Jacob Druckman Videos
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Jacob Druckman Jorge Mester Kogan Pierre Boulez Pier Francesco Cavalli Louisville Orchestra Albany Symphony Orchestra New York Philharmonic 1649 1974 1976
Lamia, for soprano & orchestra (1976) Jan de Gaetani, mezzo-soprano The Louisville Orchestra Jorge Mester The magic of music has seldom celebrated the music of magic with as much force, directness and power as in Jacob Druckman's remarkable work for soprano and orchestra, Lamia. Commissioned by the Albany Symphony Orchestra, Lamia was premiered on April 20, 1974, under the batons of Julius Hegyi and Robert Kogan. The work was enlarged in 1976 with an additional movement based on a Malaysian folk conjuration. The new version was premiered by Pierre Boulez and David Gilbert with the New York Philharmonic in 1976, and was hailed as "a work of considerable imaginative power, imagery, and craftsmanship." The incredible artistry of mezzo-soprano Jan de Gaetani, soloist at all the performances, figured largely in the composition of the work. Turning to the world of the occult, the Pulitzer Prize-winning composer gathered together seven widely diverse texts - a "lucky" number - in order to celebrate those magical metaphysical powers to which people have always turned - whether an innocent provincial maiden longing for a husband, a frightened traveler warding off thieves or even death, or those darker figures like Medea whose terrifying links to the supernatural have always played havoc with the world's idea of the natural. Lamia, a mythical witch and sorceress, has long been associated with the occult. Her name as the title of the present work is not meant to personify the soloist, but to evoke the mystical atmosphere which impelled the work's creation. The piece begins with a "Folk Conjuration to make one courageous" from Lorraine, chanted by the soloist midst a subdued menacing accompaniment. The second movement opens with a quotation from Ovid in which the soloist virtually becomes the tormented Medea. Suddenly, she is no longer Medea but an innocent French maiden beseeching the moon for a glimpse of her future husband. Those sudden character shifts are central to Druckman's conception. The soloist - the sorceress - becomes another being in an instant because all existence is potentially within her life force. This feature of the work is also reflected in the unexpected - and quite wonderful - stops and starts in the orchestra. The third movement is a conjuration from Malaysia "against death or other absence of the soul." Then, in a quotation from Druckman's earlier Animus 2, the soprano begins the final movement by becoming an instrument, and pitting one conductor against the other with teasing magical sounds, bewitchingly transcending text. The figure of Medea is then evoked once more with a powerful quotation - words and music - from a 1649 opera by Pier Francesco Cavalli entitled Il Giasone, initially played by the smaller of the two orchestras. Suddenly, the soloist turns to the conductor of the large orchestra and becomes Isolde, exclaiming of herself, "Entartet Geschlecht!" ("Degenerate offspring!"), then concludes the Cavalli quotation. Finally, the larger orchestra swells as Druckman's own music accompanies Isolde's powerful incantation from the beginning of Wagner's opera. The work ends with an eerie text, a conglomeration of words worn in the 16th century on one's person as a "periapt" or charm against thieves. To achieve his own musical sorcery, Druckman divides the orchestra into two unequal parts, each with its own conductor. The resulting sonorities are tantalizing, spooky, poignant and evocative. But more than that, the orchestral division allows the soloist to interact with them in a unique and beguiling way, cajoling them, mocking them, infusing conflict. The orchestra's percussion section is extremely rich, including many of the newer instruments that have become part of contemporary symphonic sound. A spring coil with sizzles is used with particularly haunting results. [First Edition Records – LS 764] Art by Hanna Ilczyszyn
Jacob Raphael Druckman Marc Antoine Charpentier Bernard Wagenaar Wagenaar Aaron Copland Bard David Zinman Wolfgang Sawallisch Zubin Mehta Leonard Slatkin Dawn Upshaw Jan Degaetani Tanglewood New York Philharmonic Dorian Wind Quintet 1928 1949 1950 1954 1964 1972 1982 1985 1990 1996 1997
Brass Ring "New American Classics" 1996 (http•••) Commissioned by the Brass Ring with the support of the Connecticut Commission on the Arts. First performed by the Brass Ring at Toad's Place, New Haven, Connecticut on 16 April, 1990. The work embraces fragments from the aria Quel prix de mon amou? from Act III, scene 3 of the opera Medee (1964) by Marc Antoine Charpentier. Jacob Raphael Druckman (June 26, 1928 – May 24, 1996) was an American composer born in Philadelphia. A graduate of the Juilliard School, Druckman studied with Vincent Persichetti, Peter Mennin, and Bernard Wagenaar. In 1949 and 1950 he studied with Aaron Copland at Tanglewood and later continued his studies at the École Normale de Musique in Paris (1954–55). He worked extensively with electronic music, in addition to a number of works for orchestra or for small ensembles. In 1972 he won the Pulitzer Prize for his first large orchestral work, Windows. He was composer-in-residence of the New York Philharmonic from 1982 until 1985. Druckman taught at Juilliard, The Aspen Music Festival, Tanglewood, Brooklyn College, Bard College, and Yale University, among other appointments. He is Connecticut's State Composer Laureate. Druckman died of lung cancer at age 67. His music is published by Boosey & Hawkes. He is the father of percussionist Daniel Druckman. Notable musicians who have recorded his works include David Zinman, Wolfgang Sawallisch, Zubin Mehta, Leonard Slatkin, Dawn Upshaw, Jan DeGaetani, Dorian Wind Quintet, and the American Brass Quintet. Source: (http•••) The purpose of this video is strictly educational and to promote chamber brass music abroad. Please support composers and performers.
Jacob Druckman Rosenbaum Claude Debussy 1905 1986
Vic Firth artist Ian Rosenbaum performs Jacob Druckman's "Reflections on the Nature of Water" (1986) for solo marimba. Presented here are movements 1 (Crystalline), 2 (Fleet) and 3 (Tranquil). Movements 4-6 are presented in a separate video. For more information, please visit (http•••) Druckman used Reflections on the Nature of Water as an homage to Claude Debussy, whose Preludes had inspired the young composer. It was Monet's painting "Reflections on Water" that inspired Debussy's "Reflections In the Water," from Images, Book One (1905). Druckman likewise paints the musical text for the listener by titling each of the work's six pieces. "Crystalline," with its thematic material, paints a picture of a change in the water's consistency. "Fleet," with a quick pace, ebbs and flows. Sharp interruptions punctuate and disrupt the flow of the piece with a calculated persistence. The third piece, "Tranquil," exists as a pulsating, almost hypnotic and meditative entity of its own.
Jacob Druckman Zubin Mehta Marc Antoine Charpentier Francesco Cavalli Luigi Cherubini New York Philharmonic 1900 1928 1980 1996
Jacob Druckman +••.••(...)): Prism, per grande orchestra (1980) / New York Philharmonic diretta da Zubin Mehta / I. After Marc-Antoine Charpentier II. After Francesco Cavalli [4:41] III. After Luigi Cherubini [14:17] / The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
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- Zeitleiste: Komponisten (Nordamerika). Interpreten (Nordamerika).
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