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2024-05-02
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Albany Symphony Orchestra John Harbison 2015
Provided to YouTube by The Orchard Enterprises The Great Gatsby Suite: I. Allegro Moderato · Albany Symphony Orchestra · David Alan Miller · John Harbison John Harbison: The Great Gatsby Suite ℗ 2015 Albany Records Released on: 2015-03-01 Music Publisher: Associated Music Publishers Auto-generated by YouTube.
Jacob Druckman Jorge Mester Kogan Pierre Boulez Pier Francesco Cavalli Louisville Orchestra Albany Symphony Orchestra New York Philharmonic 1649 1974 1976
Lamia, for soprano & orchestra (1976) Jan de Gaetani, mezzo-soprano The Louisville Orchestra Jorge Mester The magic of music has seldom celebrated the music of magic with as much force, directness and power as in Jacob Druckman's remarkable work for soprano and orchestra, Lamia. Commissioned by the Albany Symphony Orchestra, Lamia was premiered on April 20, 1974, under the batons of Julius Hegyi and Robert Kogan. The work was enlarged in 1976 with an additional movement based on a Malaysian folk conjuration. The new version was premiered by Pierre Boulez and David Gilbert with the New York Philharmonic in 1976, and was hailed as "a work of considerable imaginative power, imagery, and craftsmanship." The incredible artistry of mezzo-soprano Jan de Gaetani, soloist at all the performances, figured largely in the composition of the work. Turning to the world of the occult, the Pulitzer Prize-winning composer gathered together seven widely diverse texts - a "lucky" number - in order to celebrate those magical metaphysical powers to which people have always turned - whether an innocent provincial maiden longing for a husband, a frightened traveler warding off thieves or even death, or those darker figures like Medea whose terrifying links to the supernatural have always played havoc with the world's idea of the natural. Lamia, a mythical witch and sorceress, has long been associated with the occult. Her name as the title of the present work is not meant to personify the soloist, but to evoke the mystical atmosphere which impelled the work's creation. The piece begins with a "Folk Conjuration to make one courageous" from Lorraine, chanted by the soloist midst a subdued menacing accompaniment. The second movement opens with a quotation from Ovid in which the soloist virtually becomes the tormented Medea. Suddenly, she is no longer Medea but an innocent French maiden beseeching the moon for a glimpse of her future husband. Those sudden character shifts are central to Druckman's conception. The soloist - the sorceress - becomes another being in an instant because all existence is potentially within her life force. This feature of the work is also reflected in the unexpected - and quite wonderful - stops and starts in the orchestra. The third movement is a conjuration from Malaysia "against death or other absence of the soul." Then, in a quotation from Druckman's earlier Animus 2, the soprano begins the final movement by becoming an instrument, and pitting one conductor against the other with teasing magical sounds, bewitchingly transcending text. The figure of Medea is then evoked once more with a powerful quotation - words and music - from a 1649 opera by Pier Francesco Cavalli entitled Il Giasone, initially played by the smaller of the two orchestras. Suddenly, the soloist turns to the conductor of the large orchestra and becomes Isolde, exclaiming of herself, "Entartet Geschlecht!" ("Degenerate offspring!"), then concludes the Cavalli quotation. Finally, the larger orchestra swells as Druckman's own music accompanies Isolde's powerful incantation from the beginning of Wagner's opera. The work ends with an eerie text, a conglomeration of words worn in the 16th century on one's person as a "periapt" or charm against thieves. To achieve his own musical sorcery, Druckman divides the orchestra into two unequal parts, each with its own conductor. The resulting sonorities are tantalizing, spooky, poignant and evocative. But more than that, the orchestral division allows the soloist to interact with them in a unique and beguiling way, cajoling them, mocking them, infusing conflict. The orchestra's percussion section is extremely rich, including many of the newer instruments that have become part of contemporary symphonic sound. A spring coil with sizzles is used with particularly haunting results. [First Edition Records – LS 764] Art by Hanna Ilczyszyn
Talise Trevigne Aaron Jay Kernis Albany Symphony Orchestra 2017
Provided to YouTube by The Orchard Enterprises Simple Songs: V. Psalm 131 · Talise Trevigne · Aaron Jay Kernis · David Alan Miller · Albany Symphony Orchestra Simple Songs ℗ 2017 Albany Records Released on: 2017-09-01 Auto-generated by YouTube.
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