Monday, February 28, 2011
An amazing experience
Last Tuesday my wife had her second doctors appointment for the baby. It was the first one that I was in the exam room for. The doctor performed the ultrasound and for the first time I was able to see our baby. I was blown away. While we did not get to hear the heartbeat we did see the "flutter" of the heartbeat. We also had a good view of the umbilical cord and we were able to see it pulse with the heartbeat. Even now it is hard to wrap my head around the idea that I am going to be a father. I feel truly blessed.
Listening Journal: February 21-27, 2011
Anton Webern - Five Movements for String Quartet, op. 5 (1909)
Anton Webern - String Quartet, op. 28 (1938)
Toru Takemitsu - Distance (1972) for oboe and sho
Olivier Messiaen - Un Sourire (1989) for orchestra
Einojuhani Rautavaara - Cantus Arcticus, op. 61 (1972) for birds and orchestra
Olivier Messiaen - Visions de l'Amen (1943) - CD
for two pianos, John Ogden and Brenda Lucas, pianos
Click image to purchase CD from Amazon.com
Anton Webern - String Quartet, op. 28 (1938)
Toru Takemitsu - Distance (1972) for oboe and sho
Olivier Messiaen - Un Sourire (1989) for orchestra
Einojuhani Rautavaara - Cantus Arcticus, op. 61 (1972) for birds and orchestra
Olivier Messiaen - Visions de l'Amen (1943) - CD
for two pianos, John Ogden and Brenda Lucas, pianos
Click image to purchase CD from Amazon.com
Saturday, February 26, 2011
New Release: Einojuhani Rautavaara - Kaivos
On Tuesday, February 22, 2011 Ondine Records released the premiere recording of Einojuhani Rautavaara's first opera Kaivos. The Finnish-born Rautavaara composed this opera between 1957 and 1962. This recording was produced in conjunction with the first live performance of the opera in September 2010. The thematic allusions to the Hungarian uprising in 1956 had impeded the original stage production. In 1963 a made for television production of Kaivos was aired making it the first Finnish Television opera.
The opera is in three acts and tells the story of an uprising of European miners in the 1950s. Rautavaara considers this opera to be "perhaps the best opera I have ever written. A real thriller whose underlying theme - that a human being defines himself through his choices - is nevertheless universal."
The cast on this recording features Hannu Niemelä as Simon, Johanna Rusanen-Kartano as Ira and Jorma Hynninen as the Comissar. Hannu Lintu conducts the Tampere Philharmonic Orchestra and the specially assembled Kaivos Chorus.
This recording is New Music Forum's Pick of the Month for February 2011.
Click on image to order CD from Amazon.com
To order mp3 from Amazon.com click here: Rautavaara: Kaivos
The opera is in three acts and tells the story of an uprising of European miners in the 1950s. Rautavaara considers this opera to be "perhaps the best opera I have ever written. A real thriller whose underlying theme - that a human being defines himself through his choices - is nevertheless universal."
The cast on this recording features Hannu Niemelä as Simon, Johanna Rusanen-Kartano as Ira and Jorma Hynninen as the Comissar. Hannu Lintu conducts the Tampere Philharmonic Orchestra and the specially assembled Kaivos Chorus.
This recording is New Music Forum's Pick of the Month for February 2011.
Click on image to order CD from Amazon.com
To order mp3 from Amazon.com click here: Rautavaara: Kaivos
Exciting News
I wanted to let everyone know that my wife, Melissa, is pregnant! We are both very excited about the baby. Her estimated due date is mid-September. I am really happy and am looking forward to this new stage in my life.
