 | György Ligeti - Poème Symphonique For 100 Metronomes Extremely sick...extremely good! |
 | Varèse : Density 21.5 for flute solo. Composition of 1936. Maria Grochowska, flute. |
 | Density 21.5 Density 21.5. Obra escrita por Varese en 1936 para el flautista George Barrére para la premiere de su flauta de platino, 21.5 gramos por centímetro cubico era la densidad de la aleación. La pieza está basada en dos melodías una modal y otra atonal, marca el inicio de la flauta contemporánea.Léster la interpreta en su Concierto de Graduación comointrumentista de la flauta travesera.Esta obra es un reto para todo flautista. |
 | Varèse - Ionisation - Boulez, Ensemble InterContemporain Pierre Boulez conducts the Ensemble InterContemporain playing Ionisation by Edgard Varèse. |
 | Imaginary Landscape No. 5 (1952) by John Cage Imaginary Landscape No. 5 (1952) was John Cage's first work for magnetic tape, employing "chance" procedures in a pre-determined fashion using block-graph notation. Each block on the score equals three inches of tape, equivalent to one-fifth of a second. There are a total of eight simultaneous tracks made from any forty-two phonograph records. Duration and amplitude (volume) are notated for each of the forty-two records, but there is no indication of what the records should be. It is the performer of the score, rather than the composer, who finally determines what the content will be. The only basic contribution that Cage provides is how the records are to be used. The finished tape is a fixed and unalterable object. Originally, Cage wrote Imaginary Landscape No. 5 to accompany a choreographed dance called "Portrait of a Lady" by Jean Erdman, an influential figure in the world of modern dance. He used jazz records that Ms. Erdman used in her studio for jazz improvisation dance exercises (however, as stated before, the score can be realized with any forty-two records, not necessarily 1940's jazz). Cage's compositional process was based on the I-Ching, a Chinese symbol system designed to identify order in what seem like chance events. The philosophy centers on the ideas of the dynamic balance of opposites, the evolution of events as process, and acceptance of the inevitability of change. In an attempt to update the format of this composition for modern day, I used GarageBand and iTunes on my Mac PowerBook G4, instead of using tape and records. I chose forty-two of my favorite tracks from over 5,000 in my iTunes, determined to choose as wide a variety of genres and styles as possible (also including one track from each of my previous recitals, for nostalgia). The tracks I chose are listed on the back of this program. In GarageBand, I created eight channels, dragged in my pre-chosen tracks from iTunes, made "cuts" of the clips (some random, some not), and placed them in the appropriate time markings as indicated in the score. Even though I did not pre-determine where the clips would end up in the score, some of the final outcomes are fairly amusing and some fairly "musical." Although John Cage was highly interested in chance operations, this score is extremely specific about where each musical fragment should be placed, down to the fraction of a second, and at what amplitude each fragment should be played. My final format is an MP3, instead of a tape. Julie Nathanielsz, a graduate student from the UT Dance Department, and Alexa Bourdage, the Longhorn Band Feature Twirler, have choreographed movement to the piece, completing what I consider to be a true twenty-first-century realization of the work. A Door is Ajar -- Traditional / Kronos Quartet A Night in Tunisia -- Ella Fitzgerald Any Way You Want It -- Journey Aracana -- Edgard Varèse Bells for Stokowski -- Michael Daugherty Black Angels -- George Crumb The Cage -- Charles Ives The Call of Boromir -- Daniel McCarthy Chariot -- Gavin DeGraw Circus Maximus (Symphony No. 3) -- John Corigliano Dancing Queen -- ABBA The Danserye -- Tielman Susato Daphnis et Cloe -- Maurice Ravel Drumming -- Steve Reich Einstein on the Beach -- Philip Glass Escape! -- Justin R. Stolarik Etude No. 4 in C-sharp minor, Op. 10 -- Frédéric Chopin The First Circle -- Pat Metheny Harmonielehre -- John Adams I Get a Kick Out of You -- Frank Sinatra I was Looking at the Ceiling and then I Saw the Sky -- John Adams Judgement Day Blues -- Carolyn Wonderland Koyaanisqatsi -- Philip Glass La Suerte de los Tontos -- Stan Kenton Le Api -- Antonio Pasculli Lovely Day -- Bill Withers Magical Mystery Tour -- The Beatles Morris Brown -- OutKast Piano Sonata "Pathetique" Op. 13 -- Ludwig van Beethoven The Pines of Rome -- Ottorino Respighi The Rite of Spring -- Igor Stravinsky Shepherd's Hey! -- Percy Grainger Short Ride in a Fast Machine -- John Adams Six Marimbas -- Steve Reich Symphonic Metamorphoses -- Paul Hindemith Symphony in B-flat -- Paul Hindemith Symphony No. 3 in E-flat, Op. 55 "Eroica" -- Ludwig van Beethoven Symphony No. 5 -- Dmitri Shostakovich Velocities -- Joseph Schwantner Vertigo (movie soundtrack) -- Bernard Herrman Without Me -- Eminem You'll Never Walk Alone -- Rodgers & Hammerstein Program Note by Justin R. Stolarik |
 | Dream (1948) by John Cage Dream (1948) was written for piano, using the rhythmic structure of a dance by Merce Cunningham. The long, unaccompanied melody creates resonances in itself, like a soft and meditative mood reminiscent of Erik Satie's impressionistic music (a composer whose music retained a central place in Cage's aesthetic). The work foreshadows minimalism (like that of Philip Glass in the coming decades), creating a sense of curving, circular time, carrying the listener through organic and celestial landscapes. Program Note by Justin R. Stolarik ----------------------------------- Part of Dr. Stolarik's University of Texas at Austin DMA 2 Solo Percussion Recital, entitled "An Unconventional 20th Century Retrospective." Thursday, November 15th, 2007 at 4:30pm in Bates Recital Hall. My unconventional retrospective concept delivers a wide variety of musical styles of the twentieth-century -- one work from almost every decade. The pieces not originally composed for percussion have been included as a means to demonstrate the contributions by important composers of the century and to expose the listener to the versatility of percussion instruments. |
 | Edgard Varèse - Octandre 1/3 Edgard Varèse Octandre for seven wind instruments and double bass (1923) GROPIUS ENSEMBLE Roy Amoz -- flute Shira Ben-Yehoshua -- oboe Tibi Cziger -- Clarinet Mor Biron -- bassoon Alexanrda Scott -- bass Yuval Shapiro -- trumpet Itamar Leshem -- horn Omer Bakerman -- trombone Daniel Cohen -- Conductor Einav Cultural Center, Tel-Aviv, January 2008 Visit our new Website! http://www.gropiusensemble.com/ www.danielcohenconductor.com |
 | Clapping Music (1972) by Steve Reich Clapping Music (1972) was Steve Reich's attempt to write a piece of music requiring nothing but the human body -- two performers that hand-clap. His first attempt at translating phase technique from recorded tape loop to live performance was his 1967 Piano Phase for two pianos (which I performed on marimbas with Thad Anderson on my Master's recital at UT in 2005). In Piano Phase, the performers repeat a rapid twelve-note melodic figure, initially in unison. As one player keeps tempo with robotic precision, the other speeds up very slightly until the two parts line up again, but one sixteenth-note apart. The second player then resumes the previous tempo. This cycle of speeding up and then locking in continues throughout the piece; the cycle comes full circle three times, the second and third cycles using shorter versions of the initial figure. Although Reich's original intent was for Clapping Music to be a phase piece, he found that the idea of phasing was not appropriate for the simple ways in which to experiment with sound using the human body. Instead, he employed a shifting technique -- still cyclic, like phasing. Reich states that the piece is "to have one performer remain fixed, repeating the same basic pattern throughout, while the second moves abruptly, after a number of repeats, from unison to one beat ahead, and so on, until he is back in unison with the first performer." Clapping Music is intended for performance in a large space where the echoes and reverberations of the clapping create "a surrounding sensation of a series of variations of two different patterns with their downbeats coinciding." Program Note by Justin R. Stolarik ----------------------------------- Part of Dr. Stolarik's University of Texas at Austin DMA 2 Solo Percussion Recital, entitled "An Unconventional 20th Century Retrospective." Thursday, November 15th, 2007 at 4:30pm in Bates Recital Hall. My unconventional retrospective concept delivers a wide variety of musical styles of the twentieth-century -- one work from almost every decade. The pieces not originally composed for percussion have been included as a means to demonstrate the contributions by important composers of the century and to expose the listener to the versatility of percussion instruments. |
 | Prelude, Op. 74 No. 3 (1914) by Alexander Scriabin Prelude, Op. 74 No. 3 (1914) was written during Scriabin's second style period rooted in mysticism, as per his theological discussions with Madame Blavatsky in 1905. This was a period of more dissonant impressionistic and expressionistic compositions. Harmony, not melody, was the driving force of composition, and the preludes of Op. 74 are among the most daring harmonic conceptions of Scriabin's work. A study of his preludes from early to late reveals a gradual development from Chopin-like pieces, to highly chromatic, to tertian extensions, to pantonality (or lack of tonality). He developed his "mystic chord" after 1905, which became the basis of all his compositions during this period. The "mystic chord" was derived from the eighth to fourteenth partials of the overtone series, with properties of octatonic, diatonic, and whole tone scales. This particular prelude is almost entirely octatonic, with the exception of some chromatic passing notes: E-F#-G-A-A#-B#-C#-D# (there are two diminished-seventh chords and four tritones). Even when transposed at the third or tritone, all the pitches remain the same. Program Note by Justin R. Stolarik ----------------------------------- Part of Dr. Stolarik's University of Texas at Austin DMA 2 Solo Percussion Recital, entitled "An Unconventional 20th Century Retrospective." Thursday, November 15th, 2007 at 4:30pm in Bates Recital Hall. My unconventional retrospective concept delivers a wide variety of musical styles of the twentieth-century -- one work from almost every decade. The pieces not originally composed for percussion have been included as a means to demonstrate the contributions by important composers of the century and to expose the listener to the versatility of percussion instruments. |
 | Amériques (Varèse) Final six minutes of Edgard Varèse's Amériques (revised 1927 version), performed by the Oslo Philharmonic Orchestra under Jukka-Pekka Saraste. |
| Oceanfrontier Hideaway | |
| Sheraton Suites Philadelphia Airport | |
| The Boulders Resort and Golden Door Spa | |
| Coral Beach Club |
العربية
中国
Français
Deutsch
Ελληνική
हिन्दी
Italiano
日本語
Português
Русский
Español
