Erik Alvin Videos
schwedischer Komponist, Lehrer und Musiker
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2024-05-02
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Cantio Antiqua, das Vokalensemble aus dem Engadin, Leitung Peter Rechsteiner, anlässlich eines Mozart-Konzertes in Samedan und Chur. Die Aufnahmen stammen vom Konzert in der Churer Sankt Martinskirche. Die Solisten: Maria Cäcilia Schmid, Maria Victoria Haas, Cristian Cantieni, Alvin Muoth; Instrumentalisten der Bündner Kammerphilharmonie. Die traditionelle Verabschiedung des Ensembles Cantio Antiqua in seinen Konzerten: Buna not von Otto Barblan (Serenada)
Arthur William Foote Fred Sherry Boehm John Knowles Paine Schumann 1652 1851 1853 1897 1937
Alvin Rogers and Kees Kooper, violins Richard Maximoff, viola Fred Sherry, cello Mary Louise Boehm, piano Arthur William Foote +••.••(...)) was the first American composer of note who did not study in Europe. American art music was still in its infancy, and conservatories/music schools were virtually nonexistent. Foote became the first person to earn a Master of Arts degree in music from an American university, studying under composer John Knowles Paine at Harvard University. He was, along with Paine, one of the "Boston Six", a group of American composers among the first to develop a distinctly American style of art music. Foote's Piano Quintet of 1897 is considered by some to be his finest chamber work. The first movement is in the expected sonata-allegro form, whose three themes are in turn impassioned, jaunty, and lyrical. The following intermezzo begins with a theme of a distinctly American flavor. The central trio features exquisite contrapuntal string writing over undulating piano arpeggios. The third movement is a scherzo and trio, with great variety of rhythm and texture and highly idiomatic piano writing. The final movement is a spirited rondo with a folk-like refrain. The B section is a nimble moto perpetuo passed between the piano and first violin (and happens to bear a strong resemblance to the second trio of the scherzo of Schumann's piano quintet).The C section is lyrical is reminiscent of the third theme of the first movement. The moto perpetuo then reappears, leading us to the final refrain and a rousing conclusion in A major. I. Allegro giusto:appassionato (A minor) 0:00 / Exposition 0:00 / Theme 1 (A minor) 0:00 / Theme 2 (C minor) 1:22 / Theme 3 (C major) 1:54 / Closing 2:43 / Development 3:21 / Fugato on Theme 2 4:44 / Recapitulation 5:32 / Theme 1 (A minor) 5:32 / Theme 2 (A minor) 6:08 / Theme 3 (A major) 6:37 / Coda 7:29 II. Intermezzo. Allegretto (F major) 8:02 / A 8:02 / B trio (D flat major) 11:20 / A 13:49 III. Scherzo. Vivace (D minor) 16:52 / A 16:52 / Trio (D major) 18:51 / A 20:36 / Coda 21:08 IV. Allegro giusto (A major) 21:26 / A 21:26 / B (F# minor) 22:44 / A 23:46 / C (E major) 24:17 / B (A minor) 25:48 / A 26:27
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Asplund Carson Alvin Curran Thea Musgrave 1964 1997
Christian Asplund (b. 1964) — Golgotha (1997) for organ Carson Cooman, organ Canadian-American composer and performer Christian Asplund (b. 1964) is currently based in Utah, where he is a member the faculty of Brigham Young University’s School of Music. He studied at BYU and Mills College, and his teachers have included Stuart Dempster, John Rahn, Joel-François Durand, Alvin Curran, Chris Brown, Thea Musgrave, and Meyer Kupferman. Of his music, Stuart Dempster has said, “Asplund, in his well-crafted compositions, delightfully teases us on those slippery slopes between composition and improvisation,” while a jazz reviewer has said Asplund’s music “walks a squiggly line that passes through jazz…, free improv, rock, funk and a whole spectrum of ‘modern classical’ styles, including minimalism, serialism, and a handful of other ‘isms’…”
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