Thursday, February 24, 2011
Program Notes: Incursion
Incursion
for bass trombone
Composed: May 22-27, 2002
Premiere: June 21, 2002 - 8th Annual NOW Music Festival, Goat Hall, San Francisco
Incursion – (in•cûr’zhun; -shun) n 1 : a sudden hostile invasion : RAID 2 : an entering in or into (as an activity)
Incursion was composed in the summer of 2002 for bass trombonist, Richard Lee and was premiered at the 2002 NOW Music Festival in San Francisco. Since its premiere, Incursion has under gone a few revisions. The intent of the piece is to introduce various melodic lines and fragments that speak out of turn or interrupt each other. Compositional and technical aspects of this piece were developed during the time when I composed two large-scale pieces for the bass trombone: Concerto for Bass Trombone and Orchestra (2001), composed for Jeff Kurka, was read by the Cleveland Chamber Symphony in spring 2001 and Obscured Ruminations (2002), also for bass trombone and chamber orchestra. Obscured Ruminations has yet to be performed.
for bass trombone
Composed: May 22-27, 2002
Premiere: June 21, 2002 - 8th Annual NOW Music Festival, Goat Hall, San Francisco
Incursion – (in•cûr’zhun; -shun) n 1 : a sudden hostile invasion : RAID 2 : an entering in or into (as an activity)
Incursion was composed in the summer of 2002 for bass trombonist, Richard Lee and was premiered at the 2002 NOW Music Festival in San Francisco. Since its premiere, Incursion has under gone a few revisions. The intent of the piece is to introduce various melodic lines and fragments that speak out of turn or interrupt each other. Compositional and technical aspects of this piece were developed during the time when I composed two large-scale pieces for the bass trombone: Concerto for Bass Trombone and Orchestra (2001), composed for Jeff Kurka, was read by the Cleveland Chamber Symphony in spring 2001 and Obscured Ruminations (2002), also for bass trombone and chamber orchestra. Obscured Ruminations has yet to be performed.
Wednesday, February 23, 2011
Influential Pieces: Kaija Saariaho - Cendres - Part 4
After listening to Cendres I knew that this was the type of piece that I wanted to compose. When I was finished with the piano piece I was composing, I began to think about this Cendres-influenced piece. I checked out a copy of the score from the university library and began to study this piece.
The primary focus of Cendres is timbral. This means that texture and tone color are as important as harmony and themes. After figuring out some of the primary techniques Saariaho employs to create her sound world, I began to think about how I could use these techniques in my music and make it my own. Breath tones in the flute and vertical motion of the cello bow (up and down the strings rather than just across them) were two of the techniques that really stood out to me.
The piece I composed that was inspired by Cendres was Off you go... for flute, cello and percussion. I used a similar instrumentation to that of Cendres which was alto flute, cello and piano. I opted to use percussion rather than piano because of the large palette of sound available with percussion instruments. The three primary percussion instruments I chose to use were vibraphone, suspended cymbal and brake drums. The vibraphone was a logical choice as there are a few different ways to play the instrument. These ways include with mallets, with a bass bow on the edge of the tone bars or with the hands. Also this instrument can sustain pitches like a piano.
Inspired by Saariaho's exploration of the instruments she used I looked at some extended techniques for some of the percussion instruments. I found that using a bass bow on the edge of the tone bars on the vibraphone creates a thin, sustained sound which complements the flute and cello tones.
The gradual unfolding of the harmonic language is another aspect of Cendres that I wanted to explore in my piece. This was accomplished by using the extended techniques. By changing the way in which the tone is played the sound will be different while the pitch stays the same.
Listening to and studying this piece has given me tools that I have used in my piece Off you go... and still use today. This is one of the pieces that has really helped me to develop my compositional voice and one that I think deserves the label: Modern Masterwork.
The primary focus of Cendres is timbral. This means that texture and tone color are as important as harmony and themes. After figuring out some of the primary techniques Saariaho employs to create her sound world, I began to think about how I could use these techniques in my music and make it my own. Breath tones in the flute and vertical motion of the cello bow (up and down the strings rather than just across them) were two of the techniques that really stood out to me.
The piece I composed that was inspired by Cendres was Off you go... for flute, cello and percussion. I used a similar instrumentation to that of Cendres which was alto flute, cello and piano. I opted to use percussion rather than piano because of the large palette of sound available with percussion instruments. The three primary percussion instruments I chose to use were vibraphone, suspended cymbal and brake drums. The vibraphone was a logical choice as there are a few different ways to play the instrument. These ways include with mallets, with a bass bow on the edge of the tone bars or with the hands. Also this instrument can sustain pitches like a piano.
