17 Results for : trills

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    Dave Barry's Worst Songs and Other Hits, Hörbuch, Digital, 171min
    Dave Barry didn't know what he was letting himself in for when he invited his Legion of Alert Readers to submit their nominees in the Bad Song Survey. "Song badness," he soon learned, "is an issue that Americans care deeply about." Now John Ritter and Arte Johnson present for you the songs that Americans love to hate. There is Gary Puckett and the Union Gap Band's "Young Girl" ("Young girl, get out of my mind, my love for you is way out of line..."), which is not to be confused with "Woman", and "This Girl Is a Woman Now" (which some readers believe to be the same song). Another strong contender is Neil Diamond's "Play Me", particularly the part where he trills, "song she sang to me, song she brang to me..." And don't forget "Candy Man", "Johnny Get Angry", "Itsy-Bitsy Teeny-Weeny Yellow Polka-Dot Bikini", "Wildfire", and the entire Barry Manilow oeuvre.This much is guaranteed: as soon as you hear even a snippet of these songs, you won't be able to get them out of your head! Language: English. Narrator: John Ritter, Arte Johnson. Audio sample: https://samples.audible.de/bk/pnix/000584/bk_pnix_000584_sample.mp3. Digital audiobook in aax.
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    Werke für Violine und Klavier
    This selection includes Kreisler's absurdly virtuosic arrangement of "The Devil's Trill" by Tartini: Kreisler's edition, incorporating a realization of the figured bass as well as fingerings and phrasings, provides a fearsome cadenza involving triple- and quadruple-stopping as well as two- and three-note trills.
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    Colors for Solo Flute
    All of the wonderful compositions on this disc have certain features tying them together: they were all written by American composers and they are all scored for flute alone. Beyond those basic similarities, however, these works are each unique in tonal language, character, the innovation of new performance techniques, and use of COLORS. Katherine Hoover (b. 1937) is a celebrated composer for the flute. After the immediate success of her solo flute work Kokopeli, in 1990, she composed several more pieces for unaccompanied flute, including To Greet the Sun from 2004. This new work incorporates the unique sound of a flutter-tongued timbral trill. Of the work, Hoover writes, "To greet the sun is to give thanks for the great richness of the Earth and the gift of life. Various cultures have done this in differing ways, from dawn prayers to dances and ceremonies to researching the sun's awe-inspiring power." Published by Papagena Press. John La Montaine (b. 1920), Pulitzer Prize-winning composer, studied composition with Howard Hanson, Nadia Boulanger, and Bernard Rogers. The movements of his Sonata for Flute Alone have such descriptive and quirky titles, which add to the color of the work for the performer as well as the audience: Questioning, Jaunty, Introspective, and Rakish. Published by Fremont Press. Paul Richards (b. 1969) is an award-winning composer on the faculty at the University of Florida. His colorful compositions and titles are frequently performed by chamber and large ensembles across the world. About this work, Richards writes "The ghostly sound of a solo flute played with airy tones sparked the image of a post-apocalyptic, dusty, windswept and barren field, and a lone musician initiating a ritual of mourning and a fiery expression of loss, tempered by fleeting hints of hope. A flute further fit this conception as it has a lineage that goes back to the earliest musical instruments, and will likely survive in some form as long as we do. Depressing thoughts, I know, but then I got this fortune cookie: Don't worry about the world coming to an end, it's already tomorrow in Australia." This work was composed for Kristen Stoner and includes many extended techniques (glissandos, pitch bends, altered tone color, dictated vibrato, timbral trills, tongue thrusts, and spit tongue) to express feelings of despair, anger, and hope in a post-apocalyptic world. Ingolf Dahl (1912-1970) was a composer of Swedish and German descent, immigrating to America in 1939 and becoming a naturalized American citizen in 1943. He was an active composer and performer in the new music scene in Los Angeles, but also supported himself by working in the entertainment industry. He was a professor at