He is most known for his street art and modern hieroglyphic inspired style from the Land of Thunderbirds. He has been commissioned to create artwork for clients including Maker’s Mark, Pabst Blue Ribbon, Condado Tacos, and the Ohio State University. He has painted murals at street art destinations worldwide from the B Line in Chicago to the Searle Street Graffiti Park in Capetown, South Africa. His artwork has been featured on NBC’s Chicago PD and he has been featured in multiple publications including Sold Magazine, Delta Sky Magazine and PBS.org. Most recently, he has partnered with Jackie O’s Brewery for a series of limited edition cans and a mural at their new Columbus, OH location.
And Witzel’s solo is an extension of that theme, using its harmonic base to improvise on but also extending the time—and the harmony—within his improvised choruses. In other words, the solo, too, is a composition, just a spontaneously created one. While my readers know very well that I am not a big fan of this modern trend towards soft-grained jazz guitar playing, it is what Witzel plays rather than the style in which he plays it that grabbed my attention. His solos are wonderfully creative, far better than the first “soft jazz” guitarists of the 1990s were.
- It is more restless and moody than almost any of the other symphonies, and only seems to respond well to those conductors who understand this.
- Thus I hear this as a very carefully prepared and meticulously played performance of the symphony that only occasionally touches the raw nerve endings that Mahler put into it.
- He does not play it safe; he jumps into the fire feet first, exploring extended chord positions and somehow landing on notes you’d never expect, giving one the thrill of hearing a master improviser in his element.
- This is not a ‘how to’ book, nor is it meant as any kind of music theory dogma.
I need not add, for those who have sampled him on YouTube, that this is not how Bychkov normally conducts these works in live performances, but the recording is what it is. A neophyte listener will not be disappointed by it, and may in fact come to appreciate all its little details very well as this is the performance’s primary focus, but as an emotional statement, it comes close but no cigar. Witzel imparts a surprising, medium-fast Latin beat to Lerner and Loewe’s If Ever I Would Leave You although the middle eight, played by Ho, is in a straight 4, and it moves steadily into 4 once the initial theme statement is done and Ho begins soloing. We move back to the Latin beat for Witzel’s solo, here again at a high level, and again extended over more than one chorus. Ms. Information, another Witzel original, is not as fine a composition as the previous two, the melody line being vague and unmemorable, but again the solos are excellent.
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And once again, she manages to get more serious near the end, playing the soft string tremolos as if they were made of ice crystals. In the slow third movement, she builds up the gradual crescendo slowly and masterfully. In the last movement, Gražinytė-Tyla drives the music forward with an almost manic force. But even when the opening tempo is fast, Weinberg’s symphonies almost never end on a happy or a triumphant note; sooner or later, the deep sadness comes into the picture, and this is so here—at least for a while.
Alumni hold key positions in museums, galleries, archives, performing arts organizations, and media companies. Others have gone on to prestigious graduate programs and have subsequently secured academic positions. With a retro-futuristic, sci-fi vibe that takes visual inspiration from German films of the 1920s, Scrap Arts Music’s Children of Metropolis is a fast-paced, all-acoustic percussive bonanza with five musicians bringing their original score to heart-pounding life. It features over 145 self-made sculptural instruments, sixteen all-original music compositions, Scrap Arts Music’s signature action-choreography, and a whimsical full-length movie of our own making that shows while the musicians perform live. Five athletic musicians perform with 145 mobile invented instruments — all hand-made by group leader and composer, Gregory Kozak.
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Here, the harpsichord plays rambling, circular figures, busy music that basically goes nowhere. Weinberg continues to play with this phone-ringing motif on and off throughout the movement. Projecting deep feeling into the sounds you discover will bring them to life. By playing and practicing inside the Matrices and Cosmograms a musician will develop dexterity on any instrument in ways that are different from practicing scales and arpeggios.
I have Barshai’s recording of this piece, and it is an exceptionally good one; so too is Gražinytė-Tyla’s. Both manage to maintain an aura of sadness even in the most chipper passages, which by this time was wholly appropriate. When passages are played with energy and forward momentum, they sound more ironic, like smiling through clenched teeth, than exuberant.