Paul  Etheredge's Album

Appalachian Spring [original instrumental]

La même chose sur Youtube : youtu.be/42uEeiyZkqc

Nième arrangement, avec la voix cette fois, de ma musique pour "Le Bateau ivre" de Rimbaud, on ne s'en lasse pas.

Le passage
Re ➔ Si♭/Fa ➔ Re ➔ Si♭/Fa ➔ Si♮m ➔ La ➔ Re
ressemble carrément à la fin de "Im Abendrot", 4ème des "Vier letzten Lieder" de Richard Strauss, non ?

Le Bateau ivre

Soprano Hayley Boggs, Tenor Jonathan Matthews, and pianist Maryna Buksha perform WHEN I THY PARTS RUN O'ER. Music by Gary Lloyd Noland (Op. 97, No. 3); poem by Robert Herrick. For more information on the composer, please visit his website at: garynolandcomposer.com

WHEN I THY PARTS RUN O'ER for soprano, tenor, and piano, Op. 97, No. 3; poem by Robert Herrick

Hypnagogic Polka [original instrumental]

By chance (always a favourite way for things to happen), I was working on just such a drone, ie developing complexity and then relinquishing it, when this dropped.

Based on a very old abandoned project using a recording of Also Sprach Zarathustra. Not sure what was done to it originally (alright, I can’t remember), this mix added some duplicated passages pitched down, stretched slightly and repositioned in order to create tonal contrasts.

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The Assignment: Record a drone that goes from simple to complex to simple.

Step 1: You may, yourself, be experienced recording drone music, or you may never have recorded any. You may not even be sure what drone music is, in which case read up a bit. Not matter your experience and familiarity, please give some thought as to what constitutes drone music.

Step 2: Now think about what makes a drone simple and what makes a drone complex.

Step 3: Now record a piece of drone music that begins simple, gets complex, and then gets simple again. And note: The simple drone at the end needn’t necessarily be the same sort of drone with which the piece opens.

More at https://disquiet.com/0675/

More on the Disquiet Junto at: https://disquiet.com/junto /

Strauss factor [disquiet0675]

The original idea and theme for this piece was written for a trombone trio in 1980, I was never happy with the middle section so ended up re-writing it after I left University, unfortunately the final version was never heard again until I return to playing the trombone once again during the global pandemic of 2020 when I played and recorded all the parts. I later added a couple keyboard improvisations using string sounds and then combine all the elements together. I have always like the classic music from the late romantic period, although this composite recording is not suitable for use at a wedding there is passionate undercurrent running though the music.

Impromptu Wedding

Symphony No. 3, Mvt. I [original instrumental]

Symphony No. 3, Mvt. II [original instrumental]

"This is one of my favorite pieces – not only of the oboe repertoire, but in the classical music repertoire in general,” says Erin Hannigan, Principal Oboe with the Dallas Symphony Orchestra, referencing Strauss' Oboe Concerto. She'll be in the spotlight as soloist with the DSO to perform the work Jan. 23-26, 2025 and chats with WRR's Amy Bishop about how she approaches each performance of such a demanding work for her instrument.

WRR101 Focus on the Arts: DSO Principal Oboe Erin Hannigan will play one of her favorites this weekend

Seit ihrer Gründung im Jahr 1989 haben sich die „Richard-Strauss-Tage“ in Garmisch-Partenkirchen in vielerlei Hinsicht gewandelt. Unverändert aber ist die besondere Atmosphäre der südbayerischen Wahlheimat von Strauss, in welcher der Komponist nicht nur rund 40 Jahre seines Lebens verbrachte, sondern auch einen großen Teil seiner Werke schuf. Eine authentische künstlerische Atmosphäre mit „Werkstattcharakter“ zu schaffen, dem Publikum den Genuss der Werke von Strauss am Ort seiner Inspiration – umgeben von der alpinen Naturlandschaft – zu ermöglichen, ist nicht nur Ziel, sondern auch ein einzigartiges Merkmal dieses Festivals. Zum 75. Todestag von Richard Strauss haben die „Richard-Strauss-Tage“ in Kooperation mit Gramola eine neue Edition vorgelegt, um das Festival in Live-Mitschnitten zu dokumentieren. Rémy Ballot, seit 2023 Conductor in Residence, präsentierte 2024 mit der Pilsner Philharmonie die Tondichtungen „Don Juan“ und „Ein Heldenleben“ als fulminantem Auftakt für diese Edition.

