Jack Harrold Video
cantante lirico statunitense
Commemorazioni 2024 (Morte: Jack Harrold)
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2024-04-30
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Harrold Ilan Volkov Volkov Bbc Scottish Symphony Orchestra 2016
"I'd dare to suggest that Nightfires, with its incredible seismic heaving, is among the most exciting pieces I've heard from a Scottish composer in the last 25 years; since Isobel Gowdie, in fact." Michael Tumelty, the Herald "...a solo cello elbows its way out of shrieking trumpets and swaggering double basses to play a frenzied elegy. It’s bold orchestral writing, confident enough to use the brightest of colours and the chunkiest of rhythms. I’d like to hear more." Kate Molleson, the Guardian "A ten-minute work packed with incessant youthful energy, it is, however, remarkable for the confidence and character of its orchestration, and a golden thread of a melody that weaves its way artfully through the surface excitement." Ken Walton, the Scotsman NIGHTFIRES (2016) for large orchestra World Premiere: BBC Scottish Symphony Orchestra | Ilan Volkov City Halls Glasgow 7th April 2016 Broadcast live on BBC Radio 3 A BBC Commission Instrumentation: picc.2.3.2.bcl.2.cbn | 4.3.3.1 | timp.perc(3):4tom-t/3cowbells/anvil/tam-t/BD/2bongos/susp.cym/h-hats/2timbales/kickBD/RopeD/t.bells/crot/mar | 14.12.10.8.6 Duration: 10'00'' Nightfires is written in one continuous movement which lasts around ten minutes. Titles are usually amongst the last decisions I make as part of my writing process, so unusually for me, I decided on Nightfires as the title for the work long before the musical material existed (even in sketch form). The work is designed to be a hard-hitting, energised concert-opener. There was little intention to write programmatic music, but more to use the title as a catalyst for the piece (I often utilise “quietly evocative” titles as a “way in” for listeners). This created a deliberately ambiguous and abstract canvas in which I have been able to draw on my own interpretation of the dark, brooding, ominous imagery conjured in my mind by Nightfires. The work is for the most part an elongated, baleful melody which is continuously shadowed and shrouded by a highly energised, often angular, musical landscape. Shrill winds and unrelenting brass ostinatos underpin lopsided grooves and loops which eventually fall away to reveal a solo cello. Its frantic, breathless material is quickly subsumed and damaged by the return of the noisy, acrid brass and pungent, bitter strings. The work has one brief moment of hiatus with cleansing, restrained string chords. All-too-quickly, these chords are smothered, and the work is hurled towards the climax where shrieking trumpets reprise their opening fanfares before propelling towards the work's end. www.tomharrold.net
Hemke Jules Demersseman Leigh Harrold
Le Carnaval de Venise (the Carnival of Venice) by Jules Demersseman arr. Hemke. Saxophone - Justin Kenealy Piano Leigh Harrold Venue: Melba Hall, Melbourne Conservatorium of Music (http•••)
Victor Herbert Emma Trentini Orville Harrold Jeanette Macdonald Nelson Eddy 1910 1930 1935
Ah! Sweet Mystery of Life Words by Rida Johnson Young, music by Victor Herbert From the Operetta "Naughty Marietta" Performed by Jesse Crawford at the Wurlitzer Pipe Organ Recorded Feb 12, 1930 Victor 20333 The operetta, "Naughty Marietta" originally opened on Broadway November 7, 1910 and had 136 performances. The cast included Emma Trentini, Orville Harrold, Edward Martindel and Marie Duchene. It was an all-time popular score by Victor Herbert with lyrics by Rida Johnson Young. In the original score, the melody of the song "Ah! Sweet Mystery of Life" is introduced as "The Dream Melody", without words. The familiar words are included in the "Finale" however the song is not named "Ah!, Sweet Mystery of Life" in the original score. The operetta had a revival in the late 1920s and then was released by MGM as a musical film in 1935, starring Jeanette MacDonald and Nelson Eddy.
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- cronologia: Cantanti lirici (Nord America).
- Indici (per ordine alfabetico): H...