International Contemporary Ensemble Vídeos
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2024-05-03
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International Contemporary Ensemble Pelle Gudmundsen Holmgreen 2017
Provided to YouTube by NAXOS of America Ad Cor: No. 1. Wound · The Crossing Seven Responses ℗ 2017 Innova Released on: 2017-02-03 Choir: The Crossing Conductor: Donald Nally Ensemble: International Contemporary Ensemble Composer: Pelle Gudmundsen-Holmgreen Auto-generated by YouTube.
Peter Tantsits International Contemporary Ensemble 2016
Provided to YouTube by NAXOS of America Æsopica Suite: VI. The Rabbit and the Dog · Peter Tantsits Æsopica: Music of Marcos Balter ℗ 2016 Tundra Released on: 2016-11-11 Artist: Peter Tantsits Conductor: Ross Karre Ensemble: International Contemporary Ensemble Composer: Marcos Balter Auto-generated by YouTube.
On Site Opera International Contemporary Ensemble Milhaud Lenormand Owens Andrew Owens Marcus Deloach Burns Zaremba McDonald Kaufman Coates Shelton 2017
Highlights from On Site Opera's 2017 U.S. premiere production of Milhaud's “The Guilty Mother” (La mere coupable) at The Garage. More information: osopera.org/guiltymother SUZANNE, Marie Lenormand, mezzo soprano COUNTESS, Jennifer Black, soprano FLORESTINE, Amy Owens, soprano LEON, Andrew Owens, tenor FIGARO, Marcus DeLoach, baritone COUNT, Adam Cannedy, baritone BEGEARSS, Matthew Burns, bass baritone FAL, Christian Zaremba, bass baritone ORCHESTRA, International Contemporary Ensemble ORCHESTRATION, Nicholas DeMaison MUSIC DIRECTOR, Geoffrey McDonald STAGE DIRECTOR, Eric Einhorn COSTUME DESIGNER, Beth Goldenberg SCENOGRAPHER, Cameron Anderson LIGHTING DESIGNER, Shawn Kaufman HAIR & MAKEUP DESIGNER, Anne Ford-Coates Video: Geoff Shelton, Hank Films
Iannis Xenakis Schick Fray International Contemporary Ensemble London Sinfonietta 1997
Iannis Xenakis - O-Mega, for percussion and 13 instruments (1997) International Contemporary Ensemble Conductor - Steven Schick Percussion - Steven Schick In 1997 Xenakis composed what was his last score. The title, O-Mega, the final letter of the Greek alphabet and often used to signify an endpoint, was a strong signal of his intent to cease compositional activity. The occasion was a commission from superstar percussionist Evelyn Glennie. As a featured guest at the 1997 Huddersfield Festival in England, Xenakis decided to unite Glennie and the London Sinfonietta, an ensemble for which he had already written three major scores: Phlegra, Thalleïn, and Waarg. O-Mega, then, is a concertante work for solo percussionist and large ensemble. It is, however, extremely terse, clocking in at under four minutes. This is not to say that the music is not dramatic. For it is, decidedly. The soloist, who performs exclusively on eight drums of different sizes, launches the piece with solemn rhythms and rolls on the drums, replete with dramatic crescendos and accents. The ensemble provides a harmonic backdrop for the drums, ranging from closely-voiced, dissonant sonorities to more open, spaced chords. The instrumental families--woodwinds, brass, strings--play off each other to produce shifting colors as the piece proceeds. The soloist carries on throughout the piece, with just one break to allow the ensemble to enter the fray. The end, as they say, is like the beginning. In a sense, one senses that O-Mega is but a brief glimpse into the mind of the composer, the music entering the sonic realm and then disappearing again. Percussion has been one of Xenakis's favored sonorities, so it is fitting that he would finish his career with the rich, evocative rolls of the drums. Join the Score Video Creator Discord Server: (http•••) Support me on Patreon: (http•••)
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