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Eitan Steinberg Steinberg Boston Musica Viva 1995 2002
מידע בעברית אחרי האנגלית Eitan Steinberg's "Waltz" is part of Steinberg's larger work, "Blue With Tail," composed in 1995 for a video-art by Marit Benisrael. This recording is from Steinberg's chamber music album "Rava Deravin", performed by Boston Musica Viva and conductor Richard Pittman, 2002. (http•••) היצירה "וולס" מאת איתן שטיינברג היא חלק מיצירה גדולה יותר שלו - "כחול עם זנב" - שהלחין בשנת 1995 לעבודת וידאו מאת מרית בן-ישראל. הביצוע כאן הוא מתוך אלבום יצירותיו הקאמריות של שטיינברג, שהוקלט ע"י אנסמבל בוסטון מוסיקה ויוה והמנצח ריצ'רד פיטמן בשנת 2002
Eitan Steinberg Steinberg Boston Musica Viva 2000 2002
מידע בעברית אחרי האנגלית Eitan Steinberg's "Fragile" for 6 instruments (flute, clarinet, violin, cello, piano, percussion), composed in 2000 and heard here in a recording from Steinberg's chamber-music album "Rava Deravin", with Boston Musica Viva and conductor Richard Pittma, 2002. (http•••) יצירתו של איתן שטיינברג "שביר" ל-6 כלים (חליל, קלרניט, כינור, צ'לו, פסנתר, כלי הקשה) הולחנה בשנת 2000, ונשמעת כאן בביצוע אנסמבל בוסטון מוסיקה ויוה,בהקלטה מתוך אלבום יצירות קאמריות של שטיינברג, בביצועם, משנת 2002
Michael Daugherty Stravinsky Boston Musica Viva 1918 1993 1999
Michael Daugherty: Dead Elvis (1993) for bassoon and small chamber ensemble Contemporary Directions Ensemble Kevin Sedatole, conductor University of Michigan School of Music Theatre & Dance Date of performance: March 1999 Dead Elvis (1993) was commissioned by Boston Musica Viva and Chuck Ullery, principal bassoonist with the St. Paul Chamber Orchestra. It is more than a coincidence that it is scored for the same instrumentation as Stravinsky's Histoire du Soldat (1918) in which a soldier sells his violin and his soul to the devil for a magic book. In Dead Elvis, the bassoon is Elvis (or perhaps an Elvis impersonator). Does this rock star sell out his Southern folk authenticity to the sophisticated professionalism of Hollywood movies, Colonel Parker and Las Vegas in order to attain great wealth and fame? Dead Elvis goes far beyond this romantic Faustian scenario. For me, the two clashing Elvis images (the hip, beautiful, genius, thin, rock-and-roll Elvis versus the vulgar, cheesy, fat, stoned, Las Vegas Elvis) serve as a sturm und drang compositional algorithm. Further, my use of the dies irae (a medieval Latin chant for the Day of Judgement) as the principal musical theme of "Dead Elvis" signifies yet another aspect of the Elvis myth: some people believe Elvis is dead, while others believe he is alive and well in Kalamazoo. Perhaps the question is not whether Elvis is alive or dead, but why the phenomenon of Elvis endures beyond the grave of Graceland. Elvis, for better or worse, is part of American culture, history and mythology. If you want to understand America and all its riddles, sooner or later you will have to deal with (Dead) Elvis. For further information on Michael Daugherty's music, see his website: www.michaeldaugherty.net
Michael Daugherty Faber David Zinman Giancarlo Guerrero Guerrero Oldenburg Reutlingen Toscanini Charles Ives Baltimore Symphony Orchestra Nashville Symphony San Francisco Symphony Detroit Symphony Orchestra Louisville Orchestra Evansville Philharmonic Orchestra Orchestra Iowa Boston Musica Viva Winnipeg Symphony Orchestra Melbourne Symphony Orchestra Bbc Symphony Orchestra Bbc Scottish Symphony Orchestra Royal Scottish National Orchestra Norwegian Radio Orchestra Slovenian Philharmonic Orchestra Bochumer Symphoniker Swedish Radio Symphony Orchestra Lucerne Symphony Orchestra Rai National Symphony Orchestra National Symphony Orchestra Belgrade Philharmonic Orchestra Carnegie Hall 1988 1993 1994 2011 2013
