Pousette-dart Band Flac Download
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Surianu's compositions include symphonic music, chamber music, music for ballet, theater and film, choral music as well as electronic music. His music has (apparently.) been broadcasted on the radio as well as (apparently.) played at concerts in Austria, Belgium, the Czech Republic, Cuba, France, Germany, Greece, Italy, Yugoslavia, Poland, United Kingdom, Romania, United States, Slovakia, and the Netherlands. (Somehow I can't imagine that Cuba or the States in particular have had any real exposure to his work). His musical style varies quite a bit although influences of neo-modernism and spectral music are often to be found. The Saxophone Concerto features the sopranino, which is higher than a soprano saxophone and the opening showcases it's qualities wonderfully; sudden frenetic squeals fill the air and remind one of Rumanian gypsy music or the cackling clarinet of a village klezmorim.
The concerto comprises three movements played without interruption (fast-slow-fast) and is symmetrically framed by a structure acting as both introduction and coda. The concerto stemmed from the idea of evoking the sound of a traditional instrument called the 'taragot', peculiar to a region situated in Eastern Europe, Banat, that extends from western Romania to eastern Yugoslavia. The instrument, part saxophone, part clarinet, is capable of articulating musical structures of very great virtuosity or delicate lyricism, states of play that the concerto seeks to translate by a stylized vision of sound material emerging from a world of modality while also evoking the traditional structures of this region with its rich cultural potential, yet without limiting itself to this. 'Esquisse pour un Clair-Obscur' is scored for soprano saxophone and an ensemble consisting of flute, clarinet, violin, cello and piano and projects a dialectic in sound of consonance and dissonance as defined by a process of harmonic transformation. Owing to varied forms of expansion or compression of the material and to the use of micro-intervals, the harmonic structure (transformable) enables the formation of areas of light and shade that interact in an almost continuous penumbra, hence the reference to 'Clair-Obscur' (chiaroscuro); the art of nuances on a dark background creates that effect of diffused light so magnificently achieved by the Flemish masters.
Here is another disc that was splendid accompaniment to my coffee and apartment chores today. I was listening to Vask's relatively brief (8 minutes) 'Cantabile for String Orchestra' recently and I had forgotten how lovely it is - it's now one of my favorite works by the Latvian composer. Needless to say the performances throughout this collection are simply stellar. 'Presence' is my favorite piece here although the solo cello work too is a great listen. 'Musique du Soir' depicts a solemn night indeed, one that feels a bit too familiar as of late.
Luminously scored for cello with string orchestra and lasting around 35 minutes, it bears the title of Presence – and here let me quote from Vasks’s own descriptive notes – ‘by which I mean that I am here. I am not distant. With every breath I am here in this world, with all my ideals and dreams of a better world.’ He also explains how the work ‘is dominated by a mood that suggests the soul ascending into the cosmos. I was then inspired to conjure up the idea of the soul returning to earth and starting a new life. And then I had the idea of giving musical expression to this new beginning in life in the form of a lullaby.’ I won’t spoil the surprise, but it’s an ear-pricking device he also employs in the rapt second part of Grāmata čellam (the final item on the disc).
The concerto is cast in three movements (adopting Vasks’s favoured slow-fast-slow scheme) and couched, for the most part, in a fearlessly diatonic idiom. Enviable concentration goes hand in hand with a strength, purity and serenity that held me from start to finish. Indeed, at its contemplative best, Presence has something of the timeless radiance, compassion and humanity of, say, Vaughan Williams or Finzi.
Needless to report, it receives blisteringly dedicated and stunningly coordinated advocacy by the same artists responsible for the October 2012 premiere. Greetings to all.
I was listening to this recording earlier today and as is often the case with my daily 'playlist', if I have the time that is - I figured I should post it. Hoffer is best known for his commercial, film, and tv works, including the theme music for the MacNeil/Lehrer report on PBS (Hoffer later composed the 'MacNeil/Lehrer Variations' for orchestra, based on his emmy-winning theme music. It has been recorded on Albany and features the same orchestra & conductor on this disc). This is well-crafted music and highly accessible at that; the three concerti here are more than worthy of repeated listens.
