Music for Strings

Classical

Chamber Works by Whitney George

Veiled

from 'Night, like velvet: in twelve letters for flute, violin, 'cello, & percussion. Performed by the Cadillac Moon Ensemble. April 2014, CUNY Graudate Center

No. 12- Rope At The Throat

'Still And Brimming—Mirror' from 'Night, like velvet: in twelve letters' for chamber ensemble: flute (Lindsey Eckenroth), clarinet (Dan Padmos), violin (Eli Spindel), 'cello (Zsaz Rutkowski), & percussion (Joe Tucker).

'Still And Brimming—Mirror'- Live Recording From FOOLS & FOLLIES

'In Green Water' from 'Night, like velvet: in twelve letters' for chamber ensemble: flute (Lindsey Eckenroth), clarinet (Dan Padmos), violin (Eli Spindel), 'cello (Zsaz Rutkowski), piano (Steve Beck), & percussion (Joe Tucker)

'In Green Water'- Live Recording from FOOLS & FOLLIES

performed by conTempo ensemble- Fall Concert
Monday, November 17th, 7:00 pm
Studio 312, Brooklyn College Conservatory

'Wanderlust' is written for a flexible ensemble ranging between 2 and 20 or more performers. The score is divided up into two pages: one for accompanying instruments, and the other for melody instruments. Each system is divided into collapsible or expandable cells, and ones that can be constructed by the performer during the piece. Each cell reuses materials from other cells to ensure organic unity within the work, but also to create the feeling of wandering by the performers. 



Wanderlust

Christopher Scherer, violin I
Melanie Riordan, violin II
Daniel W. McCarthy, viola
Trace Johnson, 'cello

Reading Session—Atlantic Music Festival
July 2015

Veiled for String Quartet (rev. 2015)

Christopher Scherer, violin I | Melanie Riordan, violin II | Dan McCarthy, viola | Trace Johnson, 'cello

July 2015
Lorimer Chapel, Colby College: Maine

Veiled for String Quartet — Live Performance

RECORDING SESSION AUDIO HERE:
https://soundcloud.com/whitney-george/veiled-for-string-quartet-live-performance

Saturday, February 13th at 7:30 pm
The Great Room: South Oxford Space
Brooklyn, New York

The Curiosity Cabinet: Martha Cargo, Aleks Karjaka, Hugh Ash, Charlotte Munn-Wood, Adam von Housen, Pedro Vizzarro-Vallejos, Caleigh Drane, Emilio Guarino, Justine Aronson, Whitney George

Veiled—performed by The Curiosity Cabinet (Feb. 2016)

Featured in trailer for Ridley Scott's 'Prometheus'. (international trailer)

Trailer here http://youtu.be/a9jRaa4Wkbk

Taken from the album 'Memoryhouse' available to buy at:
http://fatcat.sandbaghq.com/index.php/max-richter-memoryhouse.html?options=cart


BUY HERE

Max Richter - Sarajevo - Music from Prometheus Trailer

Limbo, the First Circle

Emanuele de Biase Corneli, violin
Nicholas Nelson, audio engineer & mastering

The Masochist's Tango Movement 1

The Masochist's Tango Movement 2

The Masochist's Tango Movement 3

For more information visit: http://www.klassikakzente.de/recomposed/home 

Some works are so familiar that it is almost impossible to hear them afresh, but that is what Max Richter has achieved with Vivaldi “Recomposed”. This is no mere arrangement; instead Richter has absorbed Vivaldi’s The Four Seasons into his own musical bloodstream. At first Richter followed the example of other works in the “Recomposed” series, which re-mix existing recordings, but, he says, “I wanted to open up the score on a note-by-note level, and working with an existing recording was like digging a mineshaft through an incredibly rich seam, discovering diamonds and not being able to pull them out. That became frustrating. I wanted to get inside the score at the level of the notes and in essence re-write it, re-composing it in a literal way.”Richter calculates that, in the process, he has discarded around three-quarters of Vivaldi’s original. He opens with what he describes as “a dubby cloud which I’ve called Spring 0. It functions as a sort of prelude, setting up an electronic, ambient space for the first Spring movement to step into. I’ve used electronics in several movements, subtle, almost inaudible things to do withthe bass, but I wanted certain moments to connect to the whole electronic universe that is so much part of our musical language today.” Other resonances are no less unexpected: Richter describes part of the first movement of his Summer as “heavy music for the orchestra. It’s relentless pulsed music, which is a quality that contemporary dance music has; and perhaps I was also thinking about John Bonham’s drumming. Then, in the second movement of Autumn I asked the harpsichordist Raphael Alpermann to play in what is a rather old-fashioned way, very regularly, rather like a ticking clock. That was partly because I didn’t want the harpsichord part to be attention-seeking, but also because that style connects to various pop records from the 1970s where the harpsichord or Clavinet was featured, including various Beach Boys albums and the Beatles’ Abbey Road.” Clearly, Richter has brought his own frame of reference to the project. As he says, “Vivaldi’s music is made of regular patterns, and that connects with post-minimalism, which is one strand in the music that I write. That felt like a natural link, but even so it was surprisingly difficult to navigate my way through it. At every point I had to work out how much is Vivaldi and how much is me. It was difficult but also rewarding because the raw material is so fascinating.”Just as Richter’s Seasons plays tricks with the way we hear Vivaldi’s original, so it also asks questions of the soloist, Daniel Hope. “Violinists have Vivaldi’s The Four Seasons hardwired in their brain. Daniel is likely to play the original I don’t know how many times in a year, and for him to have my parallel text going on in another part of his brain is a challenge. I think he did a wonderful job. He brought to it a deep engagement with the original, but he was fully prepared to cut this new swathe through the text.”


Spring One - Vivaldi Recomposed - The Four Seasons

Spring 1 (2012)

Download

Eine Klassik für Sich 2012

Richter: Recomposed By Max Richter: Vivaldi, The Four Seasons: Summer 3 (2012)

Another track I originally composed for the fantastic artist Gavin O'Donnell's drawing "Azura" that I have re-mastered and edited. 

It's a long track, but it's split into 3 unique sections that tie together. The thought process was to follow the growth and emotions of the woman in the drawing. 

Find the original drawing video here on Gavin's YouTube: http://www.youtube.com/watch?v=M88K0m8eYLE

Azura (re-mastered & edited)

I'm not asleep... but that doesn't mean I'm awake.  ~Author Unknown

piano: Carlos Márquez

'Veiled' for String Quartet

Whitney George