Pilsen Philharmonic Orchestra & Rémy Ballot - (IV) Des Helden Walstatt (Ein Heldenleben op. 40)

Recordings heard on this track: 

Strauss, Don Juan, Op. 20
Reiner, Pittsburgh Symphony Orchestra

Wagner, “Siegried”: Forest Murmurs
Reiner, Pittsburgh Symphony Orchestra

Brahms, Piano Concerto No. 1, Op. 15 (1st movement)
Reiner, Pittsburgh Symphony Orchestra, Rudolph Serkin, piano

Strauss, Also Sprach Zarathustra, Op. 30
Reiner, Chicago Symphony Orchestra

Kabalevsky, Colas Breugnon, Op. 24: Overture
Reiner, Chicago Symphony Orchestra

Arthur Wilensky Talk about Fritz Reiner and his affect on Leonard Bernstein

Recordings heard on this track: 

Mussorgsky, Pictures from an Exhibition
Rodzinski, New York Philharmonic 

Ravel, “Daphnis & Chloe: Suite No. 2”
Rodzinski, Cleveland Orchestra

Falla, “El Sombrero de Tres Picos” (“The Three Cornered Hat”): Danza Finale
Rodzinski, Royal Philharmonic Orchestra

Albeniz, El Corpus en Sevilla (arr. Arbos)
Rodzinski, Royal Philharmonic Orchestra

Strauss, Till Eulenspiegel’s Merry Pranks
Rozinski, London Philharmonic Orchestra

Arthur Wilensky Talk About Artur Rodzinski

Nach den beiden Skandalerfolgen »Salome« und »Elektra« überraschte Richard Strauss die Welt 1911 mit einem Werk von gänzlich anderem Charakter: Mit der Komödie für Musik »Der Rosenkavalier«, die in enger Zusammenarbeit mit dem Dichter Hugo von Hofmannsthal entstand. Das Sujet hatte Hofmannsthal aus verschiedenen Vorlagen destilliert entwickelt, darunter zwei Komödien von Molière. Angesiedelt ist das Geschehen in Wien, und zwar laut Partitur »in den ersten Jahren der Regierung Maria Theresias«, also nach 1740. 

Dramaturg Konrad Kuhn fasst in dieser Audioeinführung zu »Der Rosenkavalier« die Handlung zusammen und gibt einen Überblick über die Entstehungsgeschichte, Figuren-Konstellation und Inszenierung, untermalt von einigen Musikbeispielen.

Text: Konrad Kuhn
Redaktion: Anne-Marie Antwerpen
Produktion: Christian Wilde


Audioeinführung zu »Der Rosenkavalier« von Richard Strauss

Richard Strauss: Salome, komm, trink Wein mit mir (Herod, Salome)

Lee David Bowen - Tenor
Michael Pollock - Accompanist

Richard Strauss: Salome, komm, trink Wein mit mir (Herod, Salome)

Die Frau ohne Schatten - De Nationale Opera by Nationale Opera & Ballet

Die Frau ohne Schatten

This week we hear some recent album releases. Find complete information about this episode at https://www.kingofinstruments.show/2020/03/29/.

The King of Instruments, ep. 216 - March 29, 2020 - New Releases

Auf die Bühne, fertig, los! Mit »Auftakt« liefern wir Ihnen informative Audioeinführungen zu den Werken, die auf dem Spielplan der Oper Frankfurt stehen. Perfekt für Opernliebhaber*innen und solche, die es werden möchten! 

Bereiten Sie sich bestens auf Ihren Opernabend vor: In den Kurzbeiträgen bieten unsere Dramaturg*innen exklusive Einblicke in die Produktionen. Sie beschreiben die Kernpunkte der Handlung der Opern, erzählen von den charakteristischen musikalischen Elementen und tauchen in die Besonderheiten der Inszenierungen ein. Außerdem bekommen Sie Musikbeispiele auf die Ohren, die Ihnen einen Vorgeschmack auf die kommende Aufführung bieten.

Tauchen Sie ein in die Welt der Opern und bereiten Sie sich mit unserem »Auftakt« auf Ihren Besuch bei uns vor. Wir freuen uns auf Sie!