USC from 1945 until the end of his life. In that same year, he composed Variations on a Swedish Folk Tune, seven diverse variations based on the theme "Skänklåt från Leksand." Published by Theodore Presser. Marilyn Bliss (b. 1954) is an active composer for the flute and the Native American flute, as well as for orchestra and chamber ensembles. She studied composition with George Crumb, George Rochberg, Harvey Sollberger, Jacob Druckman, and Jerry Owen. Murali is the name of Krishna's flute, the Indian god. Krishna, according to legend, played his flute under the first full moon and people were drawn from all over to dance to his alluring music. Published by the American Composers Alliance. Robert Muczynski (1929-2005) was trained at the University of Chicago and spent the majority of his career in Arizona. He wrote wildly successful sonatas each for flute, saxophone, and clarinet relatively early in his career, and unfortunately none of his subsequent compositions achieved the same renown. His Three Preludes are contrasting in style. The first movement, Allegro, is bright and joyful. Andante molto, is more contemplative, exploring beautiful arching melodies. The final Allegro molto is manic and rambunctious. Published by G. Schirmer. Lowell Liebermann (b. 1961) earned all three degrees at the Juilliard School, where he studied with Diamond and Persichetti. His colorful compositions for the flute have been remarkably successful, starting with his Sonata, composed when he was only 26 years old. Soliloquy, op. 44, commissioned by Katherine Kemler, is technically challenging, with constantly shifting tonal centers and contrasting tempi. Liebermann teaches at Mannes College in New York City. Published by Theodore Presser. Elizabeth Brown (b. 1953) is a composer and a celebrated performer of flute, shakuhachi, and theremin. Trillium was composed in 1999 for the National Flute Association High School Young Artist Competition. Brown writes, "Trillium is a beautiful early spring woodland wildflower with leaves and white petals in threes. The flute language of Trillium is heavily influenced by Japanese shakuhachi music and birdsong. There are a number of unusual timbres and trills, many involving microtones." Published by Quetzal Music. Kristen Stoner (b. 1973) has composed solely for the flute, several works for solo flute and duets, and she is currently working on a Sonata for Flute and Piano. Variations on an Irish Ballad is based on the traditional song "The Wind that Shakes the Barley." The variations are very different in inspiration, including one influenced by Piazzolla's etudes and one by a Luigi Hugues etude. Cynthia Folio (b. 1954) is an active composer and flutist, serving as professor of theory and composition at Temple University. Born in Virginia, she studied at West Chester University and then earned both graduate degrees at Eastman. The name Arca Sacra is a palindrome, and the composition itself is loosely based on a palindrome as well. Published by Hildegard Press. Daniel Dorff (b. 1956) studied composition at Cornell University and the University of Pennsylvania, studying with George Crumb, George Rochberg, and Karel Husa. He has composed many works for orchestra and particularly for woodwind instruments. He is composer-in-residence for the Symphony in C and also is VP of Publishing at Theodore Presser. August Idyll is a lovely, tonal piece with which to close the CD. Published by Theodore Presser. Kristen Stoner is an active performer and pedagogue. She has taught full-time at the University of Florida since 2002, and she taught at Denison University from 1999-2002. In addition to frequent solo performances in North and South America, she performs as principal flutist in both the Ocala Symphony Orchestra and the Florida Lakes Symphony Orchestra. She has performed at 11 NFA conventions. A graduate of the University of Texas and the University of Cincinnati College- Conservatory of Music, Stoner studied primarily with Karl Kraber, Bradley Garner, and William Montgomery. Dr. Stoner enjoys studying and performing works by women composers and has special interests in Latin American music for flute. She has performed and taught in Chile, Ecuador, Peru, and Brazil. Her first CD, Images for solo flute, was released on the Meyer Media label. In addition to performing flute, Dr. Stoner enjoys raising two beautiful girls, spending time with her family, and making jewelry. Kristen Stoner is thrilled to perform on a 14K Burkart flute.
