opus ohm: Glass. P (b. 1937)

Mostrando postagens com marcador Glass. P (b. 1937). Mostrar todas as postagens

segunda-feira, 29 de abril de 2024

IVES • BARBER • HARRIS • THOMSON • COWELL • CARTER • GLASS : From The Steeples And The Mountains (The London Gabrieli Brass Ensemble · Christopher Larkin) (1992) FLAC (tracks), lossless

‘Fascinating … the most interesting and enterprising brass collection I have yet encountered … first rate, and very realistic recording … the brass playing throughout is vividly expert and the recording is splendidly real’ (Gramophone)

‘From the very opening track the London Gabrieli Brass Ensemble demands close attention. All say something that makes you want to listen’ (BBC Music Magazine)

‘A real gem of a disc. The performances are excellent … This was both an education and an entertainment’ (Classic CD)

‘Performances are ideal. The British have given us a thoroughly American disc of extraordinary beauty; for which, many thanks!’ (Fanfare, USA)
Reviews

Charles Ives–   From The Steeples And The Mountains 4:24
Samuel Barber–   Mutations From Bach (For Brass Choir And Timpani) 5:41
Roy Harris–   Chorale For Organ And Brass 12:49
Virgil Thomson   Family Portrait (For Brass Quintet)(11:29)
Henry Cowell–   Grinnell Fanfare 3:05
Henry Cowell–   Tall Tale 4:19
Henry Cowell   Hymn And Fuguing Tune No 12 (For Three Horns) (4:27)
Henry Cowell–   Rondo 4:45
Philip Glass   Brass Sextet (7:27)
Carl Ruggles–   Angels (For Muted Brass)3:06
Elliott Carter–   A Fantasy About Purcell's Fantasia Upon One Note 3:15
Charles Ives–   Processional: Let There Be Light 2:42

Ensemble – The London Gabrieli Brass Ensemble
Conductor – Christopher Larkin

quarta-feira, 2 de setembro de 2020

RAVI SHANKAR / PHILIP GLASS - Passages (1990) FLAC (tracks+.cue), lossless

A collaboration between an avant-garde modern classical composer and a traditional Indian/Hindi composer/performer seems as unlikely as ice hockey on the River Styx. However, Passages is a collaboration between Philip Glass and Ravi Shankar and it works quite well. Shankar's smooth style fits nicely with Glass' dissonant orchestrations. There is a great deal of technical data involved here. Both of these artists have long taken intellectual approaches to music. Thus, the liner notes are a bit heavy-handed. The music is brilliant. The symphony dominates the soundscapes, but Shankar's atmospheres are integral to the success of this project. This CD will appeal to fans of John Cage, Terry Riley, and Steve Reich.

Tracklist:

1. Offering [09:46]

Music By – Philip Glass

Music By [Raga Melody] – Ravi Shankar

2. Sadhanipa [08:36]

Music By – Ravi Shankar

Music By [Glass Melody] – Philip Glass

3. Channels and Winds [08:00]

Music By – Ravi Shankar

Music By [Melody] – Philip Glass

4. Ragas in Minor Scale [07:36]

Music By – Philip Glass, Ravi Shankar

5. Meetings Along the Edge [08:10]

Music By – Philip Glass, Ravi Shankar

6. Prashanti [13:38]

Music By – Philip Glass, Ravi Shankar

Credits:

Ravi Shankar - vocals

S.P. Balasubramanyam - vocals

The Madras Choir - vocals

Orchestral group from Madras:

Ronu Mazumdar - flute

Shubho Shankar - sitar

Partha Sarathy - sarod, veena

T. Srinivasan - mridangam & drum speech

Abhiman Kaushal - tabla

Tim Baker - violin

Barry Finclair - violin, viola

Seymour Barab - cello

Theresa Norris - flute

Jack Kripl - flute, soprano sax

Gorden Gottleib - percussion

Michael Riesman - piano

sexta-feira, 24 de julho de 2020

PAUL BARNES - The American Virtuoso (2008) FLAC (image+.cue), lossless

The jury is still out on Philip Glass' transformation of minimalism into a radically populist language, but his later works continue to be widely performed, and, perhaps more important, to inspire innovative programming strategies. This disc by American pianist and Glass specialist Paul Barnes, released on the Glass-oriented Orange Mountain Music label, avoids the tendency to program Glass with his fellow minimalists. Instead he is juxtaposed with two very different composers, neither of whom has much to do with minimalism -- and it turns out that he fits quite well with both. The opening work, Glass' Piano Concerto No. 2 (After Lewis and Clark), has been transcribed for solo piano by Barnes himself. The transcription arguably improves the work, adding a layer of contrasts to the splashy, high-energy tonal color fields of its outer movements. But the real news is that the program places Glass more firmly within the American tradition. Barnes moves smoothly from Glass to the music of twentieth century American music's great conservative, Samuel Barber, with muscular performances of two short pieces and the Beethovenian Piano Sonata, Op. 26; he emphasizes the big blocks of sound in Barber's music and seems to suggest that Barber avoided atavism through an injection of the kind of pure kinetic force that would eventually fascinate Glass. The finale, consisting of a pair of short pieces by Joan Tower, goes in a different direction, focusing on the fact that Tower and Glass share a predilection for the use of small musical cells and a liking for organic metaphors, even if their attitudes toward simplicity and complexity are very different. More broadly, Barnes' disc is one of a group of recent releases that attempts to imagine programs of contemporary, and often specifically contemporary American, music that would please general classical audiences anywhere, something that is more likely to be achieved through imaginative retrospectives that make sense than by wholesale attempts to invent a new musical language. Barnes' big, Lisztian sound adds something to the proceedings on its own. Especially recommended not only to Glass fans, but also to those involved in any way with concert programming, and not only for the piano. by James Manheim