dragons, but they are observed in transit, as if from a hangglider. Punctuated by raspy rasgueados, spiky accents, and icy harmonics, an ominous nether world is hinted at, yet never entered. A great distance is traveled over a brief period of time. Christopher Gainey: Flowing Through: Rhapsody on a theme of Egberto Gismonti* Christopher Gainey shares the following note: "I have always loved [Brazilian composer Egberto Gismonti's] Agua e Vinho, and I was fascinated by how different performers used it as the basis for very individual embellishment/improvisation. In essence, Flowing Through is a set of variations on Agua e Vinho, with one exception, when the theme comes in at the end of the piece, it is placed together with material from the first variation that reconfigures the original theme into a ternary form (Agua e Vinho forming the 'A' section, while it's variation forms a 'B' theme). The notation fluctuates between precisely notated music and much more flexible, somewhat indeterminate, methods of notation that allow the ensemble some interpretive freedom." Karol Szymanowski: Mazurkas, Op. 50, Nos. 1 and 3 Arranging solo piano works for guitar quartet is, at first glance, counterintuitive. The luminescent sonority of the piano is markedly different than the brighter sound of the classical guitar. However, the two mazurkas that guitarist Patrick O'Connell selected and arranged transfer strikingly well to four guitars. The hushed dynamics (rarely exceeding mezzo-piano), combined with rich, colorful modal layering, allow opportunity for the guitars to explore hues and colors beyond the scope of the original piano. Through the use of idiomatic guitar techniques, such as artificial harmonics, and through exploitation of the guitar's broad timbral palette, new insight into Szymanowski's music is gained. Andrew York: Pacific Coast Highway Like Lotus Eaters, Andrew York's Pacific Coast Highway is melody-centered and harmonically stable. A self-confident first guitar both plays with and battles against the remaining guitar "trio." The first half of the piece is placid, daydreamy, the second half intense, excited. Evocative of the seemingly infinite Californian Pacific Coast Highway, the musical terrain is ever-changing, winding, rocking, and rolling. Andrew York: Lotus Eaters Andrew York's Lotus Eaters was written for the Los Angeles Guitar Quartet (LAGQ), and possesses the carefree charm of a late summer backyard barbecue. Through harmonic, melodic, and rhythmic constriction, it gains a spatial freedom, with evocations of Wes Montgomery, Ali Farka Touré, and Al Di Meola flickering like fireflies throughout the piece. As an added bonus, SFGQ has added two minutes of infectious improvisation to the original. Clarice Assad: Bluezilian Clarice Assad describes Bluezilian as follows: "I wrote Bluezilian for LAGQ, in 2005, as an encore piece. At the time, I had just broken a foot and was unable to walk or get out much. Feeling a bit down and constrained, I decided to work on a piece that would be light and fun, almost cartoonish-something that, in certain spots, would make me want to giggle. I purposely made the decision to use and abuse musical clichés. The piece is a musical satire that draws connections between American popular styles and Brazilian rhythmic and harmonic sensibilities. All parts, as simple as they may be, are filled with nuances to be explored, and the parts themselves communicate between one another." Bluezilian is a highly-caffeinated, animated whirlwind trip: accents kick, glissandi jolt, trills zap, and chords smack. It sounds as if a cartoon volcano was erupting in a harmonic kaleidoscope of plucks and strums. But it also sings and dances, swells and spins. Rarely has a such a short piece contained so much exuberant energy. Liner notes by Patrick Durek * Premiere recording and dedication to the San Francisco Guitar Quartet.- Shop: odax
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I Read the Old Dream Slowly
Collusion Music Australia Music by Australian composers Green, Hawkins, Davidson, Ball, Brophy, Sabin and Twist. Collusion, also known as Collusion Music Australia continues in the development of creative and unique performance practise of chamber music in Australia since it's inception in 2002. For 10 years the ensemble has consistently performed 20th and 21st century art music with or without visual collaboration. Their resident choreographer is Gareth Belling, whom directed/choreographed Collusion's full length Ballet 'Transient Beauty' for the Restrung Festival in 2012. Susan Hawkins, resident composer for Collusion was the musical director and composer. Reviewer Mat Foley stated, 'In your face, it is. In your mind, it gets.' In Collusion's vast and impressive repertoire, music from Messiaen to Hindemith, Takemitsu to Australia's Andrew Schultz, Nigel Sabin, and Nigel Westlake engage large audiences. 