Harmony of the spheres: cycle in five movements for mixed choir and string orchestra (2001)
Movement I — 00:00
Movement II — 10:10
Movement III a — 18:15
Movement III b — 33:45
Movement IV — 42:36
Movement V — 49:20
Netherlands Chamber Choir
Tallinn Chamber Orchestra
Conductor: Tõnu Kaljuste
Dedicated to Tõnu Kaljuste and the Nederlands Kamerkoor
Joep Franssens is a Dutch composer. He studied piano in Groningen, and composition in the Hague and Rotterdam with Louis Andriessen and Klaas de Vries respectively. He is representative of the post-serial generation of Dutch composers who use tonal means and an accessible idiom without neo-Romantic features, even if the pathos-laden, highly emotional nature of his music appears to contradict this endeavour. In his works, which consist of chamber music and choral and orchestral works, Franssens aims at a synthesis of monumentality and euphony and is initially guided by J.S. Bach and the Ligeti of Lontano and Atmosphères. Later a trend towards radical austerity becomes apparent under the influence of American minimalist music, East European mysticism (e.g. Pärt) and the symphonic pop music of the 1970s, culminating in the static diatonicism of the ensemble work Dwaallicht (1989) and the serene counterpoint of Sanctus for orchestra (1996, rev. 1999). The instrumentation increasingly shows a preference for warm, luxuriant colours.
Опубликовано: 30 мар. 2015 г.Concert présenté dans le cadre du festival Montréal / Nouvelles Musiques — Enregistré le 7 mars 2015
Artistes:
Kent Nagano, chef d’orchestre
Philip Glass, pianiste et compositeur
Françoise Atlan, soprano
Monika Jalili, soprano
Didem Basar, kanun
Andrei Malashenko, timbales
Hugues Tremblay, timbales
Présentation du concert:
Glass, Concerto Fantasy pour deux timbaliers et orchestre (approx. 27 min.) 0:00 — 24:15
Kambiz Mozhdehi (arr. Jamshied Sharifi), Jaan e Maryam (Ma bien-aimée Maryam) (approx. 6 min.) 31:50 — 37:50
Kiya Tabassian, Vers où l’oiseau migrera? (extrait) (approx. 6 min.) 26:00 — 30:35
Glass, Mad Rush pour piano solo (approx. 13 min.) 1:00:48 — 1:18:04
Philip Glass est parmi les artistes les plus importants de notre temps. Que ce soit à travers son approche minimaliste hypnotisante et sa fascination pour les musiques du monde, ou à travers le regard de Paul Dukas et du Canadien d’origine iranienne Kiya Tabassian, l’OSM et Kent Nagano vous transportent, le temps d’une soirée éclatée, au cœur d'un univers inspiré par l'Orient. Le voyage promet d'être saisissant!
Philip Glass: Symphony No. 4 «Heroes», Bournemouth Symphony Orchestra, Alsop
Опубликовано: 25 авг. 2015 г.Philip Glass (1937)
Symphony No. 4 “Heroes” (1996):
1. Heroes 0:00
2. Abdulmajid 7:14
3. Sense of Doubt 16:32
4. Sons of the Silent Age 24:24
5. Neuköln 31:55
6. V2 Schneider 38:42
Дата загрузки: 19 июн. 2011 г.Branka Parlic beautifully performes Philip Glass' score of the movie «The Hours» (screenplay based on a novel by Michael Cunningham)
The album brings together two artists with enormous followings: Valentina Lisitsa, with her dazzling artistry and hundreds of thousands of followers on YouTube; and Philip Glass, with his hugely popular minimalist piano music.
Here is Glass at his best – using the building blocks of minimalism to achieve a huge, inventive soundscape of musical richness and contrasts. Richly harmonic, this is a deeply evocative listening experience with revelatory performances from Lisitsa; a wonderful artist with exceptional musicality and a stunning technique.
Опубликовано: 11 февр. 2014 г.Following Glass's early operas, the conductor Dennis Russell Davies had been urging the composer to write more orchestral pieces, and the concerto marks Glass's first full-scale venture into non-theatrical orchestral composing.Glass's original concept was for a five-movement work, and Zukofsky requested a slow, high finale. As the composition process developed, however, Glass decided that five movements were too many and settled for a more conventional three-movement format. According to Glass, this traditional structure was not a concession to formality but simply a result of the work finding «a voice of its own» as the first and second movements developed into longer pieces than he had originally conceived. The work was composed with Glass's father, Ben, in mind, despite the latter's death some sixteen years earlier: «I wrote the piece in 1987 thinking, let me write a piece that my father would have liked. A very smart nice man who had no education in music whatsoever, but the kind of person who fills up concert halls. It's popular, it's supposed to be — it's for my Dad.»
Опубликовано: 15 нояб. 2014 г.In memory of our friend, Josef Trávníček (23.5.1970 — 9.11.2014)
— great teacher, follower of Comenius way (educating while playing), who was easily able to get attention and interest of his students at any time, showing them history of their own district, city, region, country and the whole world in the way they would love to see — in context… with accent on culture, folklore and true traditions.
This is my condolence to his family — my very good friends.
*************************************************************
Philip Glass — «The Hours» (soundtrack from the movie «The Hours»)
Dušan Holý — piano
Grandpiano: Feurig — produced +- 1920 (truly beautiful instrument)