Die Einführungsvorträge werden geschrieben und eingesprochen von unseren Dramaturg*innen Deborah Einspieler, Maximilian Enderle, Zsolt Horpácsy, Konrad Kuhn und Mareike Wink.

Musician then geek then greedy consultant then old.

Als österreichischer Ableger des tschechisch/englischen Schallplattenproduzenten gleichen Namens wurde Gramola im Jahr 1924 in Wien gegründet und ist seit damals in allen Tätigkeitsbereichen rund um die Klassische Musik aktiv. Der Schwerpunkt hat sich in den letzten Jahren auf die CD-Produktion verlagert und Gramola ist mit etwa 30 Produktionen jährlich schon seit einiger Zeit Österreichs Klassikproduzent mit der höchsten Produktionsrate. Gramola hatte zunächst natürlich die großen Komponisten der Wiener Klassik, wie Haydn, Mozart, Beethoven und Schubert, im Focus. Im Vordergrund der Produktionsaktivitäten steht jetzt aber auch die Förderung junger österreichischer Musiker und nicht zuletzt die Zusammenarbeit mit "Exilarte", die sich der Musik ermordeter und exilierter Komponisten widmet.

Resides in Portland, Oregon. Grew up in Berkeley, CA. Born in Seattle.  PhD, Harvard. “Gary Noland is one of the great composers of the 21st century.”—JACK RUMMEL, KGNU 88.5 FM, Boulder CO, “...iconoclastic, stylistic potpourri standards of giddy humor, no holds barred soup to nuts and high spirits.”—ROBERT LEVIN, pianist, musicologist, composer, "...a fleet-fingered, ebullient performer ... bright, witty and engaging.”—CHRISTIAN CAREY, SPLENDID MAGAZINE, “...distinctive, inventive ... subversive ... You can hardly be indifferent to Noland’s music and so I would urge you to try it.” —ROGER BLACKBURN, MUSICWEB INTERNATIONAL, “...set in a dizzying harmonic language that loops uncontrollably through a wide-ranging gamut of possible and impossible tonalities ... The general effect is like watching wet paintings of 19th Century musical memorabilia drip into frazzled 21st Century oblivion...” —ALLEN GIMBEL, AMERICAN RECORD GUIDE, “Mr. Noland writes as a ‘time traveler’ in styles long abandoned by most composers as well as styles so new as to not have been imagined but by him. This he accomplishes naturally, convincingly, with originality and true passion. His command of all musical languages and his ability to traverse musical time is nothing less than remarkable. Listen!”—DONALD MARTINO, Pulitzer Prize winning composer, “...mind-bending spiraling of focus which is truly breathtaking ... spectacular...”—CHARLES AMIRKHANIAN, composer, sound poet & radio producer, “I'm amazed at your harmonic skill. Haven't seen or heard anything like it from any one else—except yours truly—certainly not from your generation. It falls somewhere between Strauss and Mahler. Especially like how you are able to slip in and out from the tonal to the atonal—or near atonal...”—GEORGE ROCHBERG, American composer, Pulitzer Prize finalist, “...court jester to the classical establishment...”—PAYTON MACDONALD, AMERICAN RECORD GUIDE, “...florid and juicy...” —RICHARD BUELL, THE BOSTON GLOBE, “...an incredible aural web ... a great ostinato of American kitsch. Sul pont never sounded so good.”—RUSSELL STEINBERG, composer, conductor of the LOS ANGELES YOUTH ORCHESTRA, “...I am bowled over by the expertise of your music: you use certain elements from the 19th century and from jazz, etc., and just at the moment when I am about to say, OK, what else is new?, you do a number of things, such as speeding up, becoming wildly dissonant, modulating to a distant continent, stopping completely and throwing some kind of total surprise ... you seem to know exactly when to do what and how much. I don’t know anybody else who can do it!” —ANDREW IMBRIE, American composer, Pulitzer Prize finalist, “... remarkable stuff...”
—MAX MORATH, American ragtime pianist, composer, actor & author, “...a loony composer from Oregon...” —MAX SHEA, WMUA 91.1FM, Amherst, MA, “Gary Noland is one of those 21st Century composers seeking to forge a new aesthetic based on older models that do not traffic in serialism or minimalism ... Zany waltzes, ragtime riffs, chorales, toccatas, and much else romp and tear through these depictions of superheroes and villains from his ‘chamber novels’; other pieces spoof serial music ... to grand operas ... and Jewish guilt.” —JACK SULLIVAN, AMERICAN RECORD GUIDE, “...Paranoid Ravel...”—ALEX DUNN, KZSU FM90.3, Stanford, CA, “...It’s a romantic romp, rhythmically robust yet melodically flirting with the nostalgia of cabaret, minus the sleazy diminution of spilled drinks and smelly ashtrays. Its elegance recalls Elgar, and the serious sides, a synthesis of those strange bedfellows Schubert and Ives. Composers hate it when their music reminds you of someone else’s, but writing within a tradition, Noland has incorporated divergent styles that, woven together, work. Cosmopolitan without snobbery, it’s intelligent, pleasurable and convincing.” —ROCKY LEPLIN, THE BERKELEY VOICE

