38 Results for : sonority

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    Out of the Whirlwind
    Max Stern: Four Festivals (1971)(10:36) for children's or womens choir acappella Simhat Torah (Simhat Torah Day) (1:25) Sukkot (What's our Sukkah For?) (2:51) Purim (Purim Day) (1:21) Passover (Chad Gadya) (4:56) A Cappella settings of traditional Jewish-European festival and holiday folksongs. Max Stern: Prayer for Israel for 4-part choir a cappella (1988)(6:52) text: Liturgy Prayer for Israel is the newest addition to the prayer book. Written shortly after the establishment of the State of Israel by Nobel Prize author S.J. Agnon on request from the Chief Rabbi Nissim and Prime Minister David Ben Gurion, it invokes protecting peace and Divine blessing upon the Holyland and it people. Max Stern: Magnificat Hebraica (1996) (12:57) for 8-part a cappella mixed choir Hallelujah (2:49) Amen (2:29) Kaddish (7:38) Magnificat Hebraica is based upon liturgical responses Hallelujah, Amen, and the traditional Hebrew-Aramaic Doxology, Kaddish. It's antiphonal choral textures derive from a synthesis of ancient psalmody and contemporary vocal sonority. The sacred texts voice universal Sanctification and Redemption. Out of the Whirlwind (1997) (37:00) Holocaust Cantata for baritone, soprano, chous and instruments (fl, cl, bn, trp, hn, vn, vc, cb, hp & perc) baritone solo prologue: Hear My Cry O God (Ps 28:1)(1:25) chorus: Out of the Depths (Ps 130:1, 44:27)(6:48) soprano solo: From Tomorrow On (children's song from Terezin concentration camp)(2:56) chorus: I Lift Up Mine Eyes (Ps 121:1-2)(6:33) soprano solo: Birdsong (children's song from Terezin concentration camp)(3:54) chorus: Wake Up O Lord (Ps 44:24-27, 58:12)(2:55) soprano solo: I Want to Go Away (children's song from Terezin concentration camp)(2:55) chorus: Song of the Partisans (Hirsch Glik)(8:30) Out of the Whirlwind is a collection memory and prayer based on Psalms and Holocaust Lliterature. Solo songs alternate with narration and choral textures deriving from synagogue idioms, giving expression to fears, hopes and dreams. Faith, doubt and despair alternate in a moving music statement. Performed by soloists Ioan Tibrea, bass-baritone, Sherry Zannoth, soprano, Carmen Gurban, soprano, Paul Hoffman, piano. About the Performers: Antifonia was founded by Constantine Ripa in 1969 and quickly established itself as one of the leading contemporary music choirs in Europe. They have won 12 prizes at international competitions and have performed at Wein Modern, Music d' Aujpurdhui, Strasbourg, and other festivals. Soprano Carmen Gurban is a star of the Romanian Opera, Cluj. Soprano soloist Sherry Zannoth has performed with the New York City Opera. Pianist Paul Hoffmann is a renowned modern music specialist and founder of the contemporary music ensemble Helix. Professor Hoffmann is chairman of the piano department at Rutgers University.
