If you enjoyed the John Adams piano post last month, here's some of his classics for orchestra/chamber ensembles. This album was released as a trailer for Adams' opera Nixon In China, which would get a full album release the following year. The title piece here remains the most famous excerpt from the opera, and chugs along nicely with its foxtrot and cabaret influences representing the dance between Mao and his wife.
The rest of this collection gives a nice overview of Adams' work from the mid 70s onward, with the gentle Christian Zeal & Activity being the oldest. With the melancholy atmosphere and overlay of snippets from a preacher's sermon, it somewhat evokes Gavin Bryars' Jesus Blood Never Failed Me Yet. Next up are 'Two Fanfares for Orchestra' from 1986, the first being the sedate pulse of Tromba Lontana and the second the more upbeat and well-known Short Ride In A Fast Machine. Lastly, Common Tones In Simple Time (1980) stretches out for a nicely hypnotic 20 minutes, and makes plain the influence of Steve Reich on Adams' compositional style.
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pw: sgtg
Showing posts with label San Francisco Symphony Orchestra. Show all posts
Showing posts with label San Francisco Symphony Orchestra. Show all posts
Wednesday, 7 November 2018
Monday, 24 October 2016
Steve Reich - Variations for Winds, Strings and Keyboards / John Adams - Shaker Loops (rel. 1984)
Steve Reich seems to be everywhere at the moment – I’m certainly not complaining! – so as my own tribute during this, his 80th birthday month, here’s his earliest commissioned orchestral work, Variations For Winds, Strings And Keyboards (1979) in its premiere recording from 1983.
Very much a natural progression from Octet and Music for a Large Ensemble, which were composed around the same time, Variations takes a long, winding melody played on the winds and organ, and periodically anchors it with impressive harmonies in the brass. Reich’s most ambitious piece of writing yet, it was composed for the San Francisco Symphony Orchestra but was first trialled in a scaled-down chamber orchestra setting. The February 1980 premiere of that version, by Reich’s ensemble was broadcast along with an interview on Charles Amirkhanian’s KPFA Radio programme Other Minds – the whole broadcast recording is available at ubuweb , or if you’d just like to hear the recording of the piece in its original incarnation, dl here.
The accompanying work on this 1984 CD was the orchestral version of John Adams’ Shaker Loops (1978), another key work in the US minimalist canon alongside much of Reich and Glass. The name comes partly from the inspiration of the repetitive tape loop music of early Reich, partly from the tremulous, trilling sounds in the strings, and partly from imagining a Shaker church dancing in pursuit of spiritual ecstasy. The four movements go through a variety of moods and speeds, and the whole work is essential listening in its genre.
A final thought about this CD itself – that’s got to be one of my favourite classical album covers ever; the modern symmetry of that building suits the musical contents perfectly. Anyone know where the picture was taken? If the building’s still there?
link
Very much a natural progression from Octet and Music for a Large Ensemble, which were composed around the same time, Variations takes a long, winding melody played on the winds and organ, and periodically anchors it with impressive harmonies in the brass. Reich’s most ambitious piece of writing yet, it was composed for the San Francisco Symphony Orchestra but was first trialled in a scaled-down chamber orchestra setting. The February 1980 premiere of that version, by Reich’s ensemble was broadcast along with an interview on Charles Amirkhanian’s KPFA Radio programme Other Minds – the whole broadcast recording is available at ubuweb , or if you’d just like to hear the recording of the piece in its original incarnation, dl here.
The accompanying work on this 1984 CD was the orchestral version of John Adams’ Shaker Loops (1978), another key work in the US minimalist canon alongside much of Reich and Glass. The name comes partly from the inspiration of the repetitive tape loop music of early Reich, partly from the tremulous, trilling sounds in the strings, and partly from imagining a Shaker church dancing in pursuit of spiritual ecstasy. The four movements go through a variety of moods and speeds, and the whole work is essential listening in its genre.
A final thought about this CD itself – that’s got to be one of my favourite classical album covers ever; the modern symmetry of that building suits the musical contents perfectly. Anyone know where the picture was taken? If the building’s still there?
link
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