MICHAEL DAUGHERTY METROPOLIS SYMPHONY +••.••(...)) for Orchestra I. Lex (00:46) II. Krypton (11:20) III. MXYZPTLK (18:06) IV. Oh, Lois! (25:19) V. Red Cape Tango (30:45) —————————— Publisher: Peermusic Classical (North and South America) (http•••) Sole agent: Faber Music (Europe and Asia) (http•••) Duration: 42 minutes Instrumentation: 3 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, 4 percussion, synthesizer, keyboard, strings —————————— Metropolis Symphony was first recorded in 1994 by the Baltimore Symphony Orchestra conducted by David Zinman for Decca. The second recording by the Nashville Symphony Orchestra conducted by Giancarlo Guerrero in 2011 for Naxos was awarded 3 GRAMMY awards. Since the premiere at Carnegie Hall in 1994, Metropolis Symphony has been played by orchestras all over the world including, among others: The New York Philharmonic, San Francisco Symphony, Detroit Symphony Orchestra, Baltimore Symphony Orchestra, Nashville Symphony, Memphis Symphony, Toledo Symphony, Omaha Symphony, Albany Symphony, Louisville Orchestra, Evansville Philharmonic Orchestra, Orchestra Iowa, Boston Musica Viva, Winnipeg Symphony Orchestra (Canada), Melbourne Symphony Orchestra (Australia), Auckland Philharmonia (Australia), BBC Symphony Orchestra (UK), BBC Scottish Symphony Orchestra, Royal Scottish National Orchestra, Northern Ballet Theatre (UK), Norwegian Radio Orchestra, Slovenian Philharmonic Orchestra, BIT20 Ensemble (Norway), Freiburg Philharmonic Orchestra (Germany), Bochumer Symphoniker (Germany), Oldenburg State Orchestra (Germany), Württembergische Philharmonie Reutlingen (Germany), Heidelberg Symphony Orchestra (Germany), MDR Leipzig Radio Symphony Orchestra (Germany), Swedish Radio Symphony Orchestra, The Europa Orchestra (Netherlands), Lucerne Symphony Orchestra (Switzerland), Orchestra Teatro Comunale (Italy), Orchestra Toscanini (Italy), RAI National Symphony Orchestra (Italy), Hradec Králové Philharmonic Orchestra (Czech Republic), Belgrade Philharmonic Orchestra (Serbia) Metropolis Symphony was cited by NPR in 2013 as a leading contender “In Search of the Great American Symphony.” (http•••) For more information on Michael Daugherty and his music, visit: (http•••) —————————— Composer's Note: I began composing my METROPOLIS SYMPHONY in 1988, inspired by the celebration in Cleveland of the fiftieth anniversary of Superman’s first appearance in the comics. When I completed the score in 1993, I dedicated it to the conductor David Zinman, who had encouraged me to compose the work, and to the Baltimore Symphony Orchestra. THE METROPOLIS SYMPHONY evokes an American mythology that I discovered as an avid reader of comic books in the fifties and sixties. Each movement of the symphony—which may be performed separately—is a musical response to the myth of Superman. I have used Superman as a compositional metaphor in order to create an independent musical world that appeals to the imagination. The symphony is a rigorously structured, non-programmatic work, expressing the energies, ambiguities, paradoxes, and wit of American popular culture. Like Charles Ives, whose music recalls small-town America early in our century, I draw on my eclectic musical background to reflect on late-twentieth-century urban America. Through complex orchestration, timbral exploration, and rhythmic polyphony, I combine the idioms of jazz, rock, and funk with symphonic and avant-garde composition. I. Lex (00:46) “Lex” derives its title from one of Superman’s most vexing foes, the supervillain and business tycoon Lex Luthor. Marked “Diabolical” in the score, this movement features a virtuoso violin soloist (Lex) who plays a fiendishly difficult fast triplet motive in perpetual motion, pursued by the orchestration and a percussion section that includes four referee whistles placed quadraphonically on stage. II. Krypton (11:20) “Krypton” refers to the exploding planet from which the infant Superman escaped. III. MXYZPTLK (18:06) “Mxyzptlk” is named after a mischievous imp from the fifth dimension who regularly wreaks havoc on Metropolis. It features two dueling flute soloists who are positioned stereophonically on either side of the conductor. IV. Oh, Lois! (25:19) “Oh, Lois!” invokes Lois Lane, news reporter at the Daily Planet alongside Clark Kent (alias Superman). Marked with the tempo “faster than a speeding bullet,” this is a five-minute concerto for orchestra. V. Red Cape Tango (30:45) “Red Cape Tango” was composed after Superman’s fight to the death with Doomsday, and is my final musical work based on the Superman mythology. The principal melody, first heard in the bassoon, is derived from the medieval Latin death chant “Dies Irae.” –Michael Daugherty
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- Conjuntos (Norteamérica).
- Índices (por orden alfabético): B...