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    Maurice Ravel
    The idea of publishing, performing and recording piano transcriptions is not novel in that this has been an important historical practice by composers and publishers, made popular in performance by artists such as Liszt and Busoni. Reductions of operas, symphonies, and other large works for solo piano or one piano-four hands were customarily done so that a wider public would be exposed to music that otherwise might not have been heard or available in any other context. Concert halls and opera houses were not necessarily or readily accessible. Also, mass media sound reproduction did not yet exist in the 19th Century and it was some time before it was made available and affordable to the general public in the 20th Century. Ravel himself approved transcriptions of his orchestral and chamber works, done at the request of his publisher, Durand. These transcriptions were usually done by Lucien Garban, Jacques Charlot and Roger Branga (who might have been Garban, note the anagram of the name). The idea of performing and recording all three on a solo piano disc UisU novel in that these three works have not been performed or recorded together in that mode. "Ma Mere L'Oye" and "Daphnis and Chloé Suite No. 2," rarely performed and even more rarely recorded by solo pianists, are rich in pianistic challenges, virtuosity and absolutely ravishingly beauty, sometimes in the most simple of phrases. Together, these three ballets form both musical and historical juxtapositions of Ravel's life and compositions during the same time period in his life. "Ma Mere L'Oye" was originally a 5-movement suite for 4-hands written for Mimi and Jean Godebski, although they did not give the premiere performance as they were 6 and 7 years old at the time. "Between 1906 and 1908 we used to have long holidays at my parents' house in the country, La Grangette at Valvins. It was there that Ravel finished, or at least brought us, Ma Mère l'Oye. But neither my brother nor I was of an age to appreciate such a dedication and we regarded it rather as something entailing hard work. Ravel wanted us to give the first public performance but the idea filled me with a cold terror. My brother, being less timid and more gifted on the piano, coped quite well. But despite lessons from Ravel I used to freeze to such an extent that the idea had to be abandoned." (Mimie Godebska Blacque-Belair, 1938) The actual premiere was performed by Jeanne Leleu and Geneviève Durony. "He (Ravel) wanted the Petit Poucet to be very uniform in sonority. I used to wait impatiently for the cuckoo to enter! It was great fun to play the cuckoo! (Jeanne Leleu to Hélène Jourdan-Morhange in Ravel According to Ravel) Jacques Charlot transcribed this version to solo piano in 1910. It was commissioned as a ballet in 1911 and premiered as such fully orchestrated with the addition of a Prélude, an additional movement entitled, "Danse du rouet" and connecting music in 1912. It is not clear whether Ravel or Charlot wrote the additional movements for piano solo. "Ma Mere L'Oye," juvenile piano-duets, dates from 1908. The idea of conjuring up the poetry of childhood in these pieces has naturally led me to simplify my style and clarify my writing. I have made a ballet of the work which has been put on at the Théâtre des Arts." "Daphnis and Chloé" was commissioned by Sergei Diaghilev for the Ballets Russes in 1909, although it was 1912 before it would be performed for the first time. The principals involved in it's creation in addition to Diaghilev and Ravel were Michel Fokine, the choreographer, Léon Bakst, the designer, Pierre Monteux, the conductor, and Nijinsky and Karsavina, the dancers. Ravel completed his first version of the score for piano by 1910, however, the birth of this piece was fraught with difficulties, not the least of which was the continual fighting between Fokine and Nijinsky which almost caused Diaghilev to cancel the project. Ravel also had difficulty completing the final dance entitled "Danse générale", which took a full year in the end to finish. At first Ravel had composed it in 3/4 meter, but rethought it. Once he had delivered it, the dancers had difficulty with it's 5/4 meter. They solved this dilemma by using the syllables, "Ser-gei'Di-a-ghi-lev." After seeing it's premiere, Jean Cocteau stated, "Daphnis et Chloé is one of the creations which fell into our hearts like a comet coming from a planet, the laws of which will remain to us forever mysterious and forbidden. Stravinsky called it "not only Ravel's best work, but also one of the most beautiful products of all French music." Suites No. 1 and 2 for orchestra are derived from the full ballet and are often performed separately. Of the three, only "Valses nobles et sentimentales" was originally composed for solo piano and is regularly performed and recorded as such, although it was booed at it's premiere. It was inspired by Franz Schubert's earlier work in the same genre. As Ravel himself said, 'The title sufficiently indicates my intention to compose a succession of waltzes, after Schubert's example.' Louis Albert, to whom this suite was dedicated, gave the first performance of this work in 1911, it was subsequently orchestrated and received it's premiere as a ballet in 1912 under the name Adélaïde ou le langage des fleurs (Adelaide: The Language of Flowers). Allison Brewster Franzetti.
