1 Results for : cellobration

  • Thumbnail
    Carolina Cellobration
    PROGRAM NOTES (by the composers) Buffing the Gut (1995) Buffing the Gut was commissioned in 1995 by Buffi Jacobs, then an undergraduate student at the University of South Carolina studying cello with Robert Jesselson. I was a doctoral Teaching Assistant, studying with Dick Goodwin, and Buffi was in my Sight Singing class. One day she asked if I'd write a piece for her senior recital. A relative would get that for her as a graduation gift, and so we sat down together to explore ideas. I recall asking, "what do you like to do on cello when you are just messing around and having fun?" Her eyes widened she played some "rock guitar licks" that I then embellished and used in the piece. We had a fun time collaborating on the first draft, which Dick helped me refine and Robert expertly edited. It is no surprise that in addition to her professional "classical" career, Buffi has been a long-time member of the acclaimed rock group, The Polyphonic Spree. My title was inspired by Buffi's name and the image of a cellist bowing so ferociously that the strings on the cello smolder and appear buffed. I ask you to imagine a cellist alone in an empty concert hall after a concert, playing for the sheer joy of playing. Ben Boone Two Movement Sonata (2011) The first movement of the Sonata, Rondeau, begins as a five part rondo i.e. A, B, A, C, A. That pattern is then repeated in ever shorter statements. The reduction in the length of each part is roughly equivalent to the proportions of the Fibonacci Series. This process continues to a point about four minutes and a few seconds into the piece. Then it goes in reverse to expand each part to the end. The second movement, Scherzo Canonico, recalls lines and textures from the first movement in a scherzo, trio, scherzo form. The scherzos are round canons at the unison and the trio, a cancrizans canon. The Sonata seeks to tell no story nor to reveal any deep spiritual truth. It is a piece of abstract music. It is what it is. Here end the program notes for a piece which has no program. Samuel O. Douglas Lilies (2011) Lilies, as a flower, are thought to symbolize purity and a return to innocence. In that spirit, "Lilies" is a reflective and gentle vocalise for cello and piano. The work is in three, expansive sections. The opening features a long, lyrical cello line over a slowly rocking bass in the piano. This gives way to a more restless, searching middle section, which in turn leads back to an altered version of the original melodic material, and a quiet, if somewhat mysterious, resolution. 'Lilies' was commissioned by the Jesselson/Fugo Duo in 2011, and is dedicated in memory of John McElyea. John Fitz Rogers Frieze (2011) The German novelist and poet Johann Wolfgang von Goethe (1749-1832) once said that architecture is "frozen music." In architecture, a frieze refers to a horizontal band of decorative images found along the top of a wall that are typically a set of variations on a single theme. Written for cellist Bob Jesselson and pianist Charles Fugo on the thirtieth anniversary of the Jesselson/Fugo Duo, Frieze (2011) explores musical analogues of mathematical frieze groups, symmetric line patterns on a two-dimensional surface that infinitely repeat in a single direction. These types of patterns are mapped onto the pitch and time domains to create the musical ideas that form the basis of the work. The titles of the seven movements are double entendres, terms with very precise meanings in mathematical music theory that have very different meanings outside of music. For example the second movement, titled "Mosaic," refers to a design made from small pieces of colored tile or stone in art, whereas in twelve-tone music it refers to a way to partition the aggregate into subsets. Dr. Reginald Bain In Memoriam (September 11, 2001) I wrote these sketches while watching the horror of the attacks of September 11, 2001: the collapse of the World Trade Center, the attack on the Pentagon, the plane-crash in Pennsylvania. I didn't have a piece in mind, or consciously set out to write one. But the sketches seemed to belong together, afterwards, and to fit the solo cello.* It was my way of holding each other in our loss. It reflects my sadness, our collective sadness-- the loss of loved ones, looking for survivors, not finding. Hoping it isn't true, disbelief...it is true. The slow motion collapse of the towers--with that collapse, all of our losses, our national sense of invulnerability gone...humility, interdependence, prayer. Meira Warshauer *Originally for solo cello. Subsequent versions for violin solo (commissioned by Gregory Harrington), violin and cello duo, violin and bass clarinet duo, clarinet solo, clarinet and bass clarinet duo, clarinet and cello duo (arr. By Suzanne Mueller). Also available for solo cello with string ensemble (9 players: 3 2 2 1 1) or string orchestra, and for solo cello with cello ensemble (6 celli, arranged by Mirel Iancovici). Published by Kol Meira Publications (ASCAP), 3526 Boundbrook Lane, Columbia, SC 29206, USA. Yizkor (Remember) (2009) Mourning can be both private and public. When we visit a grave or observe the anniversary of a person's death, we generally do so in private. 'Yizkor' (which is Hebrew for 'Remember') is a prayer for the public observance for the community of bereaved. These two movements are the last two movements of a three movement work called 'Yizkor'. I had written a one movement piece for cello solo by that name in 2001 after the horrific events of 9/11. The cello was the solo voice that cries, the solo voice that is heard no more. In 2009 I felt that the piece needed more, so I added the two movements included in this album as further amplification of that feeling. These second and third movements of Yizkor are included on this CD to reflect the afterthought, or aftershock, that follows an emotional loss. The second movement depicts the frantic and frenetic feeling that follows such a shock. That is why I used a figure of two sixteenth notes at the beginning of every measure. The third movement has a descending legato melodic mirroring an ascending line in the first movement. This last movement is the afterthought, and the solemn feeling we have when remembering. With my background in composition combined with film scoring, I tend to see music more as an underscore, be it to a film, or to our lives. From my perspective as a songwriter I also feel strongly about the human voice and the power of song. Ayala Asherov-Kalus Dessau Dances (2011) There is a famous German dance hall outside of Austin, Texas - well, really outside of Pflugerville, TX to be more precise -- that dates back to 1876. For decades Dessau Hall hosted about every major traveling music act ... from polka bands to the dance orchestras of Glenn Miller, Woody Herman, Guy Lombardo, Tommy Dorsey, Artie Shaw and Stan Kenton, to country artists like Bob Wills and the Texas Playboys, Loretta Lynn, Hank Williams, Ernest Tubb, and Willie Nelson. Even Elvis Presley played there several times. Programs were often broadcast over KTBC which was owned by then-Senator Lyndon Johnson and his wife Lady Bird. I recall performing at Dessau Hall with different territory bands ... and remember that there was a big oak tree growing out of the dance floor and up through the roof. I thought that it would be fun to abstract rhythms from three popular dances that we were always asked to play at Dessau Hall -- a schottische, a waltz and a polka. The evenings also featured promenades -- little marches that would stop abruptly providing a kind of musical chairs to identify the next dance partner. So I decided that Dessau Dances needed a promenade theme to open the set and tie each of the movements together. Gordon (Dick) Goodwin Duet for Cello and Piano (2011) Program notes in the classical music tradition provide historical and background information on the piece, the composer, giving the audience tips for what to expect when listening to
    • Shop: odax
    • Price: 28.23 EUR excl. shipping

Similar searches: