Philip Glass: Violin Concerto; Symphony No 7 (A Toltec Symphony - UK premiere). Broadcast on: BBC Radio 3, 10:15pm Wednesday 12th August 2009 From the Royal Albert Hall, London
• Gidon Kremer, Violin • BBC Symphony Chorus • Dennis Russell Davies, Conductor • BBC Scottish Symphony Orchestra
In the first Prom devoted exclusively to the music of American minimalist composer Philip Glass, the BBC Scottish Symphony Orchestra and BBC Symphony Chorus are joined by violinist Gidon Kremer and conductor Dennis Russell Davies, both long-term advocates of Glass' music.
Harmonic, pulsing and with constant repetition of small figures or phrases, minimalism blossomed from a small underground movement on the west coast of the United States in the 1960s, becoming one of the most popular forms of late 20th century music. Philip Glass, one of its early pioneers, is one of the most prolific, influential and instantly identifiable composers of our age.
This concert showcases two of his most important works for full orchestra: his first major orchestral score - the Violin Concerto of 1987 - and the Toltec Symphony of 2004, which takes its title from the ancient pre-Columbian culture that reigned in Mesoamerica long before the coming of the Europeans.
thanks to dr cravinhos minimal 01. Symphony No.7 ‘A Toltec Symphony’ (UK Premiere) 1:21:03
The 10-disc compilation Glass Box surveys 40 years of the work of Philip Glass: groundbreaking early solo pieces, the revolutionary Einstein on the Beach, film scores, etudes, symphonies, and much more. The elegantly designed "interim report," as critic Tim Page writes in his liner note, traces the evolution of "the first composer to win a wide, multi-generational audience in the opera house, the concert hall, the dance world, in film and in popular music—simultaneously." The box features extensive liner notes, performance credits, librettos, and appreciations from fellow artists like Laurie Anderson, David Bowie, and Paul Simon. The composer’s longtime colleague, the artist Chuck Close, selected the artwork for each of the individual discs; Close and other artists—Francesco Clemente, Annie Leibovitz, Robert Mapplethorpe and Robert Wilson–interpret Glass’s image for each side of the cube in which the discs are encased.
(mp3 320@)
Disc One—Early works - Philip Glass, electric organ, alto flute. 2: Barbara Benary, electric violin, voice; Steve Chambers, electric organ; Jon Gibson, electric organ, soprano saxophone, flute, voice; Dickie Landry, soprano saxophone, tenor saxophone, piccolo, flute, voice; Kurt Munkacsi, engineer, electronics; Arthur Murphy, electric piano; Robert Prado, trumpet, flute, voice. 3: Steve Chambers, Art Murphy, electric organs; Jon Gibson, Dickie Landry, soprano saxophones; Robert Prado, flute; Kurt Munkacsi, engineer, electronics
1.01 Early Works: Music in Contrary Motion 15:35 1.02 Early Works: Music with Changing Parts (edited) 45:37 1.03 Early Works: Music in Similar Motion 17:11
Disc Two—Four from the Music in Twelve Parts - The Philip Glass Ensemble, Michael Riesman, musical director, keyboards; Lisa Bielawa, voice; Jon Gibson, Andrew Sterman, soprano saxophone, flute; Philip Glass, keyboards; Martin Goldray, keyboards; Richard Peck, alto and tenor saxophones
2.01 Music in 12 Parts: Part 7 19:58 2.02 Music in 12 Parts: Part 8 18:17 2.03 Music in 12 Parts: Part 9 12:14 2.04 Music in 12 Parts: Part 10 17:08
Disc Three—Excerpts from the opera Einstein on the Beach - The Philip Glass Ensemble, Michael Riesman, musical director; chorus; solo voice: Marion Beckenstein, Katie Geissinger; Kristin Norderval; spoken text: Lucinda Childs, Sheryl Sutton, Jasper McGruder, spoken text minimal
3.01 Einstein on the Beach: Knee Play 1 8:04 3.02 Einstein on the Beach: Train 1 13:46 3.03 Einstein on the Beach: Knee Play 2 6:08 3.04 Einstein on the Beach: Knee Play 3 6:30 3.05 Einstein on the Beach: Trial 2 / Prison: "Prematurely Air-Conditioned Supermarket" (edited) 12:17 3.06 Einstein on the Beach: Knee Play 4 7:05 3.07 Einstein on the Beach: Bed: Prelude 4:24 3.08 Einstein on the Beach: Spaceship 12:51 3.09 Einstein on the Beach: Knee Play 5 8:04
Disc Four—Glassworks - 1, 2: Michael Riesman, piano, synthesizer; Jack Kripl, saxophone. 3: Miles Green, keyboards. 4: Michael Riesman, piano soloist, conductor; Stuttgart Chamber Orchestra. 5-13: Philip Glass, Farfisa, Yamaha, and Hammond organs, Fender Rhodes piano, arp, synthesizer. 5-10: Dickie Landry, soprano and tenor saxophones, flute; Joan La Barbara, Gene Rickard, voices. 11-13: Iris Hisky, vocals
4.01 Glassworks/Analog: Orange Mountain Music Archive: Opening 6:12 4.02 Glassworks/Analog: Orange Mountain Music Archive: Façades 7:17 4.03 Glassworks/Analog: Orange Mountain Music Archive: Floe '87 8:44 4.04 Glassworks/Analog: Orange Mountain Music Archive: Closing 5:17 4.05 Glassworks/Analog: Étoile Polaire 2:38 4.06 Glassworks/Analog: Étoile Polaire: River Run 1:54 4.07 Glassworks/Analog: Étoile Polaire: Are Years What? (For Marianne Moore) 4:01 4.08 Glassworks/Analog: Étoile Polaire: Age des Orages 3:47 4.09 Glassworks/Analog: Étoile Polaire: Ave 4:44 4.10 Glassworks/Analog: Étoile Polaire: Montage 2:33 4.11 Glassworks/Analog: Dressed Like an Egg: Part IV 3:12 4.12 Glassworks/Analog: Dressed Like an Egg: Part V 1:33 4.13 Glassworks/Analog: Mad Rush for Organ 16:14
Disc Five—The opera Satyagraha - The New York City Opera Chorus and Orchestra, conducted by Christopher Keene; Douglas Perry, tenor; Claudia Cummings, soprano; Rhonda Liss, alto; Robert McFarland, baritone; Scott Reeve, bass; Sheryl Woods, soprano; Rhonda Liss, alto; Scott Reeve, bass; Robert McFarland, baritone
5.01 Satyagraha: Act I (Tolstoy), Scene 1: The Kuru Field of Justice 18:47 5.02 Satyagraha: Act I (Tolstoy), Scene 2: Tolstoy Farm (1910) 11:01 5.03 Satyagraha: Act II (Tagore), Scene 1: Confrontation and Rescue (1896) 14:44 5.04 Satyagraha: Act II (Tagore), Scene 3: Protest (1908) 15:16 5.05 Satyagraha: Act III (King), Scene 1: Newcastle March (1913) - Part 3: Evening Song 8:22
Disc Six—Excerpts from Koyaanisqatsi and Powaqqatsi - 1-6: Conducted by Michael Riesman; Albert de Ruiter, bass vocal; The Western Wind Vocal Ensemble; Members of The Philip Glass Ensemble. 7-14: Foday Musa Suso, kora, balafon, dousongoni, nyanyer, kari nyan; Shaikh Fathy Mady, vocal solo; Al DeRuiter, bass voice; Joe Passaro, Sue Evans, Roger Squitero, Valerie Naranjo, percussion; Hispanic Young People’s Chorus, Angélica Rosa Sepúlveda, musical director
6.01 Koyaanisqatsi: Koyaanisqatsi (listen to full-length track) 3:26 6.02 Koyaanisqatsi: Organic 7:47 6.03 Koyaanisqatsi: Cloudscape 4:32 6.04 Koyaanisqatsi: Resource 6:39 6.05 Koyaanisqatsi: Vessels 8:05 6.06 Koyaanisqatsi: The Grid 21:23 6.07 Powaqqatsi: Serre Pelada (listen to full-length track) 5:02 6.08 Powaqqatsi: Train to Sao Paulo 3:04 6.09 Powaqqatsi: Video Dream 2:15 6.10 Powaqqatsi: New Cities in Ancient Lands, China 2:48 6.11 Powaqqatsi: New Cities in Ancient Lands, Africa 2:56 6.12 Powaqqatsi: New Cities in Ancient Lands, India 4:42 6.13 Powaqqatsi: Mr. Suso #2 with Reflection 1:19 6.14 Powaqqatsi: Powaqqatsi 4:35
Disc Seven—String Quartets and Etudes - 1-4, 7-11, 14-16: Kronos Quartet: David Harrington, violin; John Sherba, violin; Hank Dutt, viola; Joan Jeanrenaud, cello. 5, 6, 12, 13: Philip Glass, piano
7.01 String Quartet No. 2 (Company): Movement I (listen to full-length track) 2:11 7.02 String Quartet No. 2 (Company): Movement II 1:36 7.03 String Quartet No. 2 (Company): Movement III 1:32 7.04 String Quartet No. 2 (Company): Movement IV 2:12 7.05 Étude for Piano No. 2 4:52 7.06 Étude for Piano No. 9 3:35 7.07 String Quartet No. 5: Movement I 1:11 7.08 String Quartet No. 5: Movement II 2:59 7.09 String Quartet No. 5: Movement III 5:28 7.10 String Quartet No. 5: Movement IV 4:38 7.11 String Quartet No. 5: Movement V 7:46 7.12 Étude for Piano No. 5 5:44 7.13 Étude for Piano No. 3 4:54 7.14 String Quartet No. 4 (Buczak): Movement I 7:59 7.15 String Quartet No. 4 (Buczak): Movement II 6:22 7.16 String Quartet No. 4 (Buczak): Movement III 8:48
Disc Eight—Excerpts from the operas CIVIL warS, Hydrogen Jukebox and Akhnaten - 1: American Composers Orchestra, Dennis Russell Davies, conductor; Denyce Graves, mezzo-soprano; Sondra Radvanovsky, soprano; Zheng Zhou, baritone. 2-7: Martin Goldray, keyboards; Carol Wincenc, flute; Andrew Sterman, soprano sax, bass clarinet; Frank Cassara, James Pugliese, percussion; Elizabeth Futral, soprano; Michele Eaton, soprano; Mary Ann Hart, mezzo-soprano; Richard Fracker, tenor; Gregory Purnhagen, Nathiel Watson, baritone; Allen Ginsberg, narrator; Philip Glass, piano. 8-11: Stuttgart State Opera Orchestra and Chorus, conducted by Dennis Russell Davies; Assistant Conductor: Anton Zapf; Chorus Master: Ulrich Eistert
8.01 the CIVIL warS: Act V—The Rome Section: Prologue 18:49 8.02 Hydrogen Jukebox: Song #3: From Iron Horse 2:54 8.03 Hydrogen Jukebox: Song #2: Jahweh and Allah Battle 2:54 8.04 Hydrogen Jukebox: Song #11: from The Green Automobile 5:59 8.05 Hydrogen Jukebox: Song #9: From Nagasaki Days (Numbers in Red Notebook) 0:40 8.06 Hydrogen Jukebox: Song #10: Aunt Rose 4:58 8.07 Hydrogen Jukebox: Song #6: From Wichita Vortex Sutra 7:45 8.08 Symphony No. 5: Suffering (edited) 5:07 8.09 Akhnaten: Act I, Scene 1: Funeral of Amenhotep III 8:59 8.10 Akhnaten: Act I, Scene 3: The Window of Appearances 4:24 8.11 Akhnaten: Act II, Scene 4: Epilogue 10:36
Disc Nine—Symphonies 3 and 8 - 1-4: Stuttgart Chamber Orchestra, conducted by Dennis Russell Davies. 5-7: Bruckner Orchester Linz, conducted by Dennis Russell Davies minimal
9.01 Symphony No. 3: Movement I (listen to full-length track) 4:37 9.02 Symphony No. 3: Movement II 6:15 9.03 Symphony No. 3: Movement III 10:05 9.04 Symphony No. 3: Movement IV 3:39 9.05 Symphony No. 8: Movement I 19:27 9.06 Symphony No. 8: Movement II 12:18 9.07 Symphony No. 8: Movement III 6:57
Disc Ten—Film music - Conducted by Michael Riesman. 1-3, 14-16: Kronos Quartet: David Harrington, violin; John Sherba, violin; Hank Dutt, viola; Joan Jeanrenaud, cello. 4, 5: The English Chamber Orchestra (Harry Rabinowitz, conductor) with additional soloists. 6-9: Dhondup Namgyal Khorko, Tibetan horns and cymbals; Gyuto Monks; Monks of the Drukpa Order; musicians. 10, 11: Jeannie Gagné, Dora Ohrenstein, sopranos; Patricia Dunham, Linda November, altos; David Düsing, David Frye, tenors; Alexander Blachly, Bruce Rogers, baritones; musicians. 12: The Philip Glass Ensemble, Michael Riesman, conductor, musical director, keyboards. 13: Michael Riesman, conductor, keyboards; musicians. 20: Michael Riesman, piano; Chris Laurence, double bass; orchestra conducted by Nick Ingman; Lyric Quartet