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    Vitruvian Man-Music of Dr. Mark Petering (Live)
    Music Box ("River Silver") evokes the vast beauty of the Milky Way galaxy and the tears formed by two mythic lovers separated at either side of it's heavenly banks, according to Vietnamese folklore as described by Gary Ferguson in The World's Great Nature Myths. Vitruvian Man -- Using A440 as my home pitch, I multiplied 440 by the ratios found in VITRUVIAN MAN, (i.e. 1/10th, 1/8th, 1/3rd etc.), translated the resulting frequency into the closest approximate note on the piano, and discovered a VITRUVIAN CHORD TM made up of D, F, A, C#, E, or a d minor 9th chord with a raised 7th. This chord provided a mysterious sonority that became the basis for the chord progression of the composition. For more information on the math I used, please visit our YouTube site (search "Mark Petering Vitruvian Man Explanation") Prelude to Kakadu Rain is inspired by a trip to Australia's Northern Territory where I became very taken with the vast floodplains and the wildlife that depend on nourishing rain after the dry season ends. String Quartet No. 1 with Optional Tape / Symphony No. 2 for Strings ('Travelogue') -- The outer movements suggest modes of transportation and the vastness of the United States. The middle movement evokes the lyrical quality of African-American spirituals of the deep south. Lyricism and repetition are binding elements of the three pieces. Three Pieces for Mixed Trio explores energy in various spaces both small (Thicket) and big (Coastline) and the newly conceived string theory of theoretical physics that binds it all together. Concerto for Clarinet and Strings / Clarinet Quintet ("Three Psalms") -- Psalm Prelude was originally conceived while I was teaching at the Milwaukee Jewish Day School. Learning Hebrew folk melodies in preparation for my duties as music teacher led my ear to embrace such soulful music. Quilters' Psalm evokes another folk tradition, the singing of African-American quilters from Gee's Bend, AL. (I was deeply moved by the quilt exhibit at the Milwaukee Art Museum). The last movement ...like rain on the fields... celebrates the renewal of spirit through nature's gift of nourishing rain and is inspired by Psalm 72. This final movement was commissioned by House of Hope Lutheran Church of New Hope, MN.
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    Aria
    The Bologna Cello Project came into existence in January 2009 among the historical walls of the Giovanni Battista Martini Conservatory in Bologna as a didactic course, developed on Maestro Antonio Mostacci's initiative and formed by cello students. The repertoire ranges from arrangements of famous pieces from XVI to XX century to compositions specifically dedicated to the cello ensemble. Many contemporary composers were fascinated by the group's warm sonority and they dedicated original compositions to the Bologna Cello Project. One of them is Diego Conti, violinist and composer from Pescara, who dedicated his seven variations on the theme of Heidi to the group, as well as three fantasies for a single cello and cello ensemble, the Bologna Cello Project debuted with these fantasies in a concert entirely dedicated to the support of Emergency, the project of surgeon Marcello Zavatta, who is working at a hospital in Goderich, Sierra Leone. Also, the composer Gian Paolo Luppi wrote a cello sextet with a vocal recitation. Honouring the intimate bond between the tone of the cello and the human voice, the repertoire also includes a number of pieces with a vocal soloist, the ensemble, therefore, establishes collaboration with some singers. In September 2009 the Bologna Cello Project welcomed the American violist Brett Deubner during his Italian tour and performed with him at some important shows in Emilia-Romagna.
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    8 Pieces
    Remarkable computer compositions in complex intonational systems combining rich compositional ideas with an elegant sense of sonority and formal imagination.
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    Falling Awake
    (from the liner notes) 'This project was first envisioned in 1976 - so long ago that it was to be made in vinyl. As a classically trained pianist working in experimental and electronic music I wanted to return to the piano and record what I was hearing harmonically. And, while influenced then (as now) by the tonally based minimalism of Steve Reich,Terry Riley, and others, I was more drawn to write music on the boundaries between tonality and atonality. Given that, I'm surprised by the sonority of these 16 pieces, which seems to be a far distant cousin of the terrain I was exploring back then. I have made these selections from recordings of over 100 sessions at the keyboard, sessions in which nothing was pre-planned. I had intended to include some multi-tracked piano compositions that I'd long been laboring over, but the cellist Ann Bourne happened to be visiting and suggested,"You've got two different albums here." This gave me permission to let go of 'composing' for this disc - and "play the moment."
