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Come Down Heavy!

Come Down Heavy!

(Duplicated CD)
  • Version 29.11.2011
  • Medienformat CD
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Preis 18,04 €


French composer Joseph Canteloube was born to an affluent Auvergnant family. Canteloube's mother arranged for her son to study piano with Amelie Doetzer, beginning at age six. Doetzer was a personal friend of Frederic Chopin and used exercises that were hand written by this great composer. Thus, from an early age, Canteloube's concept of sonority was greatly influenced by Chopin. Not only was Canteloube influenced by Chopin, he was also exposed to local dances and folksongs. His father would often take him on long walks through the mountain villages of the Auvergne. This would have a huge impact on Canteloube's view of music and it's need for folk song. Canteloube became a great advocate for folk music and it's use in "serious" music. He strongly felt that contemporary music had lost it's way because composers and performers had turned their backs on folk music. After World War I Canteloube began to collect, harmonize, and publish collections of folk music. He did not approach the use of folk music from an ethno-musicological approach; rather, he simply wished to awaken an interest in these songs. As a result of his great interest in and use of folk music the works of Canteloube are difficult to classify. At times he directly quotes the folk song and adds harmony, yet in other instances the folk songs are nearly unrecognizable. The line between composition and arrangement is highly blurred in the oeuvre of Joseph Canteloube. During his career, Canteloube was often criticized for the extremely elaborate harmonies, added notes, and orchestrations he used with his folk songs. To rebut his critics, Canteloube stated: Just because the peasant sings without accompaniment, that is not sufficient reason to imitate him. When the peasant sings at his work, or during the harvest, there is an accompaniment which surrounds his song which would not be felt by those whose interest is purely academic. Only poets and artists will feel it... It is nature herself, the earth which makes this, and the peasant and his song cannot be separated from this... If you suppress this atmosphere, you lose a large part of the poetry. Only the immaterial art of music can evoke the necessary atmosphere, with it's timbres, it's rhythms and it's impalpable, moving harmonies. Chants D'Auvergne were transcribed for saxophone by Yasuhide Ito. Lan Na Thai was composed during 2008 at the request of Dr. Andy Wen for a performance at the 2009 World Saxophone Congress in Bangkok, Thailand. The composition is in three movements with each titled after a different period in Thailand history. The piece is loosely programmatic as it tries to capture the general mood of each era, rather than specific events. I. Sukhothai (The Dawn of Happiness) - This movement reflects the ideal state, a land of plenty, and is peaceful. II. Ayutthaya - This movement reflects a period of wealth that is characterized by wars with Burma. III. The Chakri Dynasty - This movement reflects the more hectic pace of modern society where Thailand moves from an absolute monarchy to a constitutional monarchy. Folk music of Thailand is built on a seven-note scale of equal intervals. The fourth and seventh notes of this scale are often used only for ornamental purposes. In order to approximate this scale, a pentatonic scale is used as it is like a major scale with the fourth and seventh tones removed. The pre-recorded sounds approximate some of the instruments traditionally used in Thai folk music. Composer Sy Brandon, professor emeritus of music from Millersville University, was recently commissioned by the Arizona Centennial Commission to compose a band composition to celebrate Arizona's 100th anniversary of statehood. Other first prize awards include WITF-FM's 25th Anniversary Composition Contest, and Franklin and Marshall College's Wind Ensemble Composition Contest. The Czech National Symphony Orchestra, the Philharmonia Bulgarica, and the Kiev Philharmonic have recorded his music. Sy Brandon's Celebration of Flight commemorates the 100th anniversary of the Wright Brothers' first controlled flight by an aircraft using it's own power. The first movement, "Inspirations", musically represents the influences on our imagination to fly like a bird. Bird sounds are heard early in the movement as a trill-like figure. It first appears in the violin and then moves to the saxophone. The rapid triplet figures and the opening melodic material represent the swooping and soaring of birds. Early experiments with gliders are represented in the second section of the piece. The dangers are expressed in the double stop melody in the violin and soaring is expressed in the scale passages in the saxophone. The movement ends with a question mark, raising doubt that humans would ever fly.The second movement, "Experiments", begins with a four-measure theme that goes through a number of transformations throughout the movement. It represents the basic idea of the Wright Flyer and it's adjustments made to enable it to fly with control. A dotted rhythm motif represents the