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    Chasing Light
    Mark Knippel: Marenje* The following note is provided by the composer: "Marenje is a traditional welcoming song of the Shona people of Zimbabwe. My composition is based solely on the opening material of the original song. The entrances of the first two guitars are exactly what would be played on the mbira [traditional African instrument consisting of a wooden soundboard with 22 to 28 metal keys] and marimba. One of the techniques of Shona music that I employed is having the same material played on two instruments offset by one eighth note. This idea permeates my composition, as it is one of the ideas of their music that I found especially striking." Marenje, begins as a whispering, euphoric murmur, as if you are walking into a bustling street market, taking in the sights, smells, and sounds. A minute into the piece, all four guitars crescendo into a fully-blossomed, gently-jiving, jovial sonic soundscape that grows in intensity, and culminates in a quasi-percussive, exuberant, upper register ostinato played by one guitar, fluttering over the other three like a liberated bird-of-paradise. Garry Eister: Chasing Light* Garry Eister writes the following note for Chasing Light: "Chasing Light uses a grab bag of techniques, including irregular meters, meant to evoke the rhythmic feel of Eastern European dances. The outer movements are in E minor. The middle movement is in E-flat minor, which, by it's 'sinking down' a half step below the movements that surround it, helps impart the feeling of isolation and stillness that it's title indicates. The final movement is meant to convey a sense of urgency, of running or driving as fast as possible toward the Western horizon in an attempt to delay the setting of the Sun." Throughout Chasing Light, a sense of combative harmony pervades. Each guitar is autonomous, yet interconnected with the others. Through coherent use of imitation, unison, accent, textural variation, and overlapping melodic lines, Eister creates a robust quartet in which each guitar is of equal importance, fighting and playing with one another in an ecstatic cloud of sound. Mark Knippel: Attained Elusiveness* Unlike Marenje, Attained Elusiveness possesses none of the effervescent giddiness that permeates the former. Instead, it features Steve Reich-like transient sonic fractals that flash and evaporate as snowflakes on a windowpane, elusive, yet, for a fleeting moment, attained. Darin Au: Chasing Dragons The most straightforward composition on the album, Chasing Dragons soars in a self-assured, flowing arc. There may be dragons, but they are observed in transit, as if from a hangglider. Punctuated by raspy rasgueados, spiky accents, and icy harmonics, an ominous nether world is hinted at, yet never entered. A great distance is traveled over a brief period of time. Christopher Gainey: Flowing Through: Rhapsody on a theme of Egberto Gismonti* Christopher Gainey shares the following note: "I have always loved [Brazilian composer Egberto Gismonti's] Agua e Vinho, and I was fascinated by how different performers used it as the basis for very individual embellishment/improvisation. In essence, Flowing Through is a set of variations on Agua e Vinho, with one exception, when the theme comes in at the end of the piece, it is placed together with material from the first variation that reconfigures the original theme into a ternary form (Agua e Vinho forming the 'A' section, while it's variation forms a 'B' theme). The notation fluctuates between precisely notated music and much more flexible, somewhat indeterminate, methods of notation that allow the ensemble some interpretive freedom." Karol Szymanowski: Mazurkas, Op. 50, Nos. 1 and 3 Arranging solo piano works for guitar quartet is, at first glance, counterintuitive. The luminescent sonority of the piano is markedly different than the brighter sound of the classical guitar. However, the two mazurkas that guitarist Patrick O'Connell selected and arranged transfer strikingly well to four guitars. The hushed dynamics (rarely exceeding mezzo-piano), combined with rich, colorful modal layering, allow opportunity for the guitars to explore hues and colors beyond the scope of the original piano. Through the use of idiomatic guitar techniques, such as artificial harmonics, and through exploitation of the guitar's broad timbral palette, new insight into Szymanowski's music is gained. Andrew York: Pacific Coast Highway Like Lotus Eaters, Andrew York's Pacific Coast Highway is melody-centered and