45 Results for : leisner

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    Monhegan Suite & Other Musical Journeys
    This CD contains three different musical journeys through time. We hope that listeners will feel they have spent that day on Monhegan Island, experienced the brief but passionate relationship of the Apache lovers and traced the evolution of the Tango over the course of a century. Monhegan Suite by John Kusiak was commissioned by Jill Dreeben to depict the moods and tones of different places on Monhegan Island in the course of a summer day. The rest of this booklet will be devoted to the thoughts of the composer. Katherine Hoover described Canyon Echoes as the story of two young Apaches from a large canyon "where the streams ripple and the wind sings in the cottonwoods." In Dance they meet and have eyes only for each other. Serenade marks the growth in their friendship. She Mourns when her young lover leaves for the hunt. When He Returns he is stricken to learn she has fallen ill and died. In Histoire du Tango, Astor Piazzolla traces the evolution of the Tango from it's origins in Buenos Aires in Bordel 1900 to Cafe 1930 then to Club 1960. Prelude - 12 Nautical Miles - This movement opens with the guitar emulating the sound of distant bell buoys that gradually come closer. An introduction leads to a dreamy anticipation of the day, the main theme with it's Lydian mode character is stated by the flute. Excitement over returning to Monhegan builds as I imagine the Laura B ferry making the 12- mile trip from Port Clyde over open sea, a trip sometimes accompanied by harbor porpoises, whales, and seals. Sunrise at Burnt Head - The summer day begins with a sunrise that can be best experienced by rising a half-hour before dawn, walking a half mile across the island to the eastern cliffs (in this case, Burnt Head) and waiting for the sun to appear over the ocean. The dawn is shared with seagulls and scrub pine. The flute gradually climbs as the sun ascends and the mood is serene and reverent, finishing with a chorale-like section in Eb. Lobster Cove - Lobster Cove is on the southern tip of the island and is mostly flat and rocky. It sports a wreck of the D.T. Sheridan rusting peacefully by the surf. In the music, I have tried to create a feeling of the rolling waves with guitar arpeggios and odd meters. The flute melodies contain and develop some of the bird songs that I recorded while walking to the cove. Day Trippers - This is a fun movement for mid-day that illustrates the chaotic and sometimes humorous activity found on the dock, Main Street and the beaches when tourists converge on Monhegan for a few hours. The Trails to the Headlands - Monhegan is famous for it's trails. This movement evokes the haunting beauty of the forest. It is quiet and dark with shafts of light illuminating green moss. In foul weather, these trails can be treacherous, but in August they are magical. The trail ultimately leads to the Headlands, opening onto bright sunlight and dramatic cliffs. Waves crashing against the rocks below are suggested by cascading flute arpeggios and dramatic guitar strumming. Few who fall in on this side of the island have been rescued. The danger is real for the reckless and the unlucky. The Library/Jackie and Edward - Jackie Barstow and Edward Vaughan were two of the unlucky ones. In 1926, Edward was supervising Jackie's eleventh birthday party picnic on a flat rock at the base of Black Head when she was swept out to sea by a rogue wave. Edward jumped in to save her. Both were lost. The Monhegan Memorial Library was dedicated to them and provides a quiet place to read and reflect. Here the main theme is stated and developed by both instruments in turn, a simple meditation on the tragic loss of two innocents. Sunset at the Lighthouse - One of the great pleasures of Monhegan is viewing the sunset from lighthouse hill. This movement is related in tone and tempo to the Sunrise movement, building in intensity with the setting sun through quiet expectation, dramatic light and clouds, and vibrant colors. It reprises the reverent chorale of the Sunrise music as the sun descends into the horizon, ending with a promise of return through the use of unsettled seventh-chord harmony. Evening: Friends and Family - Here, the theme loses it's Lydian character as it is set to a simple accompaniment in B Major expressing the warmth of family, friends and laughter. Music that describes the boat journey to the island is recapitulated in portraying the journey back to the mainland. Epilogue -Dream: Winter on the Island - Back home on the mainland - "inshore" as year-rounders call it - the island is still with me in my imagination. Dreaming about what the island is like in winter is reflected musically in a new theme played by solo guitar. When the flute enters, hints of previous themes return in an extended quasi-improvised section. As the movement concludes, guitar themes from the prelude are repeated. The bell buoy sounds a positive chord as it fades away beneath undulating flute arpeggios. Jill Dreeben has performed in numerous solo flute and chamber music concerts throughout New England. She is a founding member of Solar Winds Woodwind Quintet and a member of Kaleidoscope Chamber Ensemble. She has played with the Lumen Contemporary Ensemble, Composers in Red Sneakers and has been a soloist with The Boston Secession. She premiered music written for her by composer John Kusiak and recorded some of his commercial works as well as works by local composers Pasquale Tassone, Armand Qualliotine, Betsy Schramm and James Ricci. Jill Dreeben plays with the New England Orchestra in Lowell and she has performed with Emmanuel Music of Boston. Ms. Dreeben studied with Craig Goodman, Louis Moyse and Lois Schaefer. She earned a BA in Music from Cornell University (1983) and an MM in Flute Performance from New England Conservatory (1987). Currently Ms. Dreeben teaches flute at Brandeis University and maintains a private studio in Arlington, MA. Peter Clemente has performed solo and chamber music throughout New England and has completed successful concert tours in California and in the southwestern United States. He has been featured live in concert/interview radio broadcasts on WGBH, Boston, and KPFK, Los Angeles, and in 1990 made his New York debut at Weil Hall with soprano Katherine Emory. A native of Massachusetts, Mr. Clemente studied the guitar with Richard Provost at the Hartt School of Music, where he is the only guitarist to have received the prestigious Applied Music Award for outstanding musical performance. Later training was with David Leisner at New England Conservatory and with Neil Anderson at the Boston Conservatory. He was the firstprize winner in both the Guitar Foundation of America's International Solo Competition in 1986 and the Ovation Classical Guitar Competition in 1981. He is currently a Lecturer in Music at Assumption College in Worcester, MA. John Kusiak composes music for film, television and live performance. He has scored hundreds of projects, including television documentaries (HBO, IFC, PBS and Sundance), large-screen exhibitions (Yellowstone National Park and the Smithsonian) and feature films (Tabloid, Secrecy, The Singing Revolution and additional music for the 2004 Academy Award winning documentary The Fog of War). His score for Errol Morris' "Tabloid" won the 2012 Cinema Eye Honors Award for Outstanding Achievement in Original Music.
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    Sentimental Scenes
    Carol Hohauser and Matthew Marshall have been performing together since 1993 and have established themselves as New Zealand's premiere flute and guitar duo. They have performed throughout New Zealand and have also toured Australia, USA, Mexico, Germany and Russia. They have featured at the Cervantino Festival in Mexico, performed concertos with the Berlin chamber Orchestra in Germany, the Kuzbass Philharmonic Orchestra in Russia and the Guanajuato Symphony Orchestra in Mexico. Carol Hohauser is one of New Zealand's most outstanding flutists. She studied at the Manhattan School of Music, the Juilliard School and Columbia University. She has performed with the New Zealand Symphony Orchestra and has appeared on many of their CDs, recorded numerous programmes for Radio New Zealand and has won a Mobil Radio Award. Matthew Marshall is one of New Zealand's leading classical guitarists. He studied with William Bower, John Mills, Gordon Crosskey and David Leisner and has given recitals throughout Europe, Australasia, Pacific Islands and North America. He has given over 70 concerto performances with all the major New Zealand orchestras as well as with orchestras in Mexico, Germany and Russia.
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    Quiet Songs
    The Olson/De Cari Duo has a unique and intimate approach to song performance that comes from soprano Gioia De Cari's background as both a film/theater actor and a classical singer, and guitarist John Olson's sensitive and intelligent approach to both new and traditional repertoire. NYlon Review described a recent performance as 'superb . . . served up with style and elegance.' Their debut CD, Quiet Songs, features songs and guitar solos highlighting the quiet intimacy of the guitar and the guitar/voice combination. The selections range in style from traditional classical to jazz-inspired, and include familiar repertoire as well as several rarely-heard pieces. From the liner notes by J. Andrew Dickenson: Setting the tone for the CD is the enchanting Aria (Cantilena) from Heitor Villa-Lobos's Bachianas Brasileiras No. 5. Meditative and haunting, the piece begins with a short, rhythmic introduction on the guitar. Almost as if the voice is reluctant to join, it creeps in without words - a single note on the vowel "ah." The soaring melody evokes images of beautiful landscapes, luminescent moons, and longing for a lover, reflections that are echoed in Portuguese during the middle, più mosso, section. After a dramatic declaration, the wordless, haunting melody returns, this time with an even softer hum. Both Bachianas Brasileiras and the following guitar solo, Prelude No. 3, were written in homage to Johann Sebastian Bach. The Bachianas Brasileiras themselves are a set of nine pieces, each written with the intention of combining Villa-Lobos's love for the baroque master with the rhythms and melodies of his homeland, Brazil. Originally written for an orchestra of eight cellos and soprano, the Aria, with this arrangement by the composer himself, reflects Villa-Lobos' passion for two of his favorite instruments, the guitar and the