Inspired by Saariaho's exploration of the instruments she used I looked at some extended techniques for some of the percussion instruments. I found that using a bass bow on the edge of the tone bars on the vibraphone creates a thin, sustained sound which complements the flute and cello tones.
The gradual unfolding of the harmonic language is another aspect of Cendres that I wanted to explore in my piece. This was accomplished by using the extended techniques. By changing the way in which the tone is played the sound will be different while the pitch stays the same.
Listening to and studying this piece has given me tools that I have used in my piece Off you go... and still use today. This is one of the pieces that has really helped me to develop my compositional voice and one that I think deserves the label: Modern Masterwork.
Tuesday, February 22, 2011
Fantasia 2000 on Blu-ray
by Brian Bice
February 22, 2011
Rating: 10/10
Fantasia was conceived as an ongoing series combining music and animation. Each new presentation of Fantasia would combine old favorites with new productions. Unfortunately during World War II Disney Studios suffered many financial troubles and the project was subsequently canceled. That is until 1999 when Disney revived Fantasia with Fantasia 2000. Keeping true to the original concept this movie brought together seven new stories with Fantasia’s signature piece The Sorcerer’s Apprentice.
Disney seemingly pulled out all of the stops with Fantasia 2000. They hired James Levine and the Chicago Symphony Orchestra to play the masterworks. Disney brought together some of the best animators and storytellers to bring the music to life. They hired celebrities to introduce each segment. The selection of music ranged from some of the most popular works such as the first movement of Beethoven’s Symphony No. 5 in C Minor, op. 67 to daring pieces like Igor Stravinsky’s Firebird Suite.
My favorite segment is the arrangement of Edward Elgar’s Pomp and Circumstance Marches Nos. 1-4. To me the concept of setting it to the story of Noah’s Ark is genius. The contrast between the lightness and heaviness of Elgar’s music is perfectly paired with the variety of animals getting on to the ark along with the underlying story of the separation and eventual reunion of Donald and Daisy Duck. The special arrangement combing the four marches is flawless.
It is a joy to see such a wonderful movie like Fantasia 2000 get the royal treatment on Blu-ray. Like Fantasia on Blu-ray this movie is crisp and vivid. The color, picture and sound really shine. There is also a bonus short included on the Blu-ray version of Fantasia 2000. The Walt Disney and Salvador Dali collaboration Destino. This short is a fascinating story set to the song Destino by Armando Dominguez. The art of Dali in this piece is nothing short of captivating.
Walt Disney had once described the art of animation as a voyage of discovery into the realms of color, sound and motion. With Fantasia and Fantasia 2000 Disney has encapsulated that description.
Click to purchase the Blu-ray from Amazon.com
February 22, 2011
Rating: 10/10
Fantasia was conceived as an ongoing series combining music and animation. Each new presentation of Fantasia would combine old favorites with new productions. Unfortunately during World War II Disney Studios suffered many financial troubles and the project was subsequently canceled. That is until 1999 when Disney revived Fantasia with Fantasia 2000. Keeping true to the original concept this movie brought together seven new stories with Fantasia’s signature piece The Sorcerer’s Apprentice.
Disney seemingly pulled out all of the stops with Fantasia 2000. They hired James Levine and the Chicago Symphony Orchestra to play the masterworks. Disney brought together some of the best animators and storytellers to bring the music to life. They hired celebrities to introduce each segment. The selection of music ranged from some of the most popular works such as the first movement of Beethoven’s Symphony No. 5 in C Minor, op. 67 to daring pieces like Igor Stravinsky’s Firebird Suite.
My favorite segment is the arrangement of Edward Elgar’s Pomp and Circumstance Marches Nos. 1-4. To me the concept of setting it to the story of Noah’s Ark is genius. The contrast between the lightness and heaviness of Elgar’s music is perfectly paired with the variety of animals getting on to the ark along with the underlying story of the separation and eventual reunion of Donald and Daisy Duck. The special arrangement combing the four marches is flawless.
It is a joy to see such a wonderful movie like Fantasia 2000 get the royal treatment on Blu-ray. Like Fantasia on Blu-ray this movie is crisp and vivid. The color, picture and sound really shine. There is also a bonus short included on the Blu-ray version of Fantasia 2000. The Walt Disney and Salvador Dali collaboration Destino. This short is a fascinating story set to the song Destino by Armando Dominguez. The art of Dali in this piece is nothing short of captivating.
Walt Disney had once described the art of animation as a voyage of discovery into the realms of color, sound and motion. With Fantasia and Fantasia 2000 Disney has encapsulated that description.
Click to purchase the Blu-ray from Amazon.com
Another rearrangement
I have said it before, but this time I know it will be the last. I have changed to form of the piece yet again.
The other day I realized what was bothering me about Time in Memoriam: the opening. It is not that the opening I had composed was bad, rather it did not create enough or an impact. As it was the introduction consisted of long tones that slowly faded in. It was more textural rather than thematic. For a high school piece it was not the way I wanted to go.
I moved the clarinet solo and subsequent section to the beginning after a four measure chimes introduction. I did keep the textural section as it does what I want it to do. I realized that it was just not suitable for the beginning.
With this shift the music seems to flow better. The opening is stronger and that will help to make the piece stronger. Of course, this is what I have thought with all of the changes I have made up to now. Why is this time different? No matter what happens I am going to push on and concentrate on finishing Time in Memoriam.
The other day I realized what was bothering me about Time in Memoriam: the opening. It is not that the opening I had composed was bad, rather it did not create enough or an impact. As it was the introduction consisted of long tones that slowly faded in. It was more textural rather than thematic. For a high school piece it was not the way I wanted to go.
I moved the clarinet solo and subsequent section to the beginning after a four measure chimes introduction. I did keep the textural section as it does what I want it to do. I realized that it was just not suitable for the beginning.
With this shift the music seems to flow better. The opening is stronger and that will help to make the piece stronger. Of course, this is what I have thought with all of the changes I have made up to now. Why is this time different? No matter what happens I am going to push on and concentrate on finishing Time in Memoriam.
Time in Memoriam - sketch complete
I have been wanting to say this for quite some time. The sketch for Time in Memoriam has been completed. I had to rearrange the score (yet again) to make this happen, but those detail are for another post. I really like the way the piece is now. So the form is set and the themes and melodies are in line. All that is left to do is fill out all of the voice and add expressions and dynamics to the score. Maybe I can finish this piece within the next month.
Monday, February 21, 2011
Listening Journal: February 14-20, 2011
Olivier Messiaen - Oiseaux Exotiques (1956) for piano and orchestra
Leonard Bernstein - Serenade after Plato (1954) for violin and orchestra, Hilary Hahn, violin, Baltimore Symphony Orchestra, David Zinman, conductor
Igor Stravinsky - Song of the Nightingale (1917) for orchestra
![Rimsky-Korsakov: Scheherazade; Stravinsky: Song of the Nightingale [Hybrid SACD]](http://ws.amazon.com/widgets/q?MarketPlace=US&ServiceVersion=20070822&ID=AsinImage&WS=1&Format=_SL160_&ASIN=B0006PV5VC&tag=newmusfor-20)
Click image to order CD from Amazon.com
Click to order mp3 album from Amazon.com: Rimsky-Korsakov: Scheherazade / Stravinsky: Song of the Nightingale
Leonard Bernstein - Serenade after Plato (1954) for violin and orchestra, Hilary Hahn, violin, Baltimore Symphony Orchestra, David Zinman, conductor
Igor Stravinsky - Song of the Nightingale (1917) for orchestra
Click image to order CD from Amazon.com
Click to order mp3 album from Amazon.com: Rimsky-Korsakov: Scheherazade / Stravinsky: Song of the Nightingale
Thursday, February 17, 2011
Addendum to Listening Journal: February 7-13, 2011
I realized this afternoon that I had left some music off of the previous Listening Journal. The music I left off was from the movie Fantasia 2000. I believe I had the same problem when I watched Fantasia, I had forgotten to include that on the Listening Journal.
Fantasia 2000 - movie
Chicago Symphony Orchestra, James Levine, conductor
Ludwig van Beethoven - Symphony No. 5 in C Minor, op. 67 (1808): I. Allegro con brio
Ottorino Resphigi - Pines of Rome (1924)
George Gershwin - Rhapsody in Blue (1924)
Dmitri Shostakovich - Piano Concerto No. 2, op. 102 (1957): I. Allegro, Yemif Bronfman, piano
Camille Saint-Saëns - Carnival of the Animals (1886): Finale
Paul Dukas - The Sorcerer's Apprentice (1897)
The Philadelphia Orchestra, Leopold Stokowski, conductor
Edward Elgar - Pomp and Circumstance Marches 1-4 (1907)
Igor Stravinsky - The Firebiurd Suite (1919)
Armando Dominguez - Destino
Fantasia 2000 - movie
Chicago Symphony Orchestra, James Levine, conductor
Ludwig van Beethoven - Symphony No. 5 in C Minor, op. 67 (1808): I. Allegro con brio
Ottorino Resphigi - Pines of Rome (1924)
George Gershwin - Rhapsody in Blue (1924)
Dmitri Shostakovich - Piano Concerto No. 2, op. 102 (1957): I. Allegro, Yemif Bronfman, piano
Camille Saint-Saëns - Carnival of the Animals (1886): Finale
Paul Dukas - The Sorcerer's Apprentice (1897)
The Philadelphia Orchestra, Leopold Stokowski, conductor
Edward Elgar - Pomp and Circumstance Marches 1-4 (1907)
Igor Stravinsky - The Firebiurd Suite (1919)
Armando Dominguez - Destino
Wednesday, February 16, 2011
Listening Journal: February 7-13, 2011
Olivier Messiaen - Trois Petites Liturgies de la Présence Divine (1944) for piano, ondes martenot, women's chorus and orchestra
Ralph Vaughan Williams - The Lark Ascending (1921) for violin and orchestra, Hilary Hahn, violin, London Symphony Orchestra, Sir Colin Davis, conductor
Billy Joel - Reverie (Villa D'Este), op. 3 (2001) for piano
Kaija Saariaho - Amers (1992) for cello and chamber orchestra
Reynold Weidemaar - The Tinsel Chicken Coop/Wiener (1977) for tap
Silvestra Revueltas - Ocho X Radio (1976) for orchestra
Click image to purchase CD from Amazon.com
Click to purchase MP3 from Amazon.com: Elgar: Violin Concerto, op.61 / Vaughan Williams: The Lark Ascending
Ralph Vaughan Williams - The Lark Ascending (1921) for violin and orchestra, Hilary Hahn, violin, London Symphony Orchestra, Sir Colin Davis, conductor
Billy Joel - Reverie (Villa D'Este), op. 3 (2001) for piano
Kaija Saariaho - Amers (1992) for cello and chamber orchestra
Reynold Weidemaar - The Tinsel Chicken Coop/Wiener (1977) for tap
Silvestra Revueltas - Ocho X Radio (1976) for orchestra
Click image to purchase CD from Amazon.com
Click to purchase MP3 from Amazon.com: Elgar: Violin Concerto, op.61 / Vaughan Williams: The Lark Ascending
9th Annual Festival of Contemporary Music - dates announced
New Music Forum is excited to announce the dates for the 9th Annual Festival of Contemporary Music. The annual two concert summer event will take place on Saturday, July 30, 2011 at 8:00 p.m. and Saturday, August 13, 2011 at 8:00 p.m. Both concerts will take place at the San Francisco Community Music Center.
The call for scores will be published in the near future so please stay tuned. For more details please visit www.newmusicforum.com.
The call for scores will be published in the near future so please stay tuned. For more details please visit www.newmusicforum.com.
First bits of feedback
I was happy to see an email from Adam Noel waiting for me when I got home from work on Monday. He wanted to tell me that he had the band read through Night Sky and it was a success. Some of the comments he heard from the students included "epic" and "cool."
I can imagine that playing this piece would be a special event for many of the students because they know it was composed for them. There is a sense of pride that comes from such an event. There will likely be a different energy behind the performance because the student might be more excited to play this piece.
I am very excited to hear Night Sky. I know the students are going to put their all into the performance. I am also looking forward to working with the students. It is very encouraging to hear positive things after the first rehearsal. There was one minor mistake in the score, specifically in the tenor sax part. However, I will gladly take that minor mistake over a disastrous reading since it was a quick and easy fix.
Thank you Adam for making this possible!
I can imagine that playing this piece would be a special event for many of the students because they know it was composed for them. There is a sense of pride that comes from such an event. There will likely be a different energy behind the performance because the student might be more excited to play this piece.
I am very excited to hear Night Sky. I know the students are going to put their all into the performance. I am also looking forward to working with the students. It is very encouraging to hear positive things after the first rehearsal. There was one minor mistake in the score, specifically in the tenor sax part. However, I will gladly take that minor mistake over a disastrous reading since it was a quick and easy fix.
Thank you Adam for making this possible!
Tuesday, February 15, 2011
My new website launched: bicemusic.com
On Sunday, February 6, 2011 my new composition website launched: bicemusic.com. This website will feature information about my music, performances and related media. On this site there will be information pages about each piece I have composed. These pages will include program notes, performance history and composition dates. Each page will have the ability to stream audio performances of each piece (if available). In addition I plan to upload pdf versions of each score for browsing and downloading (some scores my be excluded from this). Currently there are pages for seven of my pieces.
My hope is that this website will increase my online presence. It will also help to create an identity for myself as a composer that is separate from New Music Forum. I may even try to find a way to incorporate this blog into the website.
I invite you to check out bicemusic.com and find out more about my music. Feel free to leave comments or drop me a line while you are there.
My hope is that this website will increase my online presence. It will also help to create an identity for myself as a composer that is separate from New Music Forum. I may even try to find a way to incorporate this blog into the website.
I invite you to check out bicemusic.com and find out more about my music. Feel free to leave comments or drop me a line while you are there.
Sunday, February 13, 2011
A forgotten feeling
Tonight I sat down to write in my blog and listen to a little music. I decided to listen to a piece from the sixth volume of the American Society of Composers (now Society of Composers, Inc.) record series: The Tinsel Chicken Coop / Wiener for magnetic tape by Reynold Weidenaar. It has been a long time since I have has such a strong urge to hit the stop button. This piece is horrible. It sounded to me like it was a bunch of sounds haphazardly spliced together. Now, I realized that this piece was composed in 1977 and the genre and technology had its limits, but this piece makes no sense and not in a good way. It took some restraint, but I was able to make it through the piece. At least I was able to accomplish that.
Night Sky score and parts delivered
Yesterday, I delivered the score and parts for Night Sky to Adam Noel. This is an exciting time. It is a point where the piece and the project is definitely real. I am looking forward to working with Adam and the Joaquin Moraga Middle School Concert Band on this piece. This will be a new and exciting experience for me. I cannot wait for the performance at the end of the school year.
Saturday, February 12, 2011
Sense of Accomplishment
Over the years I have found that there are a few times in the course of composing a piece where I feel a sense of accomplishment. The first time is the completion of the sketch score. It is at this point where the piece has a definite shape. The piece is outlined and it is a matter of filling out the voices. The next accomplishment time is the completion of the score. This is to me the second biggest accomplishment. All of the voices are complete and the editing is done.
Next comes the printing of the score and parts. This is when the piece is the most tangible. You can actually hold the final copy of the piece in your hands. It is done. Next is the delivering of the score and parts to the ensemble. It is at this point where your work as the composer is pretty much done. It is now up to the ensemble for the performance.
The final and most important point of accomplishment is the performance. This is where you and the ensemble share the piece with the world, or at least those in attendance. All of the hard work has paid off.
Next comes the printing of the score and parts. This is when the piece is the most tangible. You can actually hold the final copy of the piece in your hands. It is done. Next is the delivering of the score and parts to the ensemble. It is at this point where your work as the composer is pretty much done. It is now up to the ensemble for the performance.
