Liner Notes
Cat. No. NWCRL437
Release Date: 2011-03-15
Blanca Uribe, piano; Paul Sperry, tenor; Nancy Allen, harp; Diane Thome, piano; Michael Finckel, cello; Lawrence Weller, baritone; Orchestra of Our Time (Lewis Paer, double bass; Eric Rosenblith, violin and viola; Chris Finckel, cello; David Woodhull, Jeffrey Kowalsky, percussion; Dwight Peltzer, piano and harpsichord); Joel Thome, conductor
Richard Wilson writes:
“Eclogue is a work in one movement that is comprised of three parts. There is an introductory section, contrapuntal and motivic, proceeding on a high level of energy and intensity. This is followed by a much more drawn-out, atmospheric kind of music, in which thematic material — chords and a brief melodic figure — is projected against different sorts of trills. This thematic material becomes the basis for a succession of connected, textural variations, which build in dynamics to a high point, after which quiet, muted sounds become the basis of a variation. The final section is a reflection on what has come before.
“In general, I was trying to make Eclogue a celebration of the traditional resources of the piano, both the kinds of sounds it is capable of producing and the variety of styles of playing that its vast literature reveals.
“The Ballad of Longwood Glen is a setting of Vladimir Nabokov's narrative of the same title. Consisting of thirty-two rhymed couplets, the poem was written in America, directly in English, and bears the date 1957. The musical version, composed at Yaddo in the summer of 1975, begins and ends with the tenor and harp closely coordinated in the manner characteristic of art songs. The music of these two areas is similar, a reprise being the musical reflection of the return to (apparent) normalcy found at the close of the poem. In the intervening portion of the piece, as the events of the poem become increasingly bizarre, the performers stray from exact coordination. This independence allows the singer a good deal of freedom in delivering the text.
Yehuda Yannay writes:
“In 1970 my music took a gentle turn. It was not a conscious decision, but a gradual awareness of a shaping of fresh musical taste and thinking. It was then that I sensed for the first time freedom and directness in musical expression unburdened by tradition, including the Tradition of the New. Beyond compositional technicalities, At The End Of The Parade represents an exploration of a musical frame of mind created by the lasting impressions of William Carlos Williams' poetry. His poetry is the genre of text I prefer to use in my works: a lean but cohesive imagery that invites music for a symbiotic relationship...
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.
Richard Wilson writes:
“Eclogue is a work in one movement that is comprised of three parts. There is an introductory section, contrapuntal and motivic, proceeding on a high level of energy and intensity. This is followed by a much more drawn-out, atmospheric kind of music, in which thematic material — chords and a brief melodic figure — is projected against different sorts of trills. This thematic material becomes the basis for a succession of connected, textural variations, which build in dynamics to a high point, after which quiet, muted sounds become the basis of a variation. The final section is a reflection on what has come before.
“In general, I was trying to make Eclogue a celebration of the traditional resources of the piano, both the kinds of sounds it is capable of producing and the variety of styles of playing that its vast literature reveals.
“The Ballad of Longwood Glen is a setting of Vladimir Nabokov's narrative of the same title. Consisting of thirty-two rhymed couplets, the poem was written in America, directly in English, and bears the date 1957. The musical version, composed at Yaddo in the summer of 1975, begins and ends with the tenor and harp closely coordinated in the manner characteristic of art songs. The music of these two areas is similar, a reprise being the musical reflection of the return to (apparent) normalcy found at the close of the poem. In the intervening portion of the piece, as the events of the poem become increasingly bizarre, the performers stray from exact coordination. This independence allows the singer a good deal of freedom in delivering the text.
Yehuda Yannay writes:
“In 1970 my music took a gentle turn. It was not a conscious decision, but a gradual awareness of a shaping of fresh musical taste and thinking. It was then that I sensed for the first time freedom and directness in musical expression unburdened by tradition, including the Tradition of the New. Beyond compositional technicalities, At The End Of The Parade represents an exploration of a musical frame of mind created by the lasting impressions of William Carlos Williams' poetry. His poetry is the genre of text I prefer to use in my works: a lean but cohesive imagery that invites music for a symbiotic relationship...
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.
Richard Wilson; Diane Thome; Yehuda Yannay
| MP3/320 | $7.99 | |
| FLAC | $7.99 | |
| WAV | $7.99 | |
| CD-R | $7.99 |
A *.pdf of the notes may be accessed here free of charge.
Track Listing
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Eclogue
Richard Wilson
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The Ballad of Longwood Glen
Richard Wilson
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Buy
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Anaïs
Diane Thome
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Buy
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At the End of the Parade: I. Silence
Yehuda Yannay
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Buy
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At the End of the Parade: II. Death the Barber
Yehuda Yannay
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Buy
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At the End of the Parade: III. Sleep Song
Yehuda Yannay
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Buy
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At the End of the Parade: IV. January
Yehuda Yannay
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Buy
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At the End of the Parade: V. Love Song
Yehuda Yannay
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Buy
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At the End of the Parade: VI. The End of the Parade
Yehuda Yannay
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Buy
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