cello. Prelude No. 3, from the composer's set of five for guitar, bears the subtitle 'Homage to Bach.' Although it may be difficult to find a specific citation of baroque music in the score, the piece does make innovative use of historical techniques such as pedals, voicing, and arpeggios. The homage, perhaps, is not so much in the character of the music as it is in stylistic reverence for the compositional master. Johann Sebastian Bach's devotion to God and the church is evident in all of his music, though his song settings give him the opportunity to express this devotion in words. The three songs in this set are from a collection of 954 spiritual songs and arias compiled by Georg Christian Schemelli, a well-known cantor of his day. The preface, published in 1736, explains that Bach - Electoral Saxon Capellmeister and Director Chori Musici in Leipzig - composed or 'improved' melodies and figured bass for many of the texts. Accompanied here by the gentle sounds of the guitar and interspersed with two movements from the third lute suite, the songs become intimate portraits of faith. Lyrical and gentle, the harmonies are appropriately uplifting and contemplative as the words and melodies profess spirituality, admiration, and awe. In contrast, David Leisner's Outdoor Shadows are five songs that profess a love for the earth, nature and humanity. Speaking of sun that gives "the tan of earth to me," birds that have achieved 'freedom that flows in form,' and earth's 'nitwits numskulls universal nincompoops,' the poems by Robert Francis describe the natural world with admiration, color, and wit. Francis's 'lyricism and impeccable craft make the poems eminently settable to music,' writes Leisner. 'His interest in all things natural and simple resonates with mine. In 1985, when I wrote these five songs on a commission from the University of Arizona and the Tucson Guitar Society, these were the most important compositional issues for me, and, I might add, this was determinedly out-of-step with the prevailing interest of the musical composition establishment in complexity and all things cerebral.' The listener will find the accompaniment for these songs often written as a single line, colored with more traditional guitar arpeggios and chordal accompaniment. The joyful melody of the last movement, Sing a Song of Juniper, is bolstered by energetic strumming. The haunting arpeggio and melody that introduce John Duarte's Five Quiet Songs are an appropriate beginning to a set of deeply personal music. Written a year after the influential female French guitarist Ida Presti died in 1967, each movement is a vignette describing the frailty of humanity. Spiritual and profound, these songs capture a side of Duarte's music - and of himself - that speaks of life and it's brevity. New York guitarist Frederic Hand has established a recognizable style that interweaves his classical training with a lifelong love for jazz. 'Musical boundaries are routinely being crossed,' he writes in his program notes for Missing Her, 'and the result is a lot of new and exciting music.' Originally written for a small ensemble, this melodic piece combines jazz harmonies with classical arpeggios, and even includes an improvisational section. Nostalgic by it's nature, Missing Her effectively evokes longing and desire from the singing, luscious chords. 'If, in it's proper sense, the term 'classic' refers to something that is a model of it's kind, and that has survived the test of time,' writes John Duarte, 'the songs of George Gershwin are indeed 'classics.'' Perhaps some of the most familiar music in the American repertoire, Gershwin's songs are brief glimpses into a past era of vibrant Americana. Each song captures the invigorating breath of life that Gershwin was capable of in his music. Duarte's arrangements are refreshing and innovative, reflecting his keen understanding of and affection for this wonderful music.
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    From the Madhouse
    Carol Hohauser and Matthew Marshall have been performing together since 1993 and have established themselves as New Zealand's premiere flute and guitar duo. They have performed throughout New Zealand and have also toured Australia, USA, Mexico, Germany and Russia. They have featured at the Cervantino Festival in Mexico, performed concertos with the Berlin chamber Orchestra in Germany, the Kuzbass Philharmonic Orchestra in Russia and the Guanajuato Symphony Orchestra in Mexico. Carol Hohauser is one of New Zealand's most outstanding flutists. She studied at the Manhattan School of Music, the Juilliard School and Columbia University. She has performed with the New Zealand Symphony Orchestra and has appeared on many of their CDs, recorded numerous programmes for Radio New Zealand and has won a Mobil Radio Award. Matthew Marshall is one of New Zealand's leading classical guitarists. He studied with William Bower, John Mills, Gordon Crosskey and David Leisner and has given recitals throughout Europe, Australasia, Pacific Islands and North America. He has given over 70 concerto performances with all the major New Zealand orchestras as well as with orchestras in Mexico, Germany and Russia. All tracks on 'From the Madhouse' were recorded in single takes, without editing, to capture the excitement of live performance.
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    Entre Senderos
    'Entre Senderos', Hector Murrieta's excellent follow up album to his 2007 debut 'De Oriente a Occidente: Musica del Siglo XX'. This new CD includes some of the greatest works ever written for classical guitar: Manuel de Falla (1876-1946) - Homenaje a Debussy Written in 1920 in memory of the composer's friend, C. Debussy. Frank Martin (1890-1974) - Quatre Pieces Breves I.- Prelude II.- Air III.- Plainte IV.- Gigue Written in 1933, the music mixes twelve tone techniques without completely abandoning tonality. Ernst Krenek (1900-1991) - Suite for Guitar Op. 164 I.- Allegro Moderato II.- Andante III.- Larghetto IV.- Allegretto V.- Allegro His only work for guitar, written in 1957, a time when the composer started to experiment with serialism. Francis Poulenc (1899-1963) - Sarabande Written in 1960 in a modal style, 3 years before the composer's death. Toru Takemitsu (1930-1996) - In the Woods I.- Wainscot Pond II.- Rosedale III.- Muir Woods Written in 1995, this work turned out to be the last one he wrote for guitar before losing his battle against cancer, . William Walton (1902-1983) -5 Bagatelles I.- Allegro II.- Lento III.- Alla Cubana IV.- Untitled V.- Con Slancio Written for Julian Bream and dedicated to the composer's close friend Malcom Arnold, the 5 Bagatelles show the composers imagination and orchestral thinking within the limits of the guitar. Plenty of jazz harmonies and "world" rhythms abound in this rather magnificent work, showing us the ample harmonic/rhythmic palette Walton had at his disposal. ------------------------------------------------------------ Héctor Alejandro Murrieta Flores nacio en la Ciudad de México y comenzo sus estudios de guitarra clásica en la escuela 'Ollin Yolitztil' con el maestro Antonio López, continuando en la Escuela Nacional de Música, U.N.A.M., bajo la dirección del maestro Juan Carlos Laguna, llevando al mismo tiempo materias complementarias como Armonía con D. Domínguez, H. Guerrero y G. Noriega, Conjuntos Instrumentales con las clavecinistas Eunice Padilla, Luisa Duron, Conjuntos Corales con J. Ávila y clases particulares de guitarra con Carlos Bernal. Actualmente asiste a clases con Gonzalo Salazar (México). Ha participado en festivales nacionales e internacionales, en donde tomo clases magistrales con: Sante Tursi (Italia) Ignacio Rodes (España) Robert Guthrie (USA) Costas Cotsiolis (Grecia) David Leisner (USA) Manuel Barrueco (Cuba/USA) David Tanenbaum (USA) Thomas Kirchoff (Alemania) Dale Kavanagh (Canada) Ulrich Stacke (Alemania) y Pavel Steidl (Replublica Checa) entre otros. Recibio una beca de The California State University, para asistir al Summer Arts Guitar and Lute Institute, en donde tambien tomo clase con: The L.A. Guitar Quartet, Benjamín Verdery, David Tanenbaum, Richard Savino, Pearl and Grey Duo. Se ha presentado en diversas entrevistas y programas de radio (Radio Educación, Radio UNAM), eventos multidisciplinarios como la Primera Semana del Libro de Poesía.. (con la participación del poeta Jaime Sabines), el ciclo 'La Música vive en la Universidad', etcetc. El compositor venezolano Alfonso Montes comento con respecto a una grabación enviada a el de su obra 'Milonga al sur' : 'Vuestra interpretación de mi pieza me conmovió mucho, sobre todo porque traspasa el efecto con que interpreta esta. Lo que usted hace habla de la no pasividad ante la partitura'. Su versatilidad también le ha permitido incursionar en diversas actividades de la música popular, acompañando a diferentes cantantes solistas, u obteniendo premios en eventos como '1er Concurso Universitario de Rock' con los hermanos Barrera (del grupo de jazz B4) y J. Acosta (creador del grupo de rock 'Tuna' y productor de diversos proyectos). Su primer CD, 'De Oriente a Occidente: Musica del Siglo XX', con musica de C. Chavez, L. Brouwer, T. Takemitsu y H. Villalobos se encuentra disponible en la republica mexicana a traves de librerias Educal y a nivel internacional a traves de la compañia CD Baby. Recientemente participo en el 'Primer Acoplado Interactivo de Arte Mexicano', CD publicado por el directorio de arte en Mexico mas grande en red, Vector Mariachi. En este se encuentran grabaciones de diferentes musicos y el trabajo de artistas plasticos mexicanos, Tambien con musica del CD 'De Oriente a Occidente: Musica del Siglo XX' para el documental 'In the Absence of Men', producido por Reel Futures International, organizacion no lucrativa con base en U.S.A., dedicada a proponer soluciones creativas a problemas globales.
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