The final and most important point of accomplishment is the performance. This is where you and the ensemble share the piece with the world, or at least those in attendance. All of the hard work has paid off.
Tuesday, February 8, 2011
Listening Journal: January 31-February 6, 2011
Milton Babbitt - Reflections (1975) for piano and synthesized tape
Milton Babbitt - Sextets (1966) for violin and piano
Witold Lutoslawski - Orchestra Works, volume 4 - CD
Livre pour orchestre (1968)
Concerto for Cello and Orchestra (1970)
Novelette (1979)
Chain No. 3 (1986)
Paul Hindemith - Symphony "Mathis der Maler" (1934)
John Barry - The Beyondness of Things - CD
music for chamber orchestra (1998)
The Beyondness of Things
Kissably Close
The Heartlands
Give Me a Smile
A Childhood Memory
Nocturnal New York
Meadow of Delight and Sadness
Gifts of Nature
The Fictionist
Dawn Chorus
The Day the Earth Fell Silent
Dance With Reality
Wolfgang Amadeus Mozart - Sonata in F major K. 376 (1781) for violin and piano, Hilary Hahn, violin and Natalie Zhu, piano
Iannis Xenakis - London Concert, March 7, 2009 - CD
Tracées (1987) for orchestra
Anastenaria (1953) for mixed chorus, mens chorus and orchestra
Sea-Nymphs (1994) for mixed chorus
Mists (1980) for piano
Nuits (1968) for mixed chorus
Troorkh (1991) for trombone and orchestra
Antikhthon (1971) for orchestra
Spectralist Concert, January 7, 2010, Amsterdam - CD
Tristan Murail - Liber Fulguralis (2008) for ensemble, electronic and video
Hugues Dufourt - La tempesta d'apres Giorgrone (1977) for chamber ensemble
Gérard Grisey - La temps et l'ecume (1989) for 4 percussionist, 2 synthesizers and chamber orchestra
Sofia Gubaidulina - Glorious Percussion (2009) for percussion ensemble and orchestra
Click image to purchase CD from Amazon.com
Click here to purchase mp3 album from Amazon.com: Lutoslawski: Cello Concerto / Livre Pour Orchestre / Novelette / Chain III
Milton Babbitt - Sextets (1966) for violin and piano
Witold Lutoslawski - Orchestra Works, volume 4 - CD
Livre pour orchestre (1968)
Concerto for Cello and Orchestra (1970)
Novelette (1979)
Chain No. 3 (1986)
Paul Hindemith - Symphony "Mathis der Maler" (1934)
John Barry - The Beyondness of Things - CD
music for chamber orchestra (1998)
The Beyondness of Things
Kissably Close
The Heartlands
Give Me a Smile
A Childhood Memory
Nocturnal New York
Meadow of Delight and Sadness
Gifts of Nature
The Fictionist
Dawn Chorus
The Day the Earth Fell Silent
Dance With Reality
Wolfgang Amadeus Mozart - Sonata in F major K. 376 (1781) for violin and piano, Hilary Hahn, violin and Natalie Zhu, piano
Iannis Xenakis - London Concert, March 7, 2009 - CD
Tracées (1987) for orchestra
Anastenaria (1953) for mixed chorus, mens chorus and orchestra
Sea-Nymphs (1994) for mixed chorus
Mists (1980) for piano
Nuits (1968) for mixed chorus
Troorkh (1991) for trombone and orchestra
Antikhthon (1971) for orchestra
Spectralist Concert, January 7, 2010, Amsterdam - CD
Tristan Murail - Liber Fulguralis (2008) for ensemble, electronic and video
Hugues Dufourt - La tempesta d'apres Giorgrone (1977) for chamber ensemble
Gérard Grisey - La temps et l'ecume (1989) for 4 percussionist, 2 synthesizers and chamber orchestra
Sofia Gubaidulina - Glorious Percussion (2009) for percussion ensemble and orchestra
Click image to purchase CD from Amazon.com
Click here to purchase mp3 album from Amazon.com: Lutoslawski: Cello Concerto / Livre Pour Orchestre / Novelette / Chain III
Thursday, February 3, 2011
John Barry: Remembering an iconic film composer
Film composer John Barry died from a heart attack on Sunday, January 30, 2011. He was 77 years old. Born John Barry Prendergast on November 3, 1933 in York, England, he received piano lessons at a young age. He soon found a new passion in the trumpet. Barry lived most of his adult life in Oyster Bay, Long, Island, New York.
