Winner of the 2013 Pulitzer Prize in Music, this is Caroline Shaw's a capella choral masterpiece "Partita for 8 Voices."

COMPOSER: Caroline Shaw
ENSEMBLE: Roomful of Teeth

NOTE: This is a live performance! (recorded in the Fox Cabaret on 1/25/2016)

Please be aware that this music belongs to its respective owners, and I do not claim any right over it. I upload this solely for archiving purposes, and for the sharing and enjoyment of great music. If you are the rightful owner of this copyrighted material and would like the video removed from SoundCloud, leave a comment below with your statement and I will take the upload down effective immediately.

Caroline Shaw — Partita for 8 Voices: I. Allemande

Caroline Shaw — Partita for 8 Voices: II. Sarabande

Caroline Shaw — Partita for 8 Voices: III. Courante

Kaval Sviri (Bulgarian: Кавал свири, lit. 'A Kaval Plays') is a Bulgarian folk song. This is a popular version arranged by Petar Lyondev, performed by the Katena Bulgarian Voices conducted by Katya Barulova.

Kaval Sviri (arr. Petar Lyondev) (Katena Bulgarian Voices)

Kevin Penkin wrote about this work for flute and orchestra:
"Changing Feet is about changing pace. Leaving the world’s most isolated city to live in one of the most industrious and compact environments requires a huge mental change. This piece tries to reflect not only the mentality of someone who grew up in Perth, but the experience of moving to London and ultimately returning home back to Australia. This work explores what one could miss of Perth, be it the silence, the space or the natural beauty."

COMPOSER: Kevin Penkin
CONDUCTOR: Kelly Lovelady
FLUTE: Nicola Crowe
ORCHESTRA: Tait Chamber Orchestra

NOTE: This is a live performance! (WORLD PREMIERE performance, recorded in St John's Smith Square on 12-9-2014)

Please be aware that this music belongs to its respective owners, and I do not claim any right over it. I upload this solely for archiving purposes, and for the sharing and enjoyment of great music. If you are the rightful owner of this copyrighted material and would like the video removed from SoundCloud, leave a comment below with your statement and I will take the upload down effective immediately.

Kevin Penkin — Changing Feet (2014)

This is Robert Nettleship's "2,000 Fifths" for Sibelius MIDI. Audio is Sibelius General MIDI.

Here's the score video on YouTube: https://www.youtube.com/watch?v=tRiQpyTi3_M

Robert Nettleship — 2,000 Fifths (2021)

This is Robert Nettleship's "10,000 Seconds" for Sibelius MIDI. Audio is Sibelius General MIDI.

Here's the score video on YouTube: https://www.youtube.com/watch?v=bdqhj-Damwg

Robert Nettleship — 10,000 Seconds (2022)

Naive and Sentimental Music (1999) is a symphonic work by American composer John Adams. The title of the work alludes to an essay by Friedrich Schiller, On Naïve and Sentimental Poetry, that contrasts a creative personality that creates art for its own sake (the "naïve") versus one conscious of other purposes, such as art’s place in history (the "sentimental").
The second movement, "Mother of the Man", consists of slowly evolving, absolutely gorgeous harmonies and textures punctuated by chords from an amplified steel guitar.

COMPOSER: John Adams
CONDUCTOR: Esa-Pekka Salonen
GUITAR: David Tenenbaum
ORCHESTRA: Los Angeles Philharmonic

Please be aware that this music belongs to its respective owners, and I do not claim any right over it. I upload this solely for archiving purposes, and for the sharing and enjoyment of great music. If you are the rightful owner of this copyrighted material and would like the video removed from SoundCloud, leave a comment below with your statement and I will take the upload down effective immediately.

John Adams — Naïve and Sentimental Music: II. Mother Of The Man

Naive and Sentimental Music (1999) is a symphonic work by American composer John Adams. The title of the work alludes to an essay by Friedrich Schiller, On Naïve and Sentimental Poetry, that contrasts a creative personality that creates art for its own sake (the "naïve") versus one conscious of other purposes, such as art’s place in history (the "sentimental").
The first movement, "Naive and Sentimental Music", opens with a meandering melody over simple chords that subsequently undergoes a variety of symphonic transformations.

