Orchestra Videos

This 2001 video documents an early phase in the development of the National Chamber Orchestra, now known as National Philharmonic

Author: covinop Keywords: LDS Idaho Choral Symphony Orchestra Concert Hymn of Praise Thanksgiving proshow Added: November 6, 2009

Christopher has been thinking about metronomes. Here he discusses the history of that irritating but essential device, and talks with NACO guest conductor Alexander Shelley about Maelzel, Beethoven and the challenges of the metronome for modern conductors.

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Heure de musique des silos du 30 octobre avec les Oestrogena Orchestra : Un long dimanche de filles en skaïAuthor: silosmla Tags: Heure musique des silos octobre avec les Oestrogena Orchestra Chaumont Concert médiathèque Posted: 04 November 2009 Rating: 0.0 Votes: 0

Now on iTunes: http://www.itunes.com/movies/WