Music Director Alan Gilbert conducts. A marvelous story full of both symbolism and terror, it is only five pages long and would thus require "padding" instead of the usual brutal cutting of the story. However, I shall not be composing an opera, and so I decided to redirect my ideas into what might be considered an overture to an unwritten opera. The story concerns a vain Prince, Prospero, who summons his friends to his palace and locks them in so that they will remain safe from the Red Death, a plague that is ravaging the countryside.
All of these works from Rouse are newer works from him and they display a wide array of styles. Rouse himself explain them: Her life has not been an easy one, and the struggles she has faced are reflected in the sometimes peripatetic nature of the music. While quite a few of my scores have symbolically translated various words into notes and rhythms, this process has been carried to an extreme degree in Odna Zhizn: My third symphony is an attempt to do just this.
There is also a direct quote at the end of my first movement: I decided to split the difference and commit to a theme-with-five-variations form. The variations are of notably disparate character, and the musical language ranges from the dissonant and barbaric to the overtly tonal.
After the statement of the theme, the bright and glittering first variation gives way to a highly romantic variation scored for strings and harps only.
The third variation is moderate in tempo and mood, but the short fourth is a mostly quiet whirlwind in an extremely fast tempo. The final variation, which follows without pause, possesses a bacchanalian abandon.
|Grammy nomination for Dacapo | Dacapo Records||The post was made possible by a generous gift from Henry R. Following the successful tenure of the first to hold the post — Finnish composer Magnus Lindberg, whose initial two-year position was extended to a third — Gilbert tapped Christopher Rouse, an American composer whose ties to the Orchestra went back towith a performance of The Infernal Machine.|
|Search This Blog||A longtime champion of Rouse's music, St. The Bassoon Concerto is commissioned by a consortium of four orchestras across three continents:|
|Prospero's Rooms - Wikipedia||Gapplegate Classical-Modern Music Review Modern classical and avant garde concert music of the 20th and 21st centuries forms the primary focus of this blog.|
The work was completed in Baltimore, Maryland on February 3, Lasting about twenty-five minutes, it is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, four trumpets, four trombones, tuba, two harps, timpani, percussion three playersand strings.
It is dedicated to my high school music teacher, John Merrill; without his kindness and encouragement I might never have found the fortitude to persevere in my dream of being a composer.
It is the most abstract of the arts — e. Ultimately this is a debate for aestheticians, not composers. Of course, some composers have gone even further, attempting to tell actual stories or to describe events in sound.
However, there have been a few occasions when I have felt the need to say very little in this regard. The above paragraphs are preamble to the fact that, while I did have a particular meaning in mind when composing my Symphony No. Some listeners may find the piece baffling but will nonetheless have to guess.
Composed for the New York Philharmonic and completed in Baltimore on June 30,this two-movement, twenty-minute symphony is scored for piccolo, two flutes, two oboes, English horn, two clarinets, contrabass clarinet, two bassoons, contrabassoon, four horns, three trumpets, four trombones, tuba, timpani, percussion three playersharp, celesta, and strings.
However, I shall not be composing an opera, and so I decided to redirect my ideas into what might be considered an overture to an unwritten opera.
The story concerns a vain Prince, Prospero, who summons his friends to his palace and locks them in so that they will remain safe from the Red Death, a plague that is ravaging the countryside.
But of course a figure clad all in red does appear; it is the red death, and it claims the lives of all in the castle. First is the blue room, followed by the purple, the green, the orange, the white, and the violet rooms.
Last, buried in the deepest recess of the castle, is the black room.Nov 07, · Steven Stucky, Christopher Rouse, Ives ℗ New York Philharmonic Released on: Music Publisher: Boosey & Hawkes, Inc. Auto-generated by YouTube. Christopher Rouse's Symphony No.
5 has its world premiere with the Dallas Symphony Orchestra, Jaap van Zweden conducting, from February Future performances include summer of at Aspen Music Festival, and autumn of with the Nashville Symphony. Christopher Rouse, who from to served as The Marie-Josée Kravis Composer-in-Residence at the New York Philharmonic, is among the most respected composers of his generation, noted for works of impulsive rhythm, vivid color, and catholicity in bringing together the traditions of .
Working his way through the variously colored rooms of Poe's tale, Rouse captures the author's eerie strangeness with powerful poetry of his own in a spooky thrill ride." The Times – 4* review "I was totally gripped, and entertained, by the UK premiere of Christopher Rouse's Prospero's Rooms, a stunning, eight-minute orchestral riff on Edgar Allan Poe's The Masque of the Red Death.
The work was commissioned by the New York Philharmonic, for which Rouse is composer-in-residence, and was completed in