10.01 Mishima: Opening (listen to full-length track) 2:46 10.02 Mishima: November 25: Morning 4:11 10.03 Mishima: Closing 2:59 10.04 The Secret Agent: The First Meridian 3:21 10.05 The Secret Agent: Secret Agent 4:51 10.06 Kundun: Sand Mandala (listen to full-length track) 4:06 10.07 Kundun: Distraught 3:00 10.08 Kundun: Lhasa at Night 2:00 10.09 Kundun: Escape to India 10:05 10.10 Anima Mundi: Living Waters 3:51 10.11 Anima Mundi: The Witness 4:10 10.12 La Belle et La Bête: Overture 3:31 10.13 The Thin Blue Line: Houston Skyline 4:43 10.14 Dracula: Dracula 1:15 10.15 Dracula: The Storm 1:34 10.16 Dracula: Dr. Van Helsing and Dracula 2:22 10.17 The Fog of War: The War to End All Wars 1:44 10.18 Candyman: It Was Always You, Helen 3:09 10.19 The Truman Show: Raising the Sail 2:15 10.20 The Hours: The Poet Acts 3:43
PRODUCTION CREDITS Glass Box Produced by Robert Hurwitz, Kurt Munkacsi, and Michael Riesman; all recordings produced by Kurt Munkacsi and Michael Riesman Compilation edited and mastered at The Looking Glass Studios, NYC; Assistant Engineer: Ichiho Nishiki Design by Peter Buchanan-Smith
TRACKS: 1. (06:22) Opening 2. (05:43) Metamorphosis One 3. (04:51) Étoile Polaire (North Star) 4. (04:00) Victor's Lament 5. (01:53) River Run 6. (04:49) Ave 7. (15:49) Mad Rush 8. (08:32) Aria from Act III of Satyagraha 9. (01:34) Closing (Stalteri Dramatic Version)
Music for piano solo, or the result of arrangements for more than one piano, or for piano and cello, with an interpretative richness and depth such as to place the "classic" composer Philip Glass in a position of absolute distinction. With its absence of refrains and points of melodic support, it has the flavour of an opera which, above and beyond the so-called minimalist movement, now belongs in the history of contemporary music.
Circles is the result of my involvement, during a period of over twenty-years, in the music of Philip Glass, first as a simple listener and observer, later also as an interpreter. In this recording I present a double-reading of a selection of Glass' compositions, starting from what I would call the metropolitan period - radical and slightly schizoid ('70s and early '80s) - up to the more meditative and intimate pieces of the last fifteen years. The inclusion of the North Star block should be interpreted in this sense. In 1978 I attended a concert in which Philip Glass and his ensemble performed several cuts from North Star, and I was particularly impressed by the great impact of this music, a sweeping and electric wall of sound. I attempted to recreate the same compactness through a very tight piano-transcription, encouraged by Glass himself to reelaborate a work that by now belongs to the history of the so-called minimalist movement.
As for the other pieces featured on this record, I have limited myself to interpreting Glass' scores, though without denying myself the privilege of adding my own rhythmic and dynamic coloring to what are really only signs, which the performer has the right/obligation to bring back to life according to his own personality (to tell the truth in Closing I did more than this, radically modifying the left-hand part and tempo). In Metamorphosis One and Mad Rush, instead, I faithfully followed the composer's piano score. Why Circles? Because, to me, Philip Glass' music has no beginning and no end. The use of circular compositional patterns stands out as one of its main features. Yet it also possesses a natural and polished intensity, that often acquires a three-dimensional quality surrounding the listener and the performer with the balance inherent in the sphere, an enlightened peacebringer in our troubled times.
-- Arturo Stalteri
Arturo Stalteri plays Yamaha pianos. "Étoile Polaire", "Victor's Lament", "River Run" and "Ave", originally included on the soundtrack of "North Star", are here in Arturo Stalteri's arrangement. "Ave" cello is played by Damiano Puliti.
Engineered by Pietro Mantovani. Digitally Editing by Lorenzo Tommasini & Giampiero Bigazzi. Art Direction by Ivan Iusco & Ernst Thornton. Texts translated by Melinda Mele.
------------------------------------------------------------------ Glass Piano Music (2009) Ruhr Festival Piano Pianos: Maki Namekawa & Dennis Russell Davies
Four Movements for Two Pianos (world premiere recording) 1. (6:08) Movement I 2. (5:44) Movement II 3. (7:14) Movement III 4. (5:35) Movement IV
Six Etudes for Piano (1994) - original version 5. (4:10) Etude No. 1 6. (5:33) Etude No. 2 7. (4:11) Etude No. 3 8. (4:51) Etude No. 4 9. (4:35) Etude No. 5 10. (9:16) Etude No. 6
Music from Stephen Daldry's Film THE HOURS (2002) arr. for solo piano by Michael Riesman 11. (5:21) Morning Passages 12. (4:01) Escape! 13. (4:05) The Poet Acts
NOTES: Philip Glass' long-time champion Dennis Russell Davies teams with pianist maki Namekawa to perform Glass' music for piano. This release includes the premiere recording of "Four Movements for Two Pianos" by Dennis Russell Davies and Maki Namekawa which the two pianists played at the Ruhr Piano Festival in 2008. The album also includes Davies' performing the original six Glass piano études, and Namekawa playing three selections from Glass' score to The Hours.
