Liner Notes
Cat. No. NWCR742
Release Date: 1997-01-01
The Louisville Orchestra; Robert Whitney, Conductor; Cleveland Orchestra; Lorin Maazel, Conductor; Paul Price Percussion Ensemble: Steve Cornelius, Robert Dubinski, David Kulb, Thomas Langmaak, Michael Pugliese, Walter Schneider; Paul Price, conductor
Toccata Giocosa, Opus 94 was written June, 1953, at the MacDowell Colony, Peterborough, New Hampshire, on commission from the Louisville Orchestra. It is a kind of “perpetuum mobile” piece, in which a fast and propulsive rhythm is maintained from beginning to end. The element of contrast provided by dynamic levels, thinning or thickening of texture, and by instrumental combinations. Thematically, the work is based on three melodic ideas, of which the third is a fusion of the first two. At the principal climatic point of the Toccata, the three themes are combined.
Symphony No. 4, Op. 92 was begun also at the MacDowell Colony in Peterborough, New Hampshire in June, 1951 and completed in my Manchester, Massachusetts home in December, 1958. The world premiere took place on January 30, 1970, when the work was introduced by the Cincinnati Symphony Orchestra under Erich Kunzel. The composer conducted performances on February 9, 1973, with the Boston University Symphony Orchestra and on April, 1981, with the Depauw University Symphony Orchestra. This recording is a live performance of the Cleveland premiere which was on April 10, 1980, with The Cleveland Orchestra conducted by Lorin Maazel.
Los Dioses Aztecas (The Aztec Gods) Suite for Percussion Ensemble, Op. 107 (1959) is the result, in musical terms, of a trip I made to Mexico during the summer of 1957. The basic idea and the inspiration for the work came not from any actual Aztec or indigenous music but rather from primitive sculptures of the Aztec deities displayed in the National Museum in Mexico City. In this suite I tried to give musical expression to the abstract idea suggested by each Azetec god, my personal impression of what each represents in Aztec history and culture. On a secondary level the suite is an attempt to fashion a full scale percussion work of structural integrity and displaying clear motivic and rhythmic development, and not just a lengthy catalogue of exotic percussive effects. -Gardner Read
This title, originally issued on the CRI label, is now available as a burn-on-demand CD (CD-R) or download in MP3/320, FLAC or WAV formats. CD-Rs come in a protective sleeve; no print booklet or jewel case included. Liner notes are accessible via the link above.
Toccata Giocosa, Opus 94 was written June, 1953, at the MacDowell Colony, Peterborough, New Hampshire, on commission from the Louisville Orchestra. It is a kind of “perpetuum mobile” piece, in which a fast and propulsive rhythm is maintained from beginning to end. The element of contrast provided by dynamic levels, thinning or thickening of texture, and by instrumental combinations. Thematically, the work is based on three melodic ideas, of which the third is a fusion of the first two. At the principal climatic point of the Toccata, the three themes are combined.
Symphony No. 4, Op. 92 was begun also at the MacDowell Colony in Peterborough, New Hampshire in June, 1951 and completed in my Manchester, Massachusetts home in December, 1958. The world premiere took place on January 30, 1970, when the work was introduced by the Cincinnati Symphony Orchestra under Erich Kunzel. The composer conducted performances on February 9, 1973, with the Boston University Symphony Orchestra and on April, 1981, with the Depauw University Symphony Orchestra. This recording is a live performance of the Cleveland premiere which was on April 10, 1980, with The Cleveland Orchestra conducted by Lorin Maazel.
Los Dioses Aztecas (The Aztec Gods) Suite for Percussion Ensemble, Op. 107 (1959) is the result, in musical terms, of a trip I made to Mexico during the summer of 1957. The basic idea and the inspiration for the work came not from any actual Aztec or indigenous music but rather from primitive sculptures of the Aztec deities displayed in the National Museum in Mexico City. In this suite I tried to give musical expression to the abstract idea suggested by each Azetec god, my personal impression of what each represents in Aztec history and culture. On a secondary level the suite is an attempt to fashion a full scale percussion work of structural integrity and displaying clear motivic and rhythmic development, and not just a lengthy catalogue of exotic percussive effects. -Gardner Read
This title, originally issued on the CRI label, is now available as a burn-on-demand CD (CD-R) or download in MP3/320, FLAC or WAV formats. CD-Rs come in a protective sleeve; no print booklet or jewel case included. Liner notes are accessible via the link above.
Music of Gardner Read
| MP3/320 | $16.00 | |
| FLAC | $16.00 | |
| WAV | $16.00 | |
| CD-R | $16.00 |
A *.pdf of the notes may be accessed here free of charge.
Track Listing
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Toccata Giocosa, Op. 94
Gardner Read
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Night Flight, Op. 44
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Symphony No. 4, Op. 92: I. Largo con intenzita, Tranquillo assai
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Symphony No. 4, Op. 92: II. Lento sostenuto, Allegro scherzando
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Los Dioses Aztecas, Op. 107: I. Xiuhtecuhtli, Dios del Fuego
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Los Dioses Aztecas, Op. 107: II. Mictecacihuatl, Diosa de los Muertos
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Los Dioses Aztecas, Op. 107: III. Tlaloc, Dios de la Lluvia
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Los Dioses Aztecas, Op. 107: IV. Tezcatlipoca, Dios de la Noche
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Los Dioses Aztecas, Op. 107: V. Xochipilli, Dios de la Alegria y la Danza
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Los Dioses Aztecas, Op. 107: VI. Coyolxauhqui, Diosa de la Luna
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Los Dioses Aztecas, Op. 107: VII. Huitzilopochtli, Dios de la Guerra
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