determination of the Wright Brothers. A continuous sixteenth note passage represents the wind tunnel experiments. A quieter passage that is harmonized in thirds represents contemplation and it appears several times during the movement. It is most extensive at the end of the movement as the Wright Brothers examine their newfound knowledge and make the needed adjustments. Immediately preceding the final contemplative section is an intense soaring theme in quarter notes representing the Wright Brothers successful kite and glider experiments.The last movement, "Triumphs", begins with a celebratory section in 7/8 and 6/8. After this festive beginning, a sustained melody in the violin represents the first flight that lasted 12 seconds with Orville at the controls. This melody also lasts 12 seconds. Accompanying the sustained melody is the steady staccato eighth note rhythm in the saxophone representing the sound of the motor. After a short celebratory section, The saxophone begins the sustained "melody of flight" as now Wilbur is at the controls. The staccato eighth note "motor" accompaniment changes into a flowing triplet figure during 59-second flight, the longest of 1903. The "flight" melody now lasts 59 seconds as well. After a "soft" landing of the "flight" melody, the violin brings the listener back to the "celebration" theme that ends the piece in a festive and exciting manner. Penelope's Song is a tribute to Penelope, Queen of Ithaca and wife of Odysseus. It was inspired by Homer's epic, the Odyssey, which tells of the travails of Odysseus, but reflects Penelope's point of view. Ulysses was away from home for twenty years, first at war in Troy and then, due to the sea-god Poseidon's wrath, for ten more years. The story tells of Penelope, left waiting for him for all that time, and of the many suitors, filled with greed and arrogance, who tried to woo her in order to become king. To stave them off she devised many excuses. In one, she said she would take no suitor until she finished weaving a shroud for her husband's aged father, Laertes. But, since she unraveled at night what she wove by day, she made no progress. Instead, she actively waited for Ulysses' return. This piece sings of her adventures. The electronics were created from a recording of a local weaver working on wooden looms. The composer processed and shaped these materials, weaving a new sonic fabric. The original version was composed for violist Rozanna Weinberger. Subsequent versions were created for violin, cello, and clarinet. This version, for soprano sax, was commissioned by, and is dedicated to Susan Fancher. - Notes by the composer, Judith Shatin. The title Come Down Heavy! Is taken from a line in the folksong Drill Ye Tarriers upon which the last movement of the piece is based. I grew up listening to my parents singing folksongs-this piece was inspired by memories of my father beating on his guitar, belting out John Henry, and the quiet sadness in my mother's voice as she sang me to sleep. To me, folksongs are not quaint, naive or innocent, as they've often come to be misrepresented-they are powerful, sometimes gritty, bitter and ironic, full of the sadness and longing of life. Although these particular songs recall part of my past, they are also part of my present-my goal was to avoid casting them in a cloud of nostalgic mist or nationalistic fervor, and to capture some of the raw, rough energy and genuine ache of the music. These are not "arrangements" of folksongs, but rather settings or treatments of them; while the tunes are present, they are often transformed, extended, and even abandoned. The first movement, "Steel Drivin' Man", is based on the work-song John Henry, about the mighty railroad man and the legendary contest pitting his mythical human strength against that of the steam-drill. The style is based upon my father's full-tilt performances of the song and is dedicated to him (with tips of the hat to Huddy Leadbetter and Doc Watson). "I Gave my Love a Cherry" or "The Riddle Song" is dedicated to my mother; it is one of her favorite lullabies. I've treated it as a mountain lament that uses an unusual violin tuning taken from Scottish fiddle playing. "Oh lovely Appearance of Death" was written by the Reverend George Whitefield in 1760. It was a song that my Grandmother used to sing as a lullaby, and I learned it from my father. Although the words are quite morbid (dealing with a deeply religious aesthetic reaction to death as a release from worldly suffering), I've always been haunted by the melody. It receives the simplest and most unadorned treatment of the songs in this work. The piece is also informed to a large extent by my involvement with traditional Irish music-the work-song "Drill Ye Tarriers" is itself rooted firmly in the Anglo-Irish tradition, and is presented first as a modified Irish reel, and later as a jig, layered with the song Patsy on the Railroad. )It is also finally transformed into a wild tarantella, no doubt a direct influence of my wife's Italian-American family!) The work was written for James Umble and the Cleveland Duo. - Notes by the composer, Evan Chambers.


Titel: Come Down Heavy!
Release-Datum: 29.11.2011
Etikett: CD Baby
Medienformat: CD
UPC: 802114290625
Produkt #: 634925X