CREDITS: Executive producers for Orange Mountain Music: Philip Glass, Kurt Munkacsi and Don Christensen
Recording: (Tracks 1-14) Philharmonie Essen (Germany), 7 July 2008 (Live); Recording Producer & Editing: Christoph Martin Frommen; (Tracks 5-13) Brucknerhaus Linz (Austria) November 2008, Recording Producer & Editing: Erich Pintar, Studio Weinberg, Kefermarkt (Austria); Mastering: Christoph Martin Frommen
"mi música es similar a la luz blanca, solo cuando pasa a través de un prisma se divide y aparecen todos los colores. Este prisma es el espíritu de cada oyente". -Arvo
Pärt works in a minimalist style that employs tintinnabulation and hypnotic repetitions influenced by the intellectual counterpoint elements of European jazz, and is generally placed within European-American classical post-modernism.
Continuing struggles with Soviet officials led him to emigrate in 1980 with his wife and their two sons. Pärt lived first in Vienna, Austria, where he took Austrian citizenship, and then re-located to Berlin, Germany, where he still lives.
His most familiar works are Cantus In Memoriam Benjamin Britten for string orchestra and bell (1977) and the string quintet "Fratres I" (1977, revised 1983), which he orchestrated for string orchestra and percussion, the solo violin "Fratres II" and the cello ensemble "Fratres III" (both 1980).
Pärt is often identified with the school of minimalism and, more specifically, that of mystic minimalism or holy minimalism. He is considered a pioneer of this style, along with contemporaries Henryk Górecki and John Tavener. Although his fame initially rested on instrumental works such as Tabula Rasa and Spiegel im Spiegel, his choral works have also come to be widely appreciated.
Pärt's musical education began at age seven. He began attending music school in Rakvere, where his family lived. By the time he reached his early teen years, Pärt was writing his own compositions. While studying composition with Heino Eller at the Tallinn Conservatory in 1957, it was said of him that "he just seemed to shake his sleeves and notes would fall out."
In this period of Estonian history, Pärt was unable to encounter many musical influences from outside the Soviet Union except for a few illegal tapes and scores. Although Estonia had been an independent Baltic state at the time of Pärt's birth, the Soviet Union occupied it in 1940 as a result of the Soviet-Nazi Molotov-Ribbentrop Pact; and the country would then remain under Soviet domination—except for the three-year period of German wartime occupation—for the next 51 years.
Arvo Pärt's oeuvre is generally divided into two periods.
His early works ranged from rather severe neo-classical styles influenced by Shostakovich, Prokofiev, and Bartók. He then began to compose using Schoenberg's twelve-tone technique and serialism. This, however, not only earned the ire of the Soviet establishment, but also proved to be a creative dead-end. When early works were banned by Soviet censors, Pärt entered the first of several periods of contemplative silence, during which he studied choral music from the 14th to 16th centuries. In this context, Pärt's biographer, Paul Hillier, observed that "He had reached a position of complete despair in which the composition of music appeared to be the most futile of gestures, and he lacked the musical faith and will-power to write even a single note."
The spirit of early European polyphony informed the composition of Pärt's transitional Third Symphony (1971); and thereafter, he immersed himself in early music, re-investigating the roots of Western music. He studied plainsong, Gregorian chant, and the emergence of polyphony in the European Renaissance. The music that began to emerge after this period was radically different. This period of new compositions included Fratres, Cantus In Memoriam Benjamin Britten, and Tabula Rasa.
Pärt describes it as tintinnabuli—like the ringing of bells. The music is characterized by simple harmonies, often single unadorned notes, or triads which form the basis of western harmony. These are reminiscent of ringing bells. Tintinnabuli works are rhythmically simple, and do not change tempo. The influence of early music is clear. Another characteristic of Pärt's later works is that they are frequently settings for sacred texts, although he mostly chooses Latin or the Church Slavonic language used in Orthodox liturgy instead of his native Estonian language. Large-scale works inspired by religious texts include St. John Passion, Te Deum, and Litany. Choral works from this period include Magnificat and The Beatitudes.
His best-known works mostly date from this period. Of his popularity, Steve Reich has written:"Even in Estonia, Arvo was getting the same feeling that we were all getting. [...] I love his music, and I love the fact that he is such a brave, talented man. [...] He's completely out of step with the zeitgeist and yet he's enormously popular, which is so inspiring. His music fulfills a deep human need that has nothing to do with fashion." —Steve Reich Arvo Pärt's music came to public attention in the West, largely thanks to Manfred Eicher who recorded several of Pärt's compositions for ECM Records starting in 1984.
Pärt has said that his music is similar to light going through a prism: the music may have a slightly different meaning for each listener, thus creating a spectrum of musical experience, similar to the rainbow of light.
A new composition, Für [for] Lennart, written for the memory of the Estonian President Lennart Meri, was played at his funeral service on 2 April 2006.
In response to the murder of the Russian journalist Anna Politkovskaya in Moscow on 7 October 2006, Pärt declared that all his works performed in 2006-2007 would be in commemoration of her death:
"Anna Politkovskaya staked her entire talent, energy and – in the end – even her life on saving people who had become victims of the abuses prevailing in Russia."— Arvo Pärt
Pärt was honoured as the featured composer of the 2008 RTÉ Living Music Festival in Dublin, Ireland. He was also commissioned by Louth Contemporary Music Society to compose a new choral work based on St. Patricks Breastplate, which premiered in 2008 in Louth, Ireland. The new work is called The Deers Cry. This is the composer's first Irish commission, having its debut in Drogheda and Dundalk in February 2008.
Also a new composition in 2008 is Pärt's Symphony No. 4, named 'Los Angeles' and dedicated to Mikhail Khodorkovsky. It is his first symphony written for over 37 years, since 1971's Symphony No. 3. It premiered in Los Angeles, California, at the Walt Disney Concert Hall on January 10, 2009.
Filmography
Pärt's music has been featured in over 50 films, from Väike motoroller (1962) to Promised Land (2004).
Elements from the Cantus in Memory of Benjamin Britten was used in Léos Carax's film Les Amants du Pont-Neuf (1991); and a part of the composition was heard in Michael Moore's film Fahrenheit 9/11 while the audience confronts the aftermath of the September 11, 2001, attacks in New York City.
Segments from Spiegel im Spiegel were incorporated in Mike Nichols's film version of the Pulitzer Prize-winning play Wit (2001); in the mountain-climbing documentary Touching the Void (2003); in Tom Tykwer's film Heaven (2002); in Shona Auerbach's Glasgow based film Dear Frankie (2004); in Gus Van Sant's film Gerry (2003) which also included a small segment from Für Alina ; and in the film Elegy (2008).
Tabula Rasa was used in the opening scenes of the award-winning 2001 documentary War Photographer, about photojournalist James Nachtwey.
His soundtrack for Reha Erdem's Times and Winds (in Turkish Beş Vakit), 2006, underscored Erdem's subject, the endlessly repeating seasonal and human rhythms of Turkish village life.
Annum per Annum was used in the 1998 film The Thin Red Line.
Fratres for Cello and Piano was used in the soundtrack for the 2007 film There Will Be Blood.
Silouans Song was used in the 2006 movie The Good Shepherd.
Dorian Supin, an Estonian filmmaker, made a full-length documentary on Pärt titled 24 Preludes for a Fugue, which was released in 2002.
Izgnanie (2007) ("Für Alina") ... aka Изгнание (Russia) ... aka The Banishment (International: English title)
The Good Shepherd (2006) (writer: "Litany", "Salve Regina", "Silouans Song")
Candy (2006) ("Cantus in Memory of Benjamin Britten")
The Giant Buddhas (2005) ("Für Alina") ... aka Im Tal der grossen Buddhas (Switzerland: German title: TV title)
Le temps qui reste (2005) (writer: "Symphony no.3", "Für Alina, for Piano") ... aka Time to Leave (Canada: English title: festival title) (Hong Kong: English title) (International: English title) (UK) (USA)
Phantom Limb (2005) ("Silentium" (from Tabula Rasa))
Dag och natt (2004) (writer: "Cantus in Memory of Benjamin Britten") ... aka Day and Night (International: English title) (USA: festival title) ... aka Dag og nat (Denmark)
Fahrenheit 9/11 (2004) (writer: "Cantus in Memory of Benjamin Britten" (1977), "Crete Petit") (performer: "Cantus in Memory of Benjamin Britten" (1977))
Dear Frankie (2004) (music: "Spiegel im Spiegel" (1978))
Feux rouges (2004) (writer: "Für Alina") ... aka Red Lights (International: English title) (USA: literal English title)
Les invasions barbares (2003) (music: "Wallfahrtslied / Pilgrim's Song", "Psalom", "Trisagion") ... aka Invasion of the Barbarians (International: English title) ... aka The Barbarian Invasions (International: English title)
Swept Away (2002) ("Spiegel im Spiegel" (1999)) ... aka Travolti dal destino (Italy)
Heaven (2002/I) ("Für Alina", "Spiegel im Spiegel", "6 Variationen zur Gesundung von Arinushka") ... aka Heaven (France) (Germany)
"Aleph, lectures contades" (1 episode, 2000) - Franz Kafka (2000) TV episode (writer: "Simfonia N.3", "Collage sur B. A. C. H.", "Festina Lente", "Silouans Song")
The Insider (1999) (writer: "Litany") (performer: "Litany")
A Kind of Hush (1999) ("Cantus in Memory of Benjamin Britten", "Untitled for Saxophone and Keyboard")
Winterschläfer (1997) (writer: "Fratres", "For Piano and Violin", "For Strings and Percussion", "For Eight Cellos", "Cantus in Memory of Benjamin Britten") ... aka Winter Sleepers (USA) ... aka Wintersleepers (Europe: English title)
Mother Night (1996) ("Spiegel Im Spiegel", "Fratres", "Cantus in Memoriam Benjamin Britten", "Tabula Rasa")
Elossa (1990) ("Fratres") ... aka Alive (International: English title)
-wiki, imdb
Arvo Part - In Principio (2009)
minimal 1 In Principio: I - In Principio Erat Verbum 3:09 2 In Principio: II - Fuit Homo Missus A Deo 1:43 3 In Principio: III - Erat Lux Vera 7:15 4 In Principio: IV - Quotquot Autem Acceperunt Sum 3:37 5 In Principio: V - Et Verbum Caro Factum Est 3:56 6 La Sindone 15:53 7 Cecilia, vergine romana 16:39 8 Da Pacem Domine 5:00 9 Mein Weg 6:23 10 Für Lennart in memoriam 7:22
Conductor: Hillier, Paul Ensemble: Theatre of Voices Performer: Bowers-Broadbent, C. Instrument: Organ Performer: Bowers-Broadbent, Christopher Instrument: Organ Performer: Kennedy, Daniel Instrument: Percussion Performer: Bennett, Alan Instrument: Tenor Performer: Hillier, Paul Instrument: Bass Performer: Engan, Elisabeth Instrument: Soprano
De profundis clamavi ad te, Domine; Domine, exaudi vocem meam. Fiant aures tuae intendentes in vocem deprecationis meae. Si iniquitates observaveris, Domine, Domine, quis sustinebit? Quia apud te propitiatio est, ut timeamus te. Sustinui te, Domine, sustinuit anima mea in verbo eius; speravit anima mea in Domino magis quam custodes auroram. Magis quam custodes auroram speret Israel in Domino, quia apud Dominum misericordia, et copiosa apud eum redemptio. Et ipse redimet Israel ex omnibus iniquitatibus eius.
Hillier's Theatre of Voices gives an absolutely wonderful rendering of Pärt's work. The music is amazing, recalling medieval choral music as well as contemporary ideas in musical composition. Pärt manages to touch on a wide range of feeling throughout all of these compositions, conveying emotion while maintaining the kind of austerity of sound found in medieval chant. Ultimately, the CD provides a moving and enjoyable listening experience. I would recommend it to both seasoned fans of choral music and neophytes alike. -L.D.
1. De Profundis (Psalm 129) 2. Missa Sillabica: Kyrie 3. Missa Sillabica: Gloria 4. Missa Sillabica: Credo 5. Missa Sillabica: Sanctus 6. Missa Sillabica: Angus Dei 7. Missa Sillabica: Ite missa est 8. Solfeggio 9. 'And One Of The Pharisees' 10. Cantate Domino (Psalm 95) 11. Summa (Credo) 12. Seven Magnificat Antiphons: O Weisheit 13. Seven Magnificat Antiphons: O Adonai 14. Seven Magnificat Antiphons: O Spross 15. Seven Magnificat Antiphons: O Schlussel 16. Seven Magnificat Antiphons: O Morgenstern 17. Seven Magnificat Antiphons: O Konig 18. Seven Magnificat Antiphons: O Immanuel 19. The Beatitudes 20. Magnificat
----------------------------------------------------- Arvo Part: Orient- Occident (2002) Un álbum en el que Arvo Part regresa --de modo parcial--a la experimentación de la música atonal, quedando mas cerca de su obra contenida en los volúmenes Nekrolog , Collage y Pro et Contra y un poco mas lejos de las creaciones estructuradas bajo el código "tinitannabuli", que encontramos en obras como Fratres ,Cantus in Memory of Benjamin Britten, Alina, y Tabula Rasa.Quien ha escuchado a Part y gustado de su música no puede perderse este giro creativo, que ensancha los sonidos de este venerado creador del minimalismo sacro. Dirige Tonu Kaljuste frente a la Swedish Radio Symphony Orchestra en grabación DDD realizada para Ecm Records. -blog Musica del siglo XX, el resto es ruido thanks to dr cravinhos minimal
1. Ein Wallfahrtslied (8:49) Composer Arvo Pärt (1935 Conductor Tonu Kaljuste Genre 20th Century Period / Psalm Date Written 1984 Ensemble: Swedish Radio Chorus Language German Recording Studio Venue Swedish Radio, Stockholm, Sweden Recording Date 2001 Notes Ver: 2001 (for men's choir and string orchestra) 2. Orient & Occident (7:05) Composer Arvo Pärt Conductor Tonu Kaljuste Genre 20th Century Period Date Written 2000 Ensemble Swedish Radio Symphony Orchestra Recording Studio Venue Swedish Radio, Stockholm, Sweden Recording Date 2001 Notes "Orient & Occident" was nominated for the 2002 Grammy Award for Best Classical Contemporary Composition. 3. Como cierva sedienta (31:21) Composer Arvo Pärt Conductor Tonu Kaljuste Performer Helena Olsson (Soprano) Genre 20th Century Period / Psalm Date Written 1999 Ensemble Swedish Radio Chorus Language Español Recording Studio Venue Swedish Radio, Stockholm, Sweden Recording Date 2001
Triodion recoge obras de Arvo Part compuestas entre 1996 y 2002, la ejecución es del conjunto vocal Polyphony, dirigido por Stephen Layton. Esta es la primera grabación de cinco* de las 8 piezas incluidas. Nos permitimos destacar dos aspectos de esta compilación: uno, que aquí Arvo Part se instala en la vertiente Inglesa de su obra, usa por primera ocasión el idioma Ingles y graba con un conjunto muy distinto a nuestros conocidos coros Bálticos.El resultado es sorprendemente hermoso.Dos, en el conjunto Polyphony concurren voces (David James, Christopher Bowers-Broadbent, Elin Manahan Thomas) que merecen una atención y seguimiento individual, en particular Elin Manahan Thomas que tiene un registro único en el panorama de las voces femeninas.( Atenti: solo en Nunc Dimittis).
1.- Dopo Victoria (1996) 2.-Nune Dimitis (2001) 3...which was the son of...(2000) 4.-I am the true vine (1996) 5.- Littlemore Tractus (2001) 6.-Triodion (1998) 7.-My heart´s in the highlands (2000) 8.-Salve Regina (2002)
La nueva Sinfonía de Arvo Part ha sido estrenada en Europa en un Concierto realizado en Finlandia el 16 de abril pasado, con ejecución de la Helsinki Philharmonic Orchestra bajo la dirección de Cem Mansur. Como se recordara, el estreno mundial de esta sinfonía, comisionada por Los Angeles Philharmonic, se realizo con dirección de Essa-Pekka Salonen, recién el 10 de enero pasado, marcando el regreso de Arvo Part al formato sinfónico abandonado por el autor por casi 40 años, como resultado de la persecución que genero su tercera sinfonía. Esta es una grabación tomada de la transmisión en radio bajo el titulo Live in Helsinki, es de una limpieza extraordinaria y supera, por mucho, la calidad del primer registro también en vivo, que aqui compartimos como primicia en la red (libroslibresmusicalibre blog).Ahora entregamos esta nueva grabación--en formato mp3--para su descarga gratuita, y quedamos a la espera de la primera edición en estudio que --hasta donde sabemos--aun no se realiza.
The brief opening piece for chorus on this new release, "Da Pacem Domine," is based on a 9th century Gregorian work and has the usual, familiar--and very beautiful--Pärt-ian characteristics: a soft, endless stream of easy tritones and harmonies that make this plea for peace immensely moving. The major work, Lamentate, is scored for large orchestra and solo piano--a very unusual combination for Pärt. Even his fans will be surprised. In ten brief sections, it begins with a quiet drum roll, immediately followed by horn calls. There are forte explosions for full orchestra and piano, with heavy percussion. At times the only thing we hear is a hushed piano part with strings supporting very quietly. The effect is dark yet alluring. It ends peacefully. This is another stunning CD of Pärt's music for his fans--old and new. --Robert Levine
01 - Da pacem Domine Composed by Arvo Part with Hilliard Ensemble
02 - Minacciando 03 - Spietato 04 - Fragile 05 - Pregando 06 - Solitudine-Stato D'Animo 07 - Consolante 08 - Stridendo 09 - Lamentabile 10 - Risolutamente 11 - Fragile E Conciliante Lamentate, for piano & orchestra (Hommage to Anish Kapoor and his sculpture 'Marsyas') Composed by Arvo Part Performed by Stuttgart SWR Radio-Symphony Orchestra with Aleksei Lubimov Conducted by Andrey Boreyko -----------------------------------------------------
Arvo Part: Pro et Contra / Symphonies 1 + 2 (2004)
Seis obras tempranas de Arvo Part dirigidas por Paavo Järvi frente a la Estonian National Symphony Orchestra, con la participación de los solistas Kalev Kuljus (oboe), Arvo Leibur (violin). Virgin Classics, DDD, julio 2004.Este volumen recoge las composiciones de Arvo Part, de su periodo de búsqueda y experimentación con las técnicas de la música atonal. La obra aquí presentada es, junto a Nekrolog (1960), la obra por la que fue aislado y perseguido por los censores Soviéticos y la burocracia cultural de la Estonia dominada. Esta música es previa --y distinta-- a los trabajos del minimalismo sacro que son reconocidos como la gran aportación de Part a la música universal. thanks to dr cravinhos and Musica del siglo XX, el resto es ruidoBlog
1.- Pro et contra, concerto for cello & orchestra (1966) Composed by Arvo Part Performed by Estonian National Symphony Orchestrawith Truls Moerk Conducted by Paavo Jarvi 2.- Symphony No. 1 ("Polyphonic"), Op. 9, (1964) Composed by Arvo Part Performed by Estonian National Symphony Orchestrawith Arvo Leibur Conducted by Paavo Jarvi 3.- Collage over B-A-C-H, for strings, oboe, harpsichord & piano, (1964) Composed by Arvo PartPerformed by Estonian National Symphony Orchestra Conducted by Paavo Jarvi 4.- Perpetuum mobile, for orchestra, Op. 10, (1963) Composed by Arvo Part Performed by Estonian National Symphony Orchestra Conducted by Paavo Jarvi 5.- Meie aed (Our garden), cantata for children's choir & orchestra, Op. 3, (1959) Composed by Arvo Part Performed by Estonian National Symphony Orchestra Conducted by Paavo Jarvi 6.- Symphony No. 2, (1966) Composed by Arvo PartPerformed by Estonian National Symphony Orchestrawith Kalev Kuljus Conducted by Paavo Jarvi
----------------------------------------------------- Arvo PART: Tabula Rasa / Symphony No. 3
Arvo Part (Composer), Neeme Järvi (Conductor), Gothenburg Symphony Orchestra (Orchestra), Roger Carlsson (Performer), Adele Anthony (Performer), Gil Shaham (Performer)
DG's beautifully packaged and produced 20/21 series here pays homage to Arvo Pärt, presenting a new interpretation of two of his most familiar works--already indisputable classics--Tabula Rasa and Fratres. For all of their "minimalist" technique, there's a fathomless--call it timeless, if you will--beauty to these scores the deeper you plunge into their hypnotic sound world. The best place to discover them remains ECM's breakthrough release Tabula Rasa. Unlike Gidon Kremer (the superb interpreter of that recording), and despite an epiphany he mentions in the booklet--likening this music to the desert landscape of Utah--Gil Shaham doesn't seem to grasp one of the key components of that beauty: its austerity, its distance, as through a glass. There's an exquisite finish to his tone, to be sure, but Shaham essentially overromanticizes this music, coating it with a lovely but undifferentiated sheen, although he does hint at the vocal character of his lines. Passages of Fratres thus sound curiously tamed, as if we could be listening to such pastoral blandishments as The Lark Ascending or, in Tabula Rasa, to a Vivaldi andante. Despite this disappointment, the disc offers a thoroughly compelling account of the Third Symphony (1971) by its dedicatee, Neeme Järvi. It's fascinating to hear Pärt's points of origin--Soviet music, chant from the Orthodox Church, the fascination with bell sounds--so clearly delineated and transmogrified as in this work. Järvi molds its colorful but somber scoring into vividly dramatic shapes, hinting at Shostakovich in the chasm-deep bass lines tugging against the piercing treble or--as in the haunting opening solo--at the bleak majesty of a Sibelius landscape. The very success of Pärt's better-known works has tended to obscure the quality of such earlier pieces, but this performance helps widen the perspective to a more inclusive one. --Thomas May Thanks to dr cravinhos minimal
1. Fratres, for chamber ensemble Composed by Arvo Part with Roger Carlsson, Gil Shaham 2. Tabula rasa, concerto for 2 violins (or violin & viola), prepared piano & string orchestra Composed by Arvo Part with Gil Shaham, Erik Risberg, Adele Anthony 3. Symphony No. 3 Composed by Arvo Part Performed by Gothenburg Symphony Orchestra Conducted by Neeme Jarvi
Credo (2004) Performed by Swedish Radio Symphony Orchestra with Helene Grimaud Conducted by Esa-Pekka Salonen
This surprising program is a joy through and through. It begins with a 1985 work by John Corigliano (Fantasia on an Ostinato) that uses the slow-movement theme from Beethoven's Seventh Symphony and then later flies off into wonderfully emotion-filled directions. Next come Beethoven's "Tempest" sonata, played with just the right drama, and his fabulous "Choral Fantasy," op. 80, which is part sonata, part study for the 9th symphony. Pianist Grimaud plays the Fantasy with alternating delicacy and power, and the CD ends with Arvo Pärt's Credo, scored for piano solo, mixed chorus, and orchestra. This last piece is rich and complex, and in some ways encompasses the previous works' emotions and textures; those who think of Pärt as the quiet, holy minimalist, are in for a treat, and perhaps shock. Grimaud is simply magnificent regardless of the century or style; the beauty of her tone is surpassed only by its expressiveness. Esa Pekka Salonen leads the Swedish Radio Symphony Orchestra and Choir handsomely. This is a very special disc, a must for your collection.
1 Fantasia on an Ostinato for piano (or orchestra) Composed by John Corigliano with Helene Grimaud
2 Piano Sonata No. 17 in D minor ("Tempest"), Op. 31/2 Composed by Ludwig van Beethoven with Helene Grimaud
3 Fantasia for piano, chorus, and orchestra ("Choral Fantasy"), Op. 80 Composed by Ludwig van Beethoven Performed by Swedish Radio Symphony Orchestra with Helene Grimaud Conducted by Esa-Pekka Salonen
4 Credo, for piano, chorus & orchestra Composed by Arvo Part Performed by Swedish Radio Symphony Orchestra with Helene Grimaud Conducted by Esa-Pekka Salonen
John Adams - Century Rolls - 2000 Piano, Emanuel Ax
Three great orchestral works by John Adams : Century Rolls, Lollapalooza and Slonimsky's Earbox. Of all the so-called minimalists working today, John Adams is the only one with any good ideas left. Witness this delightful release. The key to Adams's creativity is that he isn't bound by theoretical constraints on what "minimalism" should be.Century Rolls (1995) is a commission by Emanuel Ax, and it was inspired by the composer's listening to a CD recording of an ancient player piano. Century Rolls doesn't duplicate that sound, but it is, instead, an unexpected romp across new rhythmic territory. The brief Lollapalooza (1995) is more recognizably minimalist but with considerable orchestral color and shifting moods. And Slominsky's Earbox (1996) is a powerfully full-orchestra-driven canter. All this is to say that the CD is one of the best releases of Adams's career, and it will appeal to a very wide audience. - Paul Cook
Century Rolls, for piano & orchestra Track 1 : First Movement 14:55 Track 2 : Manny's Gym 6:23 Track 3 : Hail Bop 7:54 Performed by Cleveland Orchestra, conducted by Christoph von Dohnanyi Piano, Emanuel Ax
Track 4 : Lollapalooza, for orchestra 6:50 Performed by Halle Orchestra, conducted by Kent Nagano
Track 5 : Slonimsky's Earbox, for orchestra 13:27 Performed by Halle Orchestra, conducted by Kent Nagano
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John Adams - Harmonielehre 1985
San Francisco Symphony - Edo De Waart Davies Symphony Hall, San Francisco, 23 March 1985
Amazon.com customer review: John Adams is now part of the mainstream of classical music and his newer compositions, married in part to social commentary such as the magnificent 'On the Transmigration of Souls' in tribute to 911, 'El Nino' with its bow to the Hispanic heritage, and of course the obvious - his operas 'Nixon in China', 'The Death of Klinghofer', and 'Doctor Atomic'- gain widespread coverage in the media and rightly so. But now and then it is refreshing to return to some of his purely orchestral works such as the splendid 1981 'Harmonium' and the brilliant 'Harmonielehre' here recorded shortly after its premiere in 1985.
'Harmonielehre' is a mature work, a purely orchestra fabric in which Adams is in full control of his very original musical language. That 'language' is the massive pulsation of single chords that moves subtly in context with various additions and subtractions of instrumental choirs, changing tonal colors and rhythms in a manner that sweeps the work along never allowing a moment of static position so often prevalent in some so-called minimalist music. The work is divided into three parts. Part I is 'like a tanker taking off', a driving almost brutal force. Part II 'The Amfortas Wound' is one of the most serenely beautiful movements has written, an evocation of Wagner's tragedy within 'Parsifal'. Part III 'Meister Eckhardt and Quackie' is the climatic 'harmonic struggle among different tonalities vying for dominance'.
Edo de Waart and the San Francisco Orchestra have captured as honest and straight forward a perfomance of this mighty work as we are likely to hear. The recorded sound (from SFOs Davies Hall) in 1985. There is a spaciousness to the recording perhaps in part due to the fact that the CD has no accompanying works. This is the gold standard recording for Adams' important 'Harmonielehre' (translated means Harmony Lesson) and it is a complete success. Highly recommended.
Thanks to aliomodo
minimal Pass: aliomodo Tracks: 1. Part I 2. Part II: The Anfortas Wound 3. Part III: Meister Eckhard and Quackie
SYMPHONY No. 5 (CHORAL) REQUIEM, BARDO AND NIRMANAKAYA (2000)
Music by Philip Glass Text Compiled and Edited by Philip Glass, James Parks Morton and Kusumita P. Pedersen
Conductor Dennis Russell Davies Performer Ana Maria Martinez (Soprano), Denyce Graves (Mezzo Soprano) Michael Schade (Tenor), Eric Owens [Bass Baritone] (Baritone), Albert Dohmen (Bass Baritone) Ensemble Hungarian Radio/TV Children's Chorus
* A BRIDGE BETWEEN THE PAST, THE PRESENT AND THE FUTURE.
The symphony was commissioned and conceived as a millennium celebration work for the Salzburg Festival. My plan has been for the symphony to represent a broad spectrum of many of the world's great "wisdom" traditions. Working together with the Very Reverend James Parks Morton of the Interfaith Center of New York and Professor Kusumita P. Pedersen of St. Francis College, we synthesized a vocal text that begins before the world's creation, passes through earthly life and paradise, and closes with a future dedication. We are looking at the moment of the millennium as a bridge between the past (represented by the "Requiem" and embodying the first nine movements up to the moment of Death), the present (the "Bardo" representing the "in-between") and culminating in "Nirmanakaya" (the future manifestation of enlightened activity). We have elected to present the original texts (Greek, Hebrew, Sanskrit, Arabic, Chinese, Japanese and indigenous languages) in one language, English, to show the commonalties with which all these traditions resonate. For a work of this scale it seemed fitting to add chorus, children's choir and soloists to the usual symphonic ensemble, thereby giving it ample breadth and dramatic capability. Besides being a compendium of reflection on the process of global transformation and evolution, it is hoped that the work will serve as a strong and positive celebration of the millennium year.
- PHILIP GLASS
TRACKS:
lyrics transcription to english minimal1 minimal2 DISC ONE 1. I Before the Creation 6:56 2. II Creation of The Cosmos 6:36 3. III Creation of Sentient Beings 7:41 4. IV Creation of Human Beings 7:27 5. V Love and Joy 8:23 6. VI Evil and Ignorance 5:56
DISC TWO 1. VII Suffering 8:29 2. VIII Compassion 9:14 3. IX Death 8:38 4. X Judgment and Apocalypse 8:52 5. XI Paradise 8:32 6. XII Dedication of Merit 10:03
Recuerda... lo que aquí se publica es solo para que lo conozcas, pero por favor, si te gusta y se puede encontrar en tu país... entonces compra su música y ve a los conciertos. Hazlo por los compositores que amas. Gracias
Remember... what here it is published is only so that you know it, but please, if you like and it is possible to be found in your country... then buy its music and you go to the concerts. Do this by the composers that you love. Thanks
Frases de Cine
Datos personales
Jan.Solo
Madrid, Spain
Amante del cine y coleccionista de bandas sonoras, especialidad en artistas minimalistas, Philip Glass, Michael Nyman y Wim Mertens
Movies by Philip Glass ,
I don´t find them,
repeat I don't find them...
Closet Land (1991)
Mindwalk (1991)
Brief History of Time, a (1992)
Bent (1997)
Baroness And The Pig, The (2002)
Going Upriver: The Long War Of John Kerry(2004)
Yes (2004)
Moustache, La (2005)