harmonically stable. A self-confident first guitar both plays with and battles against the remaining guitar "trio." The first half of the piece is placid, daydreamy, the second half intense, excited. Evocative of the seemingly infinite Californian Pacific Coast Highway, the musical terrain is ever-changing, winding, rocking, and rolling. Andrew York: Lotus Eaters Andrew York's Lotus Eaters was written for the Los Angeles Guitar Quartet (LAGQ), and possesses the carefree charm of a late summer backyard barbecue. Through harmonic, melodic, and rhythmic constriction, it gains a spatial freedom, with evocations of Wes Montgomery, Ali Farka Touré, and Al Di Meola flickering like fireflies throughout the piece. As an added bonus, SFGQ has added two minutes of infectious improvisation to the original. Clarice Assad: Bluezilian Clarice Assad describes Bluezilian as follows: "I wrote Bluezilian for LAGQ, in 2005, as an encore piece. At the time, I had just broken a foot and was unable to walk or get out much. Feeling a bit down and constrained, I decided to work on a piece that would be light and fun, almost cartoonish-something that, in certain spots, would make me want to giggle. I purposely made the decision to use and abuse musical clichés. The piece is a musical satire that draws connections between American popular styles and Brazilian rhythmic and harmonic sensibilities. All parts, as simple as they may be, are filled with nuances to be explored, and the parts themselves communicate between one another." Bluezilian is a highly-caffeinated, animated whirlwind trip: accents kick, glissandi jolt, trills zap, and chords smack. It sounds as if a cartoon volcano was erupting in a harmonic kaleidoscope of plucks and strums. But it also sings and dances, swells and spins. Rarely has a such a short piece contained so much exuberant energy. Liner notes by Patrick Durek * Premiere recording and dedication to the San Francisco Guitar Quartet.
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    Luxury Liner
    Perky Jane Powell (Seven Brides for Seven Brothers) plays the golden-voiced teen daughter of an ocean liner captain (George Brent) who stows away on dad's ship in hopes of showcasing her singing skills to a voyaging opera star (played by real-life Wagnerian Lauritz Melchior). Many more musical talents set sail too: Xavier Cugat swings with Con Maracas, the Pied Pipers add silken harmonies and operatic soprano Marina Koshetz trills and spoofs the Cole Porter standard I've Got You Under My Skin. Bon voyage!
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    Keyboard Music of Girolamo Frescobaldi
    Girolamo Frescobaldi (1583-1643) is considered one of the founding fathers of solo Italian keyboard music. By the age of 14, he was somewhat of a child prodigy and was listed in 1597 as organist of the Ferrarese Accademia della Morte as successor to Ercole Pasquini. His teacher was the famous Luzzasco Luzzaschi, then ducal organist and composer under Alfonso II d'Este. By age 25, Frescobaldi embarked on what was to be a lifetime career in Rome when he was appointed organist at St. Peter's Basilica. Thousands of people were reported to have witnessed his first performance. Like many musicians today, Frescobaldi often held several jobs at once: freelancing in Rome and teaching harpsichord and organ to many students, most notably to the family members of Enzo Bentivoglio, the noble household in which he was in service. In 1613, Bentivoglio said "Sr. Girolamo came here, but now he does not come here at all ... The poor man is half crazy as it seems to me." Between 1610-13 Frescobaldi entered into the service of Cardinal Pietro Aldobrandini. Aside from a brief visit back to Mantua, he remained there until his move to Florence (1628-34), where he was employed at the Medici court as one of it's most highly paid musicians. He returned to Rome in 1634 under the patronage of Pope Urban VIII and remained there until his death in 1643. Throughout his life, Frescobaldi enjoyed sophisticated patronage and was praised by well-known musicians and theorists, such as Adriano Banchieri and Marin Mersenne, among others. As a continuo player, he played with the famous castrati Loreto Vittori and Marc Antonio Pasqualini, and he performed in the Lenten services at the Oratorio del Crocifisso. His musical output showed an overwhelmingly large focus on keyboard music. He achieved a reputation not only for his compositional talents but also for his brilliant improvisatory skills, virtuoso playing, contrapuntal mastery, and general