2013 sees Collusion invited to perform at the World Clarinet Fest' in Assisi Italy, The Queensland Music Festival, The Australia Saxophone and Clarinet Convention Sydney, and will take up a position as an Ensemble in Residence at Griffith University's Queensland Conservatorium of Music in Collusion's home city Brisbane, Australia. The ensemble has also riveted audiences at the Judith Wright Centre for Contemporary Arts, The Brisbane Powerhouse, Chapel on Chapel Melbourne, Fireworks Art Gallery, The Queensland Art Gallery and at the University of Queensland and Southern Queensland, and the North Queensland Centre for Music. Venue themed performances, collaborations with performance and visual artists at nightclubs, showrooms, professional ballet studios, school classrooms, churches, online, on a river bank, as well as at Concert Halls, have visually and aurally inspired audiences (including up to 20,000 school children per year from 2008) to digest many different styles of art music composition. Of their 2007 CD release 'In Depth' (MOVE) Tony Way of The Green Guide commented, "Collusion demonstrates a great empathy with the living tradition of chamber music in this country, and their enterprise in making this disc is to be applauded." "The instrumental playing and recorded sound are excellent"- John Barns, 3MBS FM Libretto "The ensemble performance throughout is impeccable as is the sound quality"- Laura Mathison, 4MBS Program Guide. Collusion has performed at festivals such as Soul Food, Restrung, Crosssbows, Bangalow, Tyalgum, Evocations, International Messiaen Conference, and has toured for Musica Viva Countrywide and Education programs. Benjamin Greaves (violinist): is the director and a founding member of Collusion Music Australia. A freelance musician, his speciality and training is chamber music, however he is also a freelance orchestral musician. He has performed for the Camerata of St John's Chamber Orchestra as principal 2nd violin and guest leader, the Queensland Symphony Orchestra, the Queensland Ballet, X, Brisbane, Adelaide International Cabaret, and Queensland Festivals amongst others. He has broadcast solo for ABC Classic FM. He has collaborated with contemporary artists like Jazz Trio Elixir, Circa Australia, Human Nature, and even played in professional music theatre productions such as South Pacific for Opera Australia. He studied with Carmel Kaine and Mary Nemet, and has performed in masterclasses for Lord Yehudi Menuhin, Maxim Vengerov, Oleh Krysa and the Takacs String Quartet. Benjamin's continual attention to professional development as both a performer and pedagog has been supported in the past by Arts Queensland attending masterclasses of Rodney Friend. Brieley Cutting (pianist): was accepted into the Queensland Conservatorium at age 13 and graduated at 18 with first class honours and a performance of Shostakovich's Piano Concerto No.1 with the Queensland Conservatorium Orchestra, winning all major performance awards. Following this, Brieley studied at the Australian National Academy of Music, the Queensland Conservatorium with Natasha Vlassenko, and at the Royal College of Music in London where she graduated with Distinction. Brieley has performed as soloist with the Melbourne, Adelaide, and Queensland Symphony Orchestras, and received 2nd prize in the Kerikeri International Piano Competition 2010, and was keyboard winner of the Symphony Australia Young Performer's Awards in 2006. Brieley has been recipient of prestigious awards from the Tait Memorial Trust, Australian Music Foundation, and the David Paul Landa Scholarship. Currently pianist with Collusion, she is also Artistic Director of the Commercial Road Chamber Music Series, Brisbane and a doctoral student at Griffith University. Danielle Bentley (cellist): is a founding member of Collusion. As a freelance musician, she has performed in countless concerts and recording sessions around Australia with acclaimed classical, jazz and popular music ensembles and artists. These include: the Paris Opera Ballet, Opera Queensland, Opera Australia, Australian Ballet, Queensland Symphony Orchestra, Camerata of St John's, Olivia Newton-John, Pete Murray, Harry Connick Jnr, Kanye West, Missy Higgins, Xavier Rudd, Kate Miller-Heidke, Pavarotti, Nigel Kennedy, Jon English, Il Divo, Jerry Lewis, Sarah Blasko, Hugh Jackman, Amici Forever, Kate Ceberano, Marcia Hines, Rolf Harris, Aled Jones, Tommy Lee - to name a few. Danielle is an academic, writer, poet and curator. She curates Restrung New Chamber Festival, which was the topic of her PhD exploring contemporary string practice and festival programming. Danielle is also the Festival Manager for Queensland Conservatorium's Crossbows small ensembles festival. Diana Tolmie (clarinettist): Woodwind specialist Diana Tolmie has had a wonderful time for the past 25 years with her career performing in a multitude of musical genres instigated by a Churchill Fellowship and a Queen Elizabeth Trust Award. ,Consistent session