Barry is best known for arranging the James Bond theme composed by Monty Norman. Barry went on to score eleven James Bond films. Barry perfected the "Bond Sound," a mixture of brass, jazz and sensuous melodies, with the score for Goldfinger the third film of the series. His last Bond score was The Living Daylights from 1987, Timothy Dalton's first turn at James Bond.
In his career Barry won five academy awards. Two for the movie Born Free in 1966 for Best Original Song "Born Free" and Best Original Score. He won Best Original Score for The Lion in Winter in 1968, Out of Africa in 1985 and Dances With Wolves in 1990. Barry's other awards include four Grammy awards and one BAFTA (British Academy of Film and Television Arts) Award.
Barry's music had a distinctive style concentrating on lush strings and extensive use of brass.
John Barry was more than a film composer. He also composed concert music. In 1998 Decca Records released The Beyondness of Things, a musical journey of non-film programmatic music.
In 2002 Barry was named an Honorary Freeman of the city of York. This honor, also referred to as "Freedom of the City," is similar to the "Key to the City" that is given in the United States.
John Barry is survived by his wife of 33 years as well as four children and five grandchildren.
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Barry is best known for arranging the James Bond theme composed by Monty Norman. Barry went on to score eleven James Bond films. Barry perfected the "Bond Sound," a mixture of brass, jazz and sensuous melodies, with the score for Goldfinger the third film of the series. His last Bond score was The Living Daylights from 1987, Timothy Dalton's first turn at James Bond.
In his career Barry won five academy awards. Two for the movie Born Free in 1966 for Best Original Song "Born Free" and Best Original Score. He won Best Original Score for The Lion in Winter in 1968, Out of Africa in 1985 and Dances With Wolves in 1990. Barry's other awards include four Grammy awards and one BAFTA (British Academy of Film and Television Arts) Award.
Barry's music had a distinctive style concentrating on lush strings and extensive use of brass.
John Barry was more than a film composer. He also composed concert music. In 1998 Decca Records released The Beyondness of Things, a musical journey of non-film programmatic music.
In 2002 Barry was named an Honorary Freeman of the city of York. This honor, also referred to as "Freedom of the City," is similar to the "Key to the City" that is given in the United States.
John Barry is survived by his wife of 33 years as well as four children and five grandchildren.
Click images to purchase recordings from Amazon.com
Tuesday, February 1, 2011
New Release: John Adams - Nixon in China
This is actually a new old release. Nonesuch Records has re-released the original cast recording of John Adams's Nixon in China. This recording features Sanford Sylvan as Chou En-Lai, James Maddalena as Richard Nixon, Thomas Hammons as Henry Kissenger and the Orchestra of St. Luke's conducted by Edo de Waart.
Originally released in 1987 the original cast recording of Nixon in China went on to win a Grammy Award in 1988 for Best Contemporary Composition. As it nears its 25th anniversary in 2012, this opera has been regaining attention due to the popularity of Adams's recent opera Doctor Atomic. This recording was to be re-released on January 25th, but was pushed back to a release date of February 1st. This recording is New Music Forum's Pick of the Month for January 2011.
Click cover to order CD from Amazon.com
Click here to order mp3 recording from Amazon.com: Nixon In China [+digital booklet]
Originally released in 1987 the original cast recording of Nixon in China went on to win a Grammy Award in 1988 for Best Contemporary Composition. As it nears its 25th anniversary in 2012, this opera has been regaining attention due to the popularity of Adams's recent opera Doctor Atomic. This recording was to be re-released on January 25th, but was pushed back to a release date of February 1st. This recording is New Music Forum's Pick of the Month for January 2011.
Click cover to order CD from Amazon.com
Click here to order mp3 recording from Amazon.com: Nixon In China [+digital booklet]
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