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    Kegelstatt Trio/Fairy Tales/Solider's Tale/Contras
    Thomas Hill, clarinet Lynn Chang, violin Marcus Thompson, viola Randall Hodgkinson, piano (Mozart, Schumann) Mihae Lee, piano (Stravinsky, Bartók) Mozart's K. 498 trio in E-flat major was completed on August 5, 1786 and the sobriquet "Kegelstatt" comes to the piece because of the intriguing but not proven legend that Mozart conceived and completed the entire piece in his mind during a game of skittles, also known as "keggles." The work itself-an astounding instance of internal musical cohesion as well as the prowess of feminine delicacy-is in three movements: a stately, confident Andante, characterized by a persistent and elegant groupetto figure, a blissful, almost defiant little Menuetto, and finally a soaring, noble Rondo which sings from beginning to end and which as Alfred Einstein wrote "does not only satisfy the listener, but leaves him enchanted." The title of Schumann's Märchenerzählungen ("Fairy Tales") tells us that these lyrical miniatures are character pieces intended to suggest favorite stories of childhood. However, if Schumann had any particular tales or situations in mind, he never identified them, and we can enjoy the music without being burdened by such details. The characters who were most active in the mythical Davidsbünd, Schumann's early "invention" to fight the good fight against the philistines of German artistic life, were the heroic Florestan and the dreamy Eusebius. Their personalities are still evident in the music composed in the fall of 1853, particularly in the third movement (Eusebius) and the final movement, in which one can imagine Schumann and his heroic Florestan marching out one last time against the forces of philistinism. L'Histoire du Soldat ("The Soldier's Tale") is from a time when Stravinsky's artistic biological clock was turning his creative bent against his own penchant for Russian folk material. The original orchestration (violin, clarinet, bassoon, trumpet, trombone, double bass, percussion, and narrator) was specifically designed so that the work could be presented as an easily toured theatre piece. In Stravinsky's own paring down for the trio reduction, a large part of the "missing" instrumentation is relegated to the virtuosic piano part, although the clarinet inherits significant bits of trumpet, bassoon and trombone utterances while retaining responsibility for it's own role in the original version. The violin role remains the fiendish tour de force that it is in the original rendering, and the piano and clarinet parts are, at the very least, eminent undertakings. Bartók's Contrasts was commissioned by Benny Goodman and Joseph Szigeti. Far from trying to blend the three very different types of instruments into a single complex sonority, Bartók exploits the difference in sound production. The Verbunkos was a musical genre employed to encourage enlistments in the Hungarian army in the late eighteenth and early nineteenth centuries, featuring sharply dotted rhythms in a slow march tempo. The Verbunkos ends with a clarinet cadenza leading on to the languid slow movement, in which piano and clarinet begin by mirroring one another, while the piano contributes soft percussive tremolos inspired by Balinese gamelan music. The fast dance, Sebes, begins with a short passage on a scordatura violin (with the E-string tuned to E-flat and the G-string to G-sharp), following which the violin is directed to return to a second, normally tuned instrument. The outer sections of the dance are in a lively 2/4 meter, but the extended middle section uses what is often called "Bulgarian rhythm" which Bartók learned in his folk music studies. When the original 2/4 returns, the dance gets wilder and wilder before reaching it's brilliant conclusion. / Edited from CD liner notes by Thomas Hill (Mozart & Stravinsky) and Steven Ledbetter (Schumann & Bartók) About Boston Chamber Music Society: Founded in 1982 by a group of enthusiastic music colleagues, Boston Chamber Music Society, BCMS, is an ensemble of superb musicians who come together in different combinations to prepare and perform chamber music. Over the last twenty plus seasons, BCMS has built a reputation for impassioned performances, ripened over time by the long personal and professional histories of it's member musicians. While they are all celebrated soloists, their primary passion remains the rich and extensive chamber music repertoire. BCMS invites guest musicians, chosen for their particular affinity for, and mastery of, the works they will play, to join the members, expanding the artistic possibilities to virtually all works in the chamber music repertoire. BCMS presents the most extensive and longest-running concert series in Boston's musically fertile region and is distinguished for it's enduring performance standards. The ensemble playing demonstrates the perfect combination of control and freedom that comes from years of collaboration: individual musical personalities find expression without dominating. The effect is one of the miracles of music-sheer aesthetic beauty.
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    Suite Bergamasque/Arabesques I & II/+
    "Tirimo has a quite exceptional temperamental affinity with Debussy, with a fine ear for resonance and sonority, and exquisite subtlety of touch. He lavishes loving care on the most unassuming miniature... and he can bring the most familiar bonbon to life without resort to trickery - hear the languid elegance and velvety cantabile of Clair de lune, for example." (Gramophone)
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