Dutch National Opera & Ballet creates, produces and presents both traditional and innovative opera and ballet productions of the highest quality.

Welsh-born opera singer, tenor, known for his vivid stage presence, compelling character work, and strong theatrical instinct. 

Bringing energy, imagination, and attention to detail to every role, he is particularly drawn to characters with intensity, comic edge, or psychological complexity.

More at: https://www.leedavidbowentenor.com

Vic Berry has been a musician and composer since the age of 10 years old, playing the Trombone, Piano and Guitar. He studied electronic music with Tim Souster, advanced harmony and orchestration with the composer Rodger Marsh and ragtime music with visiting Professor Fulbright-Hays. At school Vic studied with Simon H. Fell who introduced him to improvisation and the Avant Garde sounds of the 20th century.  Later influenced by the bands of the Punk period, Vic taught himself to play the guitar and became involved with many 1980s bands.  Vic Berry met Steve Kenny when they worked together in a small office 2007-2010. They became friends meeting up to jam and improvise the album Elements is a compilation of work produced during their prolific period. The duo’s work matured together producing an exquisite tension between chaos and classical harmony. Steve's expressive and sometimes anarchic style is complimented by the restraint of classical harmonies and piano style finger picking that is a feature of Vic’s “Reverend Kidd” period, in which he was influenced by ragtime, rock, and blues music. Post global pandemic Vic has explored digital recording, multitracking, and using digital effects. Returning to the trombone and piano to rework material from his formative years. Recent work includes pure electronic music (Primzahlräume) well as manipulating digital recordings. Music from the late 20th Century is the predominant influence on his composition.

UK creatives should listen to this: https://www.youtube.com/watch?v=yK4wBWiozyM

You must hear this: https://vimeo.com/52766051

*****

Ed Brunsden was kind and patient enough to interview me for  his blog Desert... Mountain... Dust...  - you can read it at https://desertmountaindust.blogspot.com.au/2017/02/tuonela-primitive-progressive.html

After silence, that which comes nearest to expressing the inexpressible is music. ~ Aldous Huxley

All good music resembles something. Good music stirs by its mysterious resemblance to the objects and feelings which motivated it. ~ Jean Cocteau

All music is beautiful. ~ Billy Strayhorn
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I've become addicted to drone. Again. I was the kid with his head on the piano, listening to the overtones die away, or pressing his ear to the steel hull of the ferry, enthralled by the sounds it created. I was the kid who formed wordless songs to accompany the sound of train wheels on a long journey, or hummed along with the fan on a hot day.

In the 60s I used to play my 45s on 16, or backwards, or by hand using razor blades as stylii.

I made cut-up tapes on a cheap cassette recorder in the 70s and experimented with reel-to-reel in the 80s. 

Thank you Subotnick, Lygeti, Coltrane, Jimi, Mimaroglu, Eno, Cluster, Tangerine Dream, Klaus Schulze, Frank Zappa, Pink Floyd, Kraftwerk, Throbbing Gristle...

I am not a musician. I am a scavenger of sounds. I use the most basic software to process those sounds, stretching and filtering until something emerges that makes a joyful noise. Or not...

Solo artist.  Song and dance man.  Folk.  Blues.  Contact:  desertersongs@yahoo.com Film critic at https://paulydeathwish.com/

New tracks tagged #richard strauss