COMPOSER: John Adams
CONDUCTOR: Esa-Pekka Salonen
ORCHESTRA: Los Angeles Philharmonic

Please be aware that this music belongs to its respective owners, and I do not claim any right over it. I upload this solely for archiving purposes, and for the sharing and enjoyment of great music. If you are the rightful owner of this copyrighted material and would like the video removed from SoundCloud, leave a comment below with your statement and I will take the upload down effective immediately.

John Adams — Naïve and Sentimental Music: I. Naive and Sentimental Music

Naive and Sentimental Music (1999) is a symphonic work by American composer John Adams. The title of the work alludes to an essay by Friedrich Schiller, On Naïve and Sentimental Poetry, that contrasts a creative personality that creates art for its own sake (the "naïve") versus one conscious of other purposes, such as art’s place in history (the "sentimental").
The third and final movement, "Chain To The Rhythm", in a minimalistic vein, uses rhythmic fragments that gradually build up to a thunderous climax.

COMPOSER: John Adams
CONDUCTOR: Esa-Pekka Salonen
ORCHESTRA: Los Angeles Philharmonic

Please be aware that this music belongs to its respective owners, and I do not claim any right over it. I upload this solely for archiving purposes, and for the sharing and enjoyment of great music. If you are the rightful owner of this copyrighted material and would like the video removed from SoundCloud, leave a comment below with your statement and I will take the upload down effective immediately.

John Adams — Naïve and Sentimental Music: III. Chain To The Rhythm

FULL TITLE OF MOVEMENT: III. Climactic moments from Adagio for Strings and The Four Seasons, slowed down and layered on top of one another

This is Ted Hearne's explosive piece for string orchestra, "Law of Mosaics", written for and performed here by A Far Cry, a Boston-based chamber orchestra. This recording stems from the album of the same name, in which he shared with composer Andrew Norman.
Ted writes in the program notes:
"'Thomas Jefferson went through the New Testament and removed all the miracles, leaving only the teachings.' 'Meaning is a matter of adjacent data.' 'The law of mosaics: how to deal with parts in the absence of wholes.' These passages, along with many others, are appropriated from a variety of sources and arranged by David Shields into his 2010 book, Reality Hunger: A Manifesto. It is a patchwork treatise on art and digital culture, and is an inspiration for Law of Mosaics - a new 30-minute piece for A Far Cry.
In some way, the rich history of works written for the string orchestra informs and influences every performance by every individual string orchestra active today, whether they choose to perform those works or not. The third movement, "Climactic moments from 'Adagio for Strings' and 'The Four Seasons,' slowed down and layered on top of one another" explores what can happen when two 'staples' of the repertoire (likely to be found on a Best Classical Hits CD) are stretched out and mashed up.

COMPOSER: Ted Hearne
ENSEMBLE: A Far Cry

Please be aware that this music belongs to its respective owners, and I do not claim any right over it. I upload this solely for archiving purposes, and for the sharing and enjoyment of great music. If you are the rightful owner of this copyrighted material and would like the video removed from SoundCloud, leave a comment below with your statement and I will take the upload down effective immediately.

Ted Hearne — Law of Mosaics: III. Climactic moments from Adagio for Strings and The Four Seasons...

This is Ted Hearne's explosive piece for string orchestra, "Law of Mosaics", written for and performed here by A Far Cry, a Boston-based chamber orchestra. This recording stems from the album of the same name, in which he shared with composer Andrew Norman.
Ted writes in the program notes:
"'Thomas Jefferson went through the New Testament and removed all the miracles, leaving only the teachings.' 'Meaning is a matter of adjacent data.' 'The law of mosaics: how to deal with parts in the absence of wholes.' These passages, along with many others, are appropriated from a variety of sources and arranged by David Shields into his 2010 book, Reality Hunger: A Manifesto. It is a patchwork treatise on art and digital culture, and is an inspiration for Law of Mosaics - a new 30-minute piece for A Far Cry.
The fourth movement, Beats, is derived from a song written by Philip White and Ted Hearne as part of their collaboration vocal/electronics duo R WE W WHO R WE. The explosive palette of White’s mixer feedback is used as inspiration for pushing the sonic and timbral limitations of the string orchestra.

COMPOSER: Ted Hearne
ENSEMBLE: A Far Cry

Please be aware that this music belongs to its respective owners, and I do not claim any right over it. I upload this solely for archiving purposes, and for the sharing and enjoyment of great music. If you are the rightful owner of this copyrighted material and would like the video removed from SoundCloud, leave a comment below with your statement and I will take the upload down effective immediately.

