Concertante Works Since 1972
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MISSY MAZZOLI | Dark with Excessive Bright: Concerto for Contrabass and String Orchestra (ACO Originals, Live from City Recital Hall, Sydney, 2018)
Maxime Bibeau
Australian Chamber Orchestra
Richard Tognetti
Provided to YouTube by The Orchard Enterprises
℗ 2020 Australian Chamber Orchestra
From Wikipedia, the free encyclopedia
Missy Mazzoli (born October 27, 1980) is an American composer and pianist who is a member of the composition faculty at the Mannes College of Music. She has received critical acclaim for her chamber, orchestral and operatic work. In 2018 she became one of the first two women to receive a commission from the Metropolitan Opera House.
She is the founder and keyboardist for Victoire, an electro-acoustic band dedicated to performing her music. From 2012-2015 she was composer-in-residence at Opera Philadelphia, in collaboration with Gotham Chamber Opera and Music-Theater Group. Her music is published by G. Schirmer.
Maxime Bibeau
Australian Chamber Orchestra
Richard Tognetti
Provided to YouTube by The Orchard Enterprises
℗ 2020 Australian Chamber Orchestra
From Wikipedia, the free encyclopedia
Missy Mazzoli (born October 27, 1980) is an American composer and pianist who is a member of the composition faculty at the Mannes College of Music. She has received critical acclaim for her chamber, orchestral and operatic work. In 2018 she became one of the first two women to receive a commission from the Metropolitan Opera House.
She is the founder and keyboardist for Victoire, an electro-acoustic band dedicated to performing her music. From 2012-2015 she was composer-in-residence at Opera Philadelphia, in collaboration with Gotham Chamber Opera and Music-Theater Group. Her music is published by G. Schirmer.
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Anna Clyne | The Seamstress (2014-15)
Jennifer Koh
BBC Symphony Orchestra
Saraki Oramo, Irene Buckley
from the album, Anna Clyne: Mythologies
Released on: 2020-10-16
℗ 2020 Anna Clyne
From Wikipedia, the free encyclopedia
Clyne began writing music as a child, completing her first composition at age 11. She formally studied music at the University of Edinburgh, from which she graduated with a first-class Bachelor of Music degree with honours. She later studied at the Manhattan School of Music and earned a MA degree in music. Her teachers have included Marina Adamia, Marjan Mozetich and Julia Wolfe.
Clyne was director of the New York Youth Symphony's "Making Score" programme for young composers from 2008 to 2010. In October 2009, Clyne and Mason Bates were named co-composers in residence with the Chicago Symphony Orchestra (CSO), as of the 2010–2011 season. She took up the residency in 2010, for a scheduled term of 2 years. In January 2012, her CSO contract as co-composer in residence was extended through the 2013–2014 season. After completing her tenure with the CSO, Clyne was announced as the composer-in-residence for Orchestre national d'Île-de-France from 2014 to 2016, the Baltimore Symphony Orchestra's 2015–2016 season, and The Berkeley Symphony Orchestra from 2017–2019. Clyne was appointed Associate Composer with the Scottish Chamber Orchestra from 2019–2022.
Jennifer Koh
BBC Symphony Orchestra
Saraki Oramo, Irene Buckley
from the album, Anna Clyne: Mythologies
Released on: 2020-10-16
℗ 2020 Anna Clyne
From Wikipedia, the free encyclopedia
Clyne began writing music as a child, completing her first composition at age 11. She formally studied music at the University of Edinburgh, from which she graduated with a first-class Bachelor of Music degree with honours. She later studied at the Manhattan School of Music and earned a MA degree in music. Her teachers have included Marina Adamia, Marjan Mozetich and Julia Wolfe.
Clyne was director of the New York Youth Symphony's "Making Score" programme for young composers from 2008 to 2010. In October 2009, Clyne and Mason Bates were named co-composers in residence with the Chicago Symphony Orchestra (CSO), as of the 2010–2011 season. She took up the residency in 2010, for a scheduled term of 2 years. In January 2012, her CSO contract as co-composer in residence was extended through the 2013–2014 season. After completing her tenure with the CSO, Clyne was announced as the composer-in-residence for Orchestre national d'Île-de-France from 2014 to 2016, the Baltimore Symphony Orchestra's 2015–2016 season, and The Berkeley Symphony Orchestra from 2017–2019. Clyne was appointed Associate Composer with the Scottish Chamber Orchestra from 2019–2022.
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Linda Catlin Smith | Path Of Uneven Stones
for Solo Piano and Ensemble
Performed on December 3rd, 2017
Betty Oliphant Theatre, Toronto
Eve Egoyan, Solo Piano
Robert Aitken, Conductor
Doug Stewart - Flute
Max Christie - Clarinet
Chris Gongos, Bardhyl Gjevori - Horns
Ian Cowie - Trombone
Rick Sacks - Percussion
Erica Goodman - Harp
Stephen Sitarski, Carol Lynn Fujino - Violins
Doug Perry - Viola
Program Note
Path of Uneven Stones was commissioned by the Société de Musique Contemporaine de Québec (SMCQ) through the Canada Council for the Arts. Central to the work is the piano, which is soloistic, yet non-heroic - a kind of anti-concerto.
Throughout the work there are moments where I was trying to create a thicker texture than often found in my work, though at other moments the work thins to almost nothing. The work explores melodic line, (sometimes several lines in layers), which have a slightly uneven rhythmic nature, a path where the stones are unevenly spaced perhaps, though there are places where evenness is paramount. — Linda Catlin Smith
for Solo Piano and Ensemble
Performed on December 3rd, 2017
Betty Oliphant Theatre, Toronto
Eve Egoyan, Solo Piano
Robert Aitken, Conductor
Doug Stewart - Flute
Max Christie - Clarinet
Chris Gongos, Bardhyl Gjevori - Horns
Ian Cowie - Trombone
Rick Sacks - Percussion
Erica Goodman - Harp
Stephen Sitarski, Carol Lynn Fujino - Violins
Doug Perry - Viola
Program Note
Path of Uneven Stones was commissioned by the Société de Musique Contemporaine de Québec (SMCQ) through the Canada Council for the Arts. Central to the work is the piano, which is soloistic, yet non-heroic - a kind of anti-concerto.
Throughout the work there are moments where I was trying to create a thicker texture than often found in my work, though at other moments the work thins to almost nothing. The work explores melodic line, (sometimes several lines in layers), which have a slightly uneven rhythmic nature, a path where the stones are unevenly spaced perhaps, though there are places where evenness is paramount. — Linda Catlin Smith
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Helen Grime | Trumpet Concerto (2022)
(night-sky-blue)
The starting point for Helen Grime’s Trumpet Concerto was the theme of night, in particular nocturnal gardens. Her inspiration came from a book of photographs depicting scenes from the natural world taken after darkness had fallen. Images of organic growth and the nocturnal life filled the composer’s mind and are reflected in music that is in a constant state of transformation.
The concerto is in a single movement, the music evolving over a series of interlinked sections. It begins in a mood of hushed stillness, over which the trumpet introduces an expansive melody. Gradually the solo line becomes more elaborate and virtuosic. As the music moves into its second section, a rhythmic, percussive motif is fired back and forth between soloist and orchestra. The music continues to spin and gain momentum, whilst alternating with freer, dreamlike passages in which vibraphone and harp hover in the background. Increasing in speed and intensity, the concerto finally reaches its climax with an explosion of orchestral colour. In its wake comes a return to the stasis of the opening music.
The work’s subtitle, night-sky-blue, is taken from a poem by Fiona Benson.
Programme note © 2022 Chester Music Ltd.
(night-sky-blue)
The starting point for Helen Grime’s Trumpet Concerto was the theme of night, in particular nocturnal gardens. Her inspiration came from a book of photographs depicting scenes from the natural world taken after darkness had fallen. Images of organic growth and the nocturnal life filled the composer’s mind and are reflected in music that is in a constant state of transformation.
The concerto is in a single movement, the music evolving over a series of interlinked sections. It begins in a mood of hushed stillness, over which the trumpet introduces an expansive melody. Gradually the solo line becomes more elaborate and virtuosic. As the music moves into its second section, a rhythmic, percussive motif is fired back and forth between soloist and orchestra. The music continues to spin and gain momentum, whilst alternating with freer, dreamlike passages in which vibraphone and harp hover in the background. Increasing in speed and intensity, the concerto finally reaches its climax with an explosion of orchestral colour. In its wake comes a return to the stasis of the opening music.
The work’s subtitle, night-sky-blue, is taken from a poem by Fiona Benson.
Programme note © 2022 Chester Music Ltd.
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Dan Dediu (born 1967): Double concerto "Vitrines & vitraux" op. 158 (2014-2015)
Raluca Stratulat & Andreea Ţimiraş
Orchestra Naţională Radio (Bucharest National Radio Symphony Orchestra), conducted by Adrian Morar
1. Recessivity 0:00
2. Serendipity 9:57
3. Exaptation 25:13
The composer writes: "Each movement tries to sonorize these specific mental processes: recessivity (the growth process of an individual seed in an immense pool) of a Waltz in a context of a very different sonic material, serendipity of a theme (accidental finding of a thing, in a context of searching something else) and exaptation of styles (use of something created for a special skill, in order to solve another problem)."
Raluca Stratulat & Andreea Ţimiraş
Orchestra Naţională Radio (Bucharest National Radio Symphony Orchestra), conducted by Adrian Morar
1. Recessivity 0:00
2. Serendipity 9:57
3. Exaptation 25:13
The composer writes: "Each movement tries to sonorize these specific mental processes: recessivity (the growth process of an individual seed in an immense pool) of a Waltz in a context of a very different sonic material, serendipity of a theme (accidental finding of a thing, in a context of searching something else) and exaptation of styles (use of something created for a special skill, in order to solve another problem)."
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Linda Catlin Smith – Wilderness
Wilderness was composed in 2005, and while it would be inaccurate to call it a work for violin and orchestra (still less a concerto), a solo violin has a role distinct from the rest of the instruments. However, the extent to which the violin is fully separate, i.e. representing the explorer of the wilderness created by the orchestra, isn’t merely debatable but changes throughout the course of the piece.
As wildernesses go, Smith’s is a relatively mild one, strange rather than directly inhospitable. The environment is one typified by clusters, forming a smeary texture in the strings, while the winds and brass tend towards shorter sustained chords. The combined effect is somewhat vaporous, more like a complex cloud formation than a solid wilderness of rock or land. As such, the solo violin’s halting journey through this is made through a process of floating and gliding. It’s this tone of elegance, even grace, permeating Wilderness that minimises how unsettling it feels, generally occupying a restful place, perhaps sparse but nonetheless colourful. (5:4 December 20, 2022)
Wilderness was composed in 2005, and while it would be inaccurate to call it a work for violin and orchestra (still less a concerto), a solo violin has a role distinct from the rest of the instruments. However, the extent to which the violin is fully separate, i.e. representing the explorer of the wilderness created by the orchestra, isn’t merely debatable but changes throughout the course of the piece.
As wildernesses go, Smith’s is a relatively mild one, strange rather than directly inhospitable. The environment is one typified by clusters, forming a smeary texture in the strings, while the winds and brass tend towards shorter sustained chords. The combined effect is somewhat vaporous, more like a complex cloud formation than a solid wilderness of rock or land. As such, the solo violin’s halting journey through this is made through a process of floating and gliding. It’s this tone of elegance, even grace, permeating Wilderness that minimises how unsettling it feels, generally occupying a restful place, perhaps sparse but nonetheless colourful. (5:4 December 20, 2022)
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Carter Pann - Concerto for Soprano Saxophone and Orchestra (2019)
I. The Old Line
II. Aria: Injurious Graffito
III. Jump!
IV. Hymn: A Love Supreme
Christopher Creviston, soprano saxophone
Arizona State University Symphony Orchestra
Jeffery Meyer, conductor
Carter Pann studied composition and piano at the Eastman School of Music and the University of Michigan, Ann Arbor, where he earned a Doctor of Musical Arts degree. His teachers include Samuel Adler, William Albright, Warren Benson, William Bolcom, David Liptak, Joseph Schwantner, and Bright Sheng, and piano with Barry Snyder.
I. The Old Line
II. Aria: Injurious Graffito
III. Jump!
IV. Hymn: A Love Supreme
Christopher Creviston, soprano saxophone
Arizona State University Symphony Orchestra
Jeffery Meyer, conductor
Carter Pann studied composition and piano at the Eastman School of Music and the University of Michigan, Ann Arbor, where he earned a Doctor of Musical Arts degree. His teachers include Samuel Adler, William Albright, Warren Benson, William Bolcom, David Liptak, Joseph Schwantner, and Bright Sheng, and piano with Barry Snyder.
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1,150 Posts
The first one is his double bass concerto By the Vaar (1987) with the composer as soloist, accompanied by the CBC Radio Orchestra, conducted by Owen Underhill.
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Let's have a bit of fun....
Nørgård - Concerto for Percussion & Orchestra "For A Change" (1982) - best performers, in the CD-recording somewhat enigmatically coupled with the opera "Siddharta" on 2 Dacapo CDs
And in a more lyrical mode
Keuris - Double Concerto for Two Celli (1992)
Lars Graugaard - Ophelia in the Garden, for Harp & String Orchestra (1989) - a slightly updated Tallis Fantasia?
But a fine work, IMO.
Nørgård - Concerto for Percussion & Orchestra "For A Change" (1982) - best performers, in the CD-recording somewhat enigmatically coupled with the opera "Siddharta" on 2 Dacapo CDs
And in a more lyrical mode
Keuris - Double Concerto for Two Celli (1992)
Lars Graugaard - Ophelia in the Garden, for Harp & String Orchestra (1989) - a slightly updated Tallis Fantasia?
But a fine work, IMO.
Waldemar Malicki, piano
Warsaw National Philharmonic Orchestra
Antoni Wit, conductor
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