Choral

Classical,  world, etc. vol. 6

Lusine Zakarian Surd Surb

Clara Rockmore - Summertime

O Magna Vasti Creta is the first section of a work-in-progress, Ariadne of Knossos, exploring the pre-Hellenic origins of the Ariadne myth. I have used lyrics from several languages, which reflects the many different strands of the Ariadne myth. This piece is an evocation of the power, majesty, and mystery of Ariadne before her eclipse by the conquering Greeks.

O Magna Vasti Creta

Minos, for tenor soloist and mixed chorus (SSAATB, is the sixth section of a work-in-progress, Ariadne of Knossos, a piece exploring the pre-Hellenic origins of the Ariadne myth. I have used lyrics from several languages, which reflects the many different strands of the Ariadne myth. This section is an evocation of the bull, which was sacred in Crete before the Greeks conquered it.

Minos

"Ceremony of the Bull" is the third section of a work-in-progress, Ariadne of Knossos, which is a theatrical musical piece exploring the pre-Hellenic origins of the Ariadne myth. It is for mixed chorus (SSAATB) and string quartet. I have used lyrics from several languages, which reflect the many different strands of the Ariadne myth. This section is an evocation of the bull, which was sacred in Crete before the Greeks conquered it.

Ariadne of Knossos

Ceremony of the Bull

"Call of the Dance," for soprano soloist and 8-part women's chorus, is the second section of Ariadne of Knossos, a work-in-progress, which will be a theatrical musical piece exploring the pre-Hellenic origins of the Ariadne myth. I have used lyrics from several languages, which reflects the many different strands of the Ariadne myth. This refers to the ancient tradition of all-women choirs, many of which also incorporated movement.

Call Of The Dance

"Ariadne’s Lament" is a piece for eight sopranos. It is the third and final piece of works for eight women's voices inspired by and loosely based on a madrigal by Monteverdi, "Lamento d’Ariana," using it as a source for pitch and syllables. I have always loved Monteverdi’s close harmonies, the tension in them, and I wanted to extend them. "Ariadne’s Lament" is the culmination of the first two pieces. It uses more obvious phrases from Monteverdi and more contrasting sections and writing techniques.

Ariadne's Lament

The Crane Dance is a dramatic solo for soprano and women's chorus describing the holy dance of Crete. In ancient Crete there was a form of choral dance using choruses of girls who accompanied dancers, called the hypercheme, in which a dancing and gesticulating chorus was reinforced by a stationary group of singers. There are no dancers in this piece, but the singers describe a dance. The piece starts fairly serenely and builds in intensity as the dancing becomes more frenzied, which is reflected in the choral accompaniment.

The Crane Dance

Siren - Snorkel (SPY Remix)

Vicious Circle &amp; Need For Mirrors - Eyes Wide Shut

Lana Del Rey - Video Games (Vicious Circle Bootleg)

Federico Sanz (Violín) 
Cristián Cortés (Violín) 
Santiago Federici (Bandoneón) 
Martín Marino (Contrabajo)

Grabado en la ciudad de Rosario (Argentina) en septiembre de 2010.

8- Libertango (Astor Piazzolla)

Khedai

Vicious Circle

VICIOUS CIRCLE

AVAILABLE 11/1/2019, order now: https://orcd.co/soundportraitsfrombulgaria

Between 1966 and 1979, educator and cultural documentarian Martin Koenig made half a dozen trips to Bulgaria. Working in villages throughout the country, Koenig filmed, recorded, and photographed the lively, yet endangered, aspects of Bulgaria’s traditional culture. The results are indelibly gathered in Sound Portraits of Bulgaria: the vibrant rural life he experienced, the virtuosic musicians and dancers he met, the extraordinary music they made, and the joyous rituals and festivals he witnessed. This collection celebrates a way of life that has largely vanished due to industrialization, technology, globalization, and emigration.

Sound Portraits from Bulgaria

Gheorghe Hristović, Jon Barbolović, Jovan Anasonović, and Jon Varalongović - Poloska

MARY JANE LEACH is a composer/performer whose work reveals a fascination with the physicality of sound, its acoustic properties and how they interact with space. In many of her works Leach creates an other-worldly sound environment using difference, combination, and interference tones; these are tones not actually sounded by the performers, but acoustic phenomena arising from Leach’s deft manipulation of intonation and timbral qualities: “an acoustic Through the Looking Glass world based on sound that the performer is not making.” (The New Yorker).

Ariadne's Lament

mjleach