Amnesia Lyrics Pousette Dart Band
Concert works have been performed by the New York Philharmonic, the Spokane Symphony, the Greenwich (CT) Symphony Orchestra, the Concord Orchestra, The New England Philharmonic, the Amherst Saxophone Quartet, the Boston Musica Viva, and the Composers String Quartet. Divertimento for Octet (1988) was awarded second prize in the 1994 New Music Delaware Competition.
Concerto for Viola and Orchestra received its premiere at the International Viola Congress in Chicago on June 26, 1993. Capriccio 'Settembre Musica' (1994) for solo violin and Jazz ensemble, written for the Boston Musica Viva, was awarded a prize in the 1997 New Music Delaware. Recent works include Conerto di Camera (2006) for Bassoon, Horn, Cello, and Piano; Saint Lucia Morning, orchestra version (2006); Symphony: Pousette-Dart (2008) for Orchestra; Six, by George - a tribute to George Gershwin (arrangements of six Gershwin songs for orchestra). So here are two A.H.
Posts, both a couple of nuggets (needless to say, as they come from the mighty pen of Alan Hovhaness we are speaking of golden nuggets!) from OgreOgress's series of world-premiere recordings as digital downloads of Hovhaness works. While the pieces are all small-scale it's been an exciting project thus far. 'Mysterious Horse Before the Gate' (Opus 205, from 1963) is scored for trombone and various percussion instruments and although the journey is brief (2 minutes and 50 seconds!) it's a satisfying lil' trip into the celestial realms as only Hovhaness can depict with such wonder and mystery through sound. I usually keep this on repeat, at least 5 times. For me the nicest surprise on this collection was/is Cyril Scott's Harpsichord Concerto (how many of you knew that Scott composed a harpsichord concerto?? I sure didn't until I bought this disc!) which is a lovely and exciting addition to the repertoire, not to mention something of a curiosity - British composers are not exactly noted for writing concertos for harpsichord (off the top of my head I can only think of Walter Leigh's 'Concertino for Harpsichord and String Orchestra', John Rutter's 'Suite Antique' which technically isn't a concerto, and then I believe Gordon Jacob wrote something for harpsichord and strings, although I don't think it was a concerto. Frankly I'm too lazy to look it up right now!) The concerto opens with a touch of Moeran, Debussy, and even Martinu - to my ears anyhow.
The work is clearly Cyril Scott's alone, however there is a touch of dreamy, almost Debussian exoticism which remains in the flute and strings. Scott's Harpsichord Concerto was written in the same year as his Cello Concerto, and although the premiere performance was apparently well received, 70 years went by until a second performance was given. Really it's 1996 all over again. This is hugely discouraging. I will have to prepare windows of time in advance now just to post:( And I had a superb line up of posts to get this place going again. I'm stopping by my parent's house briefly, so I will import at least one of the discs again while I'm there and post it as their connection is of the 21st century.
Had I known what my upstream would be (I haven't uploaded anything since I got this cheap service) I would have started with a different, more mainstream album. One issue that I will share - and this is quite embarrassing for me - is my dreadful financial state which forced me to cancel my internet provider for a couple months.
Never imagined it would come to that! Alas, this is but a 'first-world problem' as they say - but then again having an i.s.p. Cara auto shutdown windows 8.
Or a connection of.some kind. is pretty basic, like owning a phone. So the 'bargain' tier service I'm using now is slowww - slow like a Purcell Fantazia in fact (zippyshare is currently taking 12 min to upload 100mb!). But, I am here all the same!
I first discovered Colleen's music in the debut film 'The Unloved' by Samantha Morton. I find the film to be as poetic and magical as it is sad and tragic (it's a child's eye view of the U.K.' S government-run care system for orphans and children in danger who are stuck in foster care. The music meshes with the atmosphere and images as if Schott's pieces were composed for the film (the film was made 4 years later, in 2009). This is a film that I am really fond of and definitely recommend. The soundtrack also includes works by Colleen taken from other albums - I just might upload some others even if just a couple of people are receptive to this music.
Hopefully everyone can find something to enjoy here! My mad obsession has always been collecting music. Learning.all. that there is to learn about composers, their lives, the particular environment under which they created their art, and so on. My burning passion is music. Sharing it, discussing it and constantly unearthing aural treasures in the wilderness, especially thanks to the hard work and dedication of a few amazing and like-minded fellow posters/bloggers. They are one of the main reasons why I am finally blogging-my gratitude is endless!
Comments are VERY much appreciated!