work has included the Queensland Symphony, Tasmanian Symphony, Malaysian Philharmonic and Orchestra Victoria. With over 30 professional musicals under her belt allowing her national and international travel, she is unafraid to cross genres being as comfortable in Clint Allen's Frank Zappa Big Band as she is with the Doch Gypsy Orchestra and is employed for many contemporary and mainstream live, television and recording events. As lecturer of the saxophone, clarinet and bass clarinet at the Queensland Conservatorium Griffith University she also convenes the professional industry preparation strand My Life As A Musician and is founder and conductor of the Queensland Conservatorium Saxophone Orchestra which tours internationally. Currently an Australian Music Examinations Board examiner, Diana has also acted as an AMEB consultant and editor with 3 publications in her bibliography in addition to editing the Australian Clarinet and Saxophone Magazine. ,.- Shop: odax
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Evocations
Roger Wright, a young, dashing, phenomenal pianist is described as "elegant and charismatic" by the American Record Guide, and praised for his astute musical intelligence by any who have heard him in concert. While these well deserved accolades are justified and even somewhat understated, what really sets this marvelous musical talent apart is his extraordinary ability to communicate with audiences in a manner that is exciting as it is fresh. A native Texan, Roger has played to critical and audience acclaim throughout the United States and abroad including New York, Chicago, Washington, D.C., Los Angeles, Houston, San Diego, Calgary, Sydney, Munich, Pretoria and Dublin. He has performed onstage and in both radio and TV broadcasts in these and many other settings. Wright burst onto the national spotlight by winning the 24th Frinna Awerbuch International Piano Competition at Carnegie's Weill Recital Hall in New York City. His international reputation was further enhanced when he was eliminated from the 2000 Sydney International Piano Competition of Australia. The decision of the jury precipitated mass protests from listeners who followed the competition via national radio broadcast and worldwide web cast. In response to this unprecedented outpouring of support, the ABC, principal sponsor of the competition, marketed a debut recording of Wright's performances at the competition. This CD, "Piano Masterpieces" was later named "CD of the Year" by renowned Australian music critic Neville Cohn. His recording of Between Five Bells from this CD earned composer Peter Sculthorpe the Australian Performing Rights Association's (APRA) Award for the Most Performed Contemporary Classical Composition of 2001. Wright was one of 30 competitors selected for the 2001 Van Cliburn International Piano Competition, where he was an audience favorite. He was a finalist at the 3rd Esther Honens International Piano Competition in Canada and Gold Medal winner of the 2003 San Antonio International Piano Competition where he also won awards for Best Performance of the Commissioned Piece and Best Performance of a Romantic Work. Roger distinguishes himself not only by his demeanor and great talent, but he also thrives on meeting and interacting with the orchestra members, youth performers and fans. Unlike many concert performers, Roger also seeks out opportunities to play before young musicians and children to share his passion for music. His genuinely charming and affable personality make him both a critical and popular guest artist in any setting and worthy of the appellation, "a phenomenal pianist", offered by the St. Petersburg Times. Interestingly, Roger (sometimes known as "Trey") was the winner of the 2004 National Scrabble Championship in New Orleans. He has appeared on ABC's The Jimmy Kimmel Show, NBC's Identity and The Today Show, CBS Good Morning America as well as ESPN, CNN, and GSN's Lingo. Roger currently resides in Los Angeles where he enjoys performing, teaching, collaborating, and writing his own compositions.- Shop: odax
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Rainlight-Evocations Of Water
Kompositionen zum Thema Wasser/Regen v.Liszt,Debussy,v.Beethoven,Chopin und Alicia Grant(geb.1978)- Shop: odax
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Symphonie Es-Dur/Evocations/+Trois poemes juifs
No description.- Shop: odax
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72 Angels-In Splendore Lucis
Raschèr Saxophone Quartet // 72 Angels is a large-scale work for mixed choir and saxophone quartet. It is structured as seventy-two prelude-evocations and an epilogue. Each prelude sets to music one of the seventy- two names derived from an esoteric interpretation of Exodus 14:19-21. Angelic beings, spiritual guides, higher energies or messengers are a common theme throughout many belief systems in human history.- Shop: odax
- Price: 19.46 EUR excl. shipping