inventiveness. Frescobaldi was both influenced by and influential upon the seconda pratica, known chiefly for it's renewal of ancient rhetoric and oratory through music. Composers of this "nuova maniera," such as Claudio Monteverdi, Giulio Caccini, Jacopo Peri, and Sigismondo D'India, advocated the clear delivery of text through the use of declamatory rhythms, expressive dissonances, startling chromatic lines, and shocking contrasts of rhythm and harmony. Frescobaldi's keyboard works exemplify this vocal practice. In particular, we see this type of prosaic freedom in his toccatas. In many ways, they reveal a musical narrative without a text, a kind of instrumental recitative. He compared the performances of these pieces to a modern madrigal, playing "now languidly, now quickly, sustaining it according to feelings and words." Plentiful are the dramatic mood changes, sudden cadential flourishes, and spicy harmonic surprises. From one measure to the next, he shifts from free passagework to more rhythmical, imitative writing. In the foreword to Book I of his Toccata e partite d'intavolatura di cimbalo et organo, published in 1615 and later expanded in 1637, he tells us: "Li cominciamenti delle toccate sieno fatte adagio, et arpeggiando è così nelle ligature o vero durezze, come anche nel mezzo del opera si batteranno insieme, per non lasciar voto l'istromento, il qual battimento ripiglierassi à beneplacito di chi suona." The beginnings of the toccatas should be played adagio and arpeggiated. The same applies to the suspensions [or held chords] or dissonances, which also in the middle of the piece are to be played together in order not to leave the instrument empty [i.e., not to let the sound die away]. Reiterating the notes may be repeated at the player's discretion. The term adasio (adagio) also appears in Frescobaldi's Fiori musicali (1635). The word suggests playing at ease and freely, in a more prose-like manner than in other more metrical sections. As he instructs the performer to be flexible with the tempos within the toccatas, he also advises the player to choose broad tempos for expressive passages and in runs, to play slowly and arpeggiated in the opening chords, and to pause at the ends of trills, runs, or when the mood deems appropriate. When playing sixteenth notes with both hands, he tells us to pause on the preceding note, even if it is a short note, and "then play the passage resolutely in order to show off the agility of the hands." Above all, he remarks that one should use good taste and judgment. More straightforward in form are Frescobaldi's canzonas and capriccios. Although they are somewhat similar in their sectional structure and multiple meter changes, their origins differ. The baroque canzona was an instrumental piece of music derived from the vocal chanson, described by Michael Praetorius in his Syntagma musicum (iii, p.19) as a series of short fugues for approximately four to eight parts (instruments). Many examples of the solo canzona were arrangements of polyphonic vocal works, including elaborated transcriptions of chansons, such as those by Andrea Gabrieli. Tarquinio Merulo was one of the first to write a canzona not based on vocal models but on other ensemble pieces. Vincenzo Pellegrini wrote canzonas for keyboard that were sectional with contrasting speeds and meters, although the sections were not always based on the same material. Ascanio Mayone and Giovanni Maria Trabaci were more influential upon motif-based canzonas, issuing the term "variation canzona." Frescobaldi's canzonas lean towards this variation technique. Capriccios, like the canzona model, are lengthy compositions that are subdivided into contrasting sections, often juxtaposing passages in the fantastical style of the toccata with dance-like rhythms in major keys. From Frescobaldi's own advice preceding the Capricci, we learn that, "One must commence with the beginnings slowly in order to give great spirit and beauty to the following passages, and, in the cadences, sustain them before the next passage begins, in triple and sesquialtera meters, if in a major key, they should be played adagio, and, if in minor, more quickly, if there are three quarter-notes, play them even quicker yet, if there are six quarter-notes, they must be given their time by walking the beat rapidly. At certain dissonances, one should stay there and play the chord as an arpeggio so they will be more spirited than the next passage. I say this modestly, for I place myself before the good judgment of scholars." Certain Capricci make use of popular melodies known throughout Italy, such as Bassa Fiamenga and Spagnoletta. Praetorius called the keyboard capriccio a "phantasia subitanea" ("a sudden whim"). He writes, "One takes a subject but deserts it for another whenever it comes into his mind to do so. One can add, take away, digress, turn, and direct the music as one wishes, but while one is not strictly bound by the rules, one ought not go too much out of the mode." These comments are descriptive of Frescobaldi's toccatas as well. In 1624, Frescobaldi said about his own capricci, "In those passages which do not seem to conform to the rules of counterpoint, the player should seek out the affect and the composer's intentions." Frescobaldi's partitas are essays in the art of variations upon popular ground bass or melodic and harmonic patterns, such as Monicha, Ruggiero, Romanesca, and the Chaconne and Passacaglia. Monicha (also monica or monaca) was a popular Italian song from the early 1600s. The opening line laments a young girl forced to become a nun, hence the minor mode and sad quality of the tune. Frescobaldi composed two sets of variations on this theme: Partite sopra l'Aria di Monicha (6 variations in 1615 and 11 in 1637, including some from the earlier set) and a Messa [to be performed during mass] sopra l'Aria della Monica. The Ruggiero, like the Romanesca, was used for dances, instrumental variations, and for singing Italian poetry, especially those with rhyme schemes in ottav
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    Streichquartette
    This is an original coupling on disc - Debussy's sole quartet is nearly always paired with Ravel's - but also a natural and pleasing one, serving to illuminate two lesser-known string quartets with an earlier masterpiece of the genre. Szymanowski's music is saturated with the influence of the two French composers, but his voice is recognisably his own, whether in the three opulent symphonies, the elusive pianocycles, the opera King Roger that is his masterpiece, or these two string quartets, both composed in 1927.Even so, it is also not difficult to hear an affinity with Bartok's experience, particularly in the Second, where the instrumental language is more experimental, in the employment of trills,ground rhythms, percussive chords, spices that thicken the original sap, never resorting to mere quotations but, as in Bartok, using rhythmic cells as kickstarters for the engine of creation. The First Quartet is much lusher, recalling the endless singing lines of the First Violin Concerto and more obviously looking back to the Impressionism of Debussy, though Debussy's own quartet dates from a pre-Impressionist period when he was just beginning to formulate his own language. In the same year as the quartet, 1892, he began to write Prélude a l'apresmidi d'un faune and first saw Maurice Maeterlinck's symbolist drama, Pelléas et Melisande, of which he would produce his own operatic version a decade later. The quartet itself is endlessly satisfying, and any fine new recording has its own things to say.The Quartetto Prometeo is an Italian ensemble founded in 1998, and now with several albums to their name, including Hugo Wolf's complete music for string quartet (BC94166), which contains 'an illuminating interpretation of the String Quartet that is both athletic and elegant, luxuriating in the work's warmth but also plunging fearlessly into its icy depths.' (MusicWeb International) They have forged a creative partnership with one of today's leading Italian composers, Salvatore Sciarrino, which has resulted in commissions and a CD of his famously refined and technically challenging music.This new recording presents an unusual pairing of the complete string quartets by Szymanowski and Debussy.Szymanowksi is one of Poland's most famous composers. Influences on his style are many (Bartok's percussive and motoric drive, Ravel's coloristic sonorities) but he found his own personal language, lush, opulent, rich and sometimes exotic, always expressing a deep emotional content.Debussy's string quartet dates from his early years, a beautiful and romantic work, the French answer to Wagner's richly chromatic language.The Quartetto Prometeo is one of Italy's finest string quartets. Their recording for Brilliant Classics of the string quartet by Hugo Wolf received excellent reviews: "an illuminating interpretation of the String Quartet that is both athletic and elegant, luxuriating in the work's warmth but also plunging fearlessly into its icy depths." (MusicWeb International).
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