Ted Hearne — Law of Mosaics: IV. Beats

This is Ted Hearne's explosive piece for string orchestra, "Law of Mosaics", written for and performed here by A Far Cry, a Boston-based chamber orchestra. This recording stems from the album of the same name, in which he shared with composer Andrew Norman.
Ted writes in the program notes:
"'Thomas Jefferson went through the New Testament and removed all the miracles, leaving only the teachings.' 'Meaning is a matter of adjacent data.' 'The law of mosaics: how to deal with parts in the absence of wholes.' These passages, along with many others, are appropriated from a variety of sources and arranged by David Shields into his 2010 book, Reality Hunger: A Manifesto. It is a patchwork treatise on art and digital culture, and is an inspiration for Law of Mosaics - a new 30-minute piece for A Far Cry.
Climactic moments from movement three, three times as slow as before is simply a reframing of music you have already heard.

COMPOSER: Ted Hearne
ENSEMBLE: A Far Cry

Please be aware that this music belongs to its respective owners, and I do not claim any right over it. I upload this solely for archiving purposes, and for the sharing and enjoyment of great music. If you are the rightful owner of this copyrighted material and would like the video removed from SoundCloud, leave a comment below with your statement and I will take the upload down effective immediately.

Ted Hearne — Law of Mosaics: V. Climactic moments from movement three, three times as slow as before

John Mackey wrote his Concerto for Soprano Saxophone and Wind Ensemble (2007) with a central idea: the middle three movements outlining the anatomy and components of the saxophone: felt (the pads of the keys), metal (the body), and wood (the reed). Instrumentation is also chosen to essentially match the materials for each movement. The outer movements (Prelude and Finale) showcase the entire ensemble.

COMPOSER: John Mackey
CONDUCTOR: Jerry Junkin
SOPRANO SAXOPHONE: Stephen Page
BAND: University of Texas at Austin Wind Ensemble

NOTE: This is a live performance! (recorded in Bates Recital Hall on 9/27/2015)

Please be aware that this music belongs to its respective owners, and I do not claim any right over it. I upload this solely for archiving purposes, and for the sharing and enjoyment of great music. If you are the rightful owner of this copyrighted material and would like the video removed from SoundCloud, leave a comment below with your statement and I will take the upload down effective immediately.

John Mackey — Soprano Saxophone Concerto: I. Prelude

John Mackey — Soprano Saxophone Concerto: II. Felt

John Mackey — Soprano Saxophone Concerto: III. Metal

John Mackey — Soprano Saxophone Concerto: IV. Wood

John Mackey — Soprano Saxophone Concerto: V. Finale

This is Ted Hearne's explosive piece for string orchestra, "Law of Mosaics", written for and performed here by A Far Cry, a Boston-based chamber orchestra. This recording stems from the album of the same name, in which he shared with composer Andrew Norman.
Ted writes in the program notes:
"'Thomas Jefferson went through the New Testament and removed all the miracles, leaving only the teachings.' 'Meaning is a matter of adjacent data.' 'The law of mosaics: how to deal with parts in the absence of wholes.' These passages, along with many others, are appropriated from a variety of sources and arranged by David Shields into his 2010 book, Reality Hunger: A Manifesto. It is a patchwork treatise on art and digital culture, and is an inspiration for Law of Mosaics - a new 30-minute piece for A Far Cry.
The warp and woof refers to the lengthwise (warp) and crosswise (woof) threads that together create the texture and foundation of a woven fabric. It is a fitting end for a piece that imagines the framing of musical content to be as integral to the structure of a work as the way that content is framed."

COMPOSER: Ted Hearne
ENSEMBLE: A Far Cry

Please be aware that this music belongs to its respective owners, and I do not claim any right over it. I upload this solely for archiving purposes, and for the sharing and enjoyment of great music. If you are the rightful owner of this copyrighted material and would like the video removed from SoundCloud, leave a comment below with your statement and I will take the upload down effective immediately.

Ted Hearne — Law of Mosaics: VI. The warp and woof

Winner of the "2014 Lebenbom Award for Female Composers", Sarah Kirkland Snider's world premiere of "Something for the Dark" — inspired by the resilience and spirit of Detroit.

COMPOSER: Sarah Kirkland Snider
ORCHESTRA: Detroit Symphony Orchestra

NOTE: This is a live performance!

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