Wydawnictwo: Challenge Classics
Nr katalogowy: CC 72762
Nośnik: 1 CD
Data wydania: kwiecień 2018
EAN: 608917276220
Nr katalogowy: CC 72762
Nośnik: 1 CD
Data wydania: kwiecień 2018
EAN: 608917276220
Raaff: Melodies Unheard
Challenge Classics - CC 72762
Kompozytor
Robin de Raaff (ur. 1968)
Robin de Raaff (ur. 1968)
Wykonawcy
Sophia Burgos, soprano
Emilio Pomerico
Arie van Beek
Antonello Manacords
Radio Kamer Filharmonie
Orchestre de Picardie
Het Gelders Orkest
Doelen Ensemble
Rascher Saxophone Quartet
Sophia Burgos, soprano
Emilio Pomerico
Arie van Beek
Antonello Manacords
Radio Kamer Filharmonie
Orchestre de Picardie
Het Gelders Orkest
Doelen Ensemble
Rascher Saxophone Quartet
Utwory na płycie:
Symphony No. 4 “Melodies Unheard” a symphony of songs for soprano (or mezzo) and orchestra on poems by Emily Dickinson - IV. The Farthest Thunder- Symphony No. 4 “Melodies Unheard” a symphony of songs for soprano (or mezzo) and orchestra on poems by Emily Dickinson - V. The Nearest Dream Recedes, Unrealized
- Symphony No. 4 “Melodies Unheard” a symphony of songs for soprano (or mezzo) and orchestra on poems by Emily Dickinson - VI. The Soul Selects Her Own Society
- Symphony No. 4 “Melodies Unheard” a symphony of songs for soprano (or mezzo) and orchestra on poems by Emily Dickinson - VII. Musicians Wrestle Everywhere
- Symphony No. 2 “Two Worlds Colliding” for saxophone quartet and orchestra - Movement I
- Symphony No. 2 “Two Worlds Colliding” for saxophone quartet and orchestra - Movement II
- Symphony No. 2 “Two Worlds Colliding” for saxophone quartet and orchestra - Transition-Movement III
- Symphony No. 1 “Tanglewood Tales” for large orchestra - Movement I (Untangled Tales)
- Symphony No. 1 “Tanglewood Tales” for large orchestra - Movement II (Untangled Tales)
- Symphony No. 1 “Tanglewood Tales” for large orchestra - Coda
- Symphony No. 4 “Melodies Unheard” a symphony of songs for soprano (or mezzo) and orchestra on poems by Emily Dickinson - I. How Still the Bells
- Symphony No. 4 “Melodies Unheard” a symphony of songs for soprano (or mezzo) and orchestra on poems by Emily Dickinson - II. Orchestral Interlude
- Symphony No. 4 “Melodies Unheard” a symphony of songs for soprano (or mezzo) and orchestra on poems by Emily Dickinson - III. Softened By Time’s Consummate Plush
Symphony No. 2 "Two Worlds Colliding" for saxophone quartet and orchestra
Symphony No. 1 "Tanglewood Tales" for large orchestra
Symphony No. 4 "Melodies Unheard" a symphony of songs for soprano (or mezzo) and orchestra on poems by Emily Dickinson;
Symphony No. 1 "Tanglewood Tales" for large orchestra
Symphony No. 4 "Melodies Unheard" a symphony of songs for soprano (or mezzo) and orchestra on poems by Emily Dickinson;
The Dutch composer Robin de Raaff has four symphonies to his name. Will De Raaff follow in the footsteps of tradition, or will he give the name, the form, a new meaning, a new direction?
His symphonies have little to do with the classical concept. Of course, his love for composing was partly derived from the symphonies of composers such as Brahms, Mahler, Shostakovich, Prokofiev and even Bernstein, but De Raaff is too much of a constructivist to write a symphony in the classical sense of the word. De Raaff became more and more convinced there was something to be gained in the concertante form, the orchestra and the soloist, the individual and the crowd. He shies away from prescribed forms and developments, a recapitulated theme followed by various movements with different characters. The symphony, the orchestral apparatus sounding together, telling its story for a period of at least 20 minutes, is what he took as his starting point. Working from there, this led to a reinterpretation of the symphonic form. De Raaff’s Second and Fourth Symphonies are the result of a reinterpretation of works for a soloist or soloist group with accompaniment. They are a revision of the material, reminiscent of the way in which Pierre Boulez let Incises for piano grow into Sur incises for ensemble and how Luciano Berio recomposed a number of his Sequenzas into Chemins.
Live recording
His symphonies have little to do with the classical concept. Of course, his love for composing was partly derived from the symphonies of composers such as Brahms, Mahler, Shostakovich, Prokofiev and even Bernstein, but De Raaff is too much of a constructivist to write a symphony in the classical sense of the word. De Raaff became more and more convinced there was something to be gained in the concertante form, the orchestra and the soloist, the individual and the crowd. He shies away from prescribed forms and developments, a recapitulated theme followed by various movements with different characters. The symphony, the orchestral apparatus sounding together, telling its story for a period of at least 20 minutes, is what he took as his starting point. Working from there, this led to a reinterpretation of the symphonic form. De Raaff’s Second and Fourth Symphonies are the result of a reinterpretation of works for a soloist or soloist group with accompaniment. They are a revision of the material, reminiscent of the way in which Pierre Boulez let Incises for piano grow into Sur incises for ensemble and how Luciano Berio recomposed a number of his Sequenzas into Chemins.
Live recording
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