As in some of her other works, too, Zwilich throws in some clear jazz references—here, at least, in the earlier jazz-classical style of Gershwin, only a bit more modal. She also provides excellent contrasts between the cellist’s lines and the orchestra. For the most part they are on the same page , but there are some wonderful moments in which they play opposing figures that complement one another. Near the end of the first movement, Bailey plays a note that is slightly “warped” in sound which gives the music an unusual feel.
As good as these other pieces are, it would have been nice to have had recordings of pieces that are not already out there on other discs. I’m sure that she has other orchestral works in her catalog that could have been used. We both have felt the full weight of the Coltrane universe at a very young age but realized that in some ways it is a dead end and that we would have to dig very deep to come up with something new that does not sound like we are on our knees worshiping Coltrane . We both love to explore so many various aspects of so many different types of music all with a mind to synthesize it into our our own unique brand of playing .
- The circular patterns, which can represent family and local groups are much like the circular or repetitive voices we hear in music.
- 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.
- In his second improvised chorus, he resorts to some flashy triplets in lieu of his usual high-level creations.
- Popular and folk music is popular because it frequently has a strong, predictable beat, a catchy melody, or both.
- Each of the three solo instruments play individually and independently of one another, adding their minimalist contributions in bits and pieces, fits and starts, but never quite conclusions.
The album closes with The Old Country, a song that Cannonball Adderly wrote for vocalist Nancy Wilson back in 1961. This is a nice, upbeat performance, and although the original tune wasn’t one of the strongest that Adderly ever wrote, Witzel again does wonders with it. In the context of Adderly’s soul jazz, Ho plays very well, but again it’s the leader who commands the most attention. Yet it is Nocturne No. 7 which sounds the most like one of his Cartas Celestas with its rumbling arpeggios and asymmetric, impressionistic melody line. In addition, No. 8 almost sounds like a continuation of No. 7, albeit with a different theme.
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Music echoes divine harmony; rhythm and melody imitate the movements of heavenly bodies, thus delineating the music of the spheres and reflecting the moral order of the universe. Earthly music, however, is suspect; Plato distrusted its emotional power. Music must therefore be of the right sort; the sensuous qualities of certain modes are dangerous, and a strong censorship must be imposed. Music and gymnastics in the correct balance would constitute the desirable curriculum in education. Plato valued music in its ethically approved forms; his concern was primarily with the effects of music, and he therefore regarded it as a psychosociological phenomenon. In fact, the term classical music comes to us as a reference to Classical Greek and Roman art.
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Matthew just responded to this subtle change of sound physics of the new mouthpiece and further advanced our already highly ever-evolving symbiotic musical relationship. The Flute Concerto No. 1, evidently written to comply with the Soviets’ demand for accessible music, is an unusually chipper piece for him at this stage of his life , but chipper it is. Coming on the CD between the Seventh and Third symphonies, it acts as a sort of upbeat emotional buffer. Gražinytė-Tyla’s performance, along with flautist Marie-Christine Zupancic, is appropriately upbeat. There is little or no angst here, but how can you make a flute express sadness and despair? The opening of the last movement is wholly unique, sounding like a phone ringing that is not answered before going into soft, moving figures in the violins.
By binding the chords and phrases of Schoenberg’s music, Iman almost makes it sound more pentatonic than atonal—one might say, a cousin to Scriabin. Nonetheless, Witzel does what he can with it, playing solo throughout and improving its quality if not quite lifting it far enough out of its original form. In his second improvised chorus, he resorts to some flashy triplets in lieu of his usual high-level creations. If he had wanted to do a song from Porgy and Bess, I wish he had chosen “It Ain’t Necessarily So” which is the best piece in the whole opera.
His broadcast composing credits include shows on the National Geographic Channel, the History Channel, PBS, Cartoon Network, and Discovery. He has created music for plays staged at Portland Stage Company, including Snow Queen, Iron Kisses, Magnetic North, and Passion of the Hausfrau. Hans studied at Oberlin Conservatory and earned a Master’s degree in jazz studies from the New England Conservatory. The event centered around a large art auction featuring nearly 200 album-sized 12″ x 12″ birch boards created by locally and nationally recognized artists.