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Brian Ferneyhough Jennings Franck Ollu Bach Paganini Irvine Arditti Edgard Varèse Elision Ensemble 1943 1988 1992 1996 2003
Terrain (1992) for solo violin and wind ensemble Composer: Brian Ferneyhough (b. 1943) Performers: Graeme Jennings, violin; ELISION Ensemble; dir. Franck Ollu / "In contrast to the obvious confrontation and contest typical of works for soloist and large orchestra, here there is endless scope (already prefigured in the keyboard concertos of Bach and Mozart) for constantly reinventing the role of the soloist in relation to the other players. For Ferneyhough, this problematizing of the relationship between soloist and ensemble had already started in the third part of the Carceri d’invenzione cycle, namely Carceri d’Invenzione II, for flute and small orchestra, where, consciously following the example of Schönberg’s Phantasy Op. 47, the mosaic- like solo part was written first, and the more ‘directional’ orchestral music was then grafted around it. And although (or perhaps because) Carceri II, for all its brilliance, is perhaps the least immediately convincing part of the Carceri cycle, it clearly set the composer thinking about all the possible relationships between a soloist and an ensemble. The result was a sequence of five works for solo instrument and ensemble – in chronological sequence, La Chute d’Icare (1988), Terrain (1992), Allgebrah (1996), Incipits (1996) and Les Froissements d’Ailes de Gabriel (2003) [...]. Of all these pieces – none of which places anything less than cruel demands on the soloists – Terrain is the most wildly virtuosic. Here, Paganini has to rise from the grave, reincarnated (initially via Irvine Arditti) as a transcendental modernist. From the very first bar, the violin part is electrifying, both in its difficulty and its intensity. At the same time, it is set against an ensemble which, far from offering support, is its very antithesis. The latter consists of the eight instruments (flute, oboe, clarinet, bassoon, horn, trumpet, trombone and double bass) of Edgard Varèse’s Octandre, which Ferneyhough cites as ensuring that “composing became my definitive goal in life”. The title Terrain has many references, all involving some geological aspect: the earthworks and writings of Robert Smithson, the eponymous poem by A. R. Ammons, which, for Ferneyhough, deals “with natural forces as a metaphor for the creative process”, but also the whole notion of shifting geological plates, and the enormous frictions between layers that these create. Hardly ever does the ensemble operate as a unified ‘tutti’: for most part it involves layers (strata) of two or three instruments that collide and then realign into different combinations. At the simplest level, one hears Terrain as piece in two parts, each preceded by a violin cadenza. But in fact, the violin cadenza runs, almost without respite, from start to end of the piece. When the ensemble first enters, it juxtaposes solos, duos and trios, but gradually accumulates some larger groupings. After a second solo violin passages, the ensemble re-enters as, for the first time, a soft, almost amorphous tutti (this is the only passage where the violin is absent), and from this point on, the work is a sort of textural rondo, where each attempt to reassert a ‘tutti’ presence is eroded by fresh small-group alliances. At the very end, the violinist’s almost Webernesque downward, whispering figures seem like a gently ironic commentary on the turmoil that has preceded them." ~Richard Toop (translation: Julia Ladera) Source: CD booklet / For education, promotion and entertainment purposes only. If you have any copyrights issue, please write to unpetitabreuvoir(at)gmail.com and I will delete this video.
Elision Ensemble Haynes Buckley 2014
Carl Rosman | conductor Peter Veale | oboe Richard Haynes | clarinet/bass Tristram Williams | trumpet Benjamin Marks | trombone Daryl Buckley | electric lap-steel guitar Peter Neville | percussion
Brenton Broadstock Carneiro Teixeira Webb Cardi Sato Marshall McGuire McGuire Elision Topology 1925 1927 1952 1956 1975 2000 2009 2010 2011
...Only the Living...for piano trio Composed by Brendan Colbert. Performance at the 2011 Resonance Music Series / Melbourne Composers' League 'At First Light' Concert Saturday, 24 September, 2011, Trinity Uniting Church, Brighton, Melbourne, Australia Michael Kieran Harvey (pianoforte), Alister Barker (violoncello) and Tim Veldman (violin). ...Only the living... is dedicated to Brian +••.••(...)), Kathleen +••.••(...)) and Michael +••.••(...)) ...Time may finally prove, only the living move her... Peter Hammill. Originally completed in 2000, ...Only the living... was revised (and finalised) in 2009, and is about eleven minutes long. Brendan Colbert was born in Ballarat, Victoria, in 1956. After moving to Melbourne in 1975 he worked with various progressive-rock bands as keyboard player and songwriter, and in the mid 80s started private composition studies, initially with Brenton Broadstock and then later with Riccardo Formosa. His output includes a large number of works, with many performances and broadcasts around Australia and in Europe and the USA. Performers include the Queensland and West Australian Symphony Orchestras, ensembles such as ELISION, Speak Percussion, Arcko Symphonic Project, Smash Ensemble, Libra, Topology, Duo Contemporain, and soloists Sisco Aparici, Pedro Carneiro, Mario Teixeira, Barrie Webb, Michael Kieran Harvey, Peter Neville, Carl Rosman, Stefano Cardi, Norio Sato, Linda Wetherill, Gisbert Watty, Marshall McGuire, Geoffrey Morris and others. In recent times his percussion works in particular have attracted significant international attention. Other recent performances include premieres of Shades of Futures Past (flute concerto, Arcko Symphonic Project, conducted by Timothy Phillips, featuring Sarah Beggs soloist, Melbourne August 2011), Ebb (percussion quartet, SPEAK Percussion, Sep. 2010), Clash (xylophone and vibes, SPEAK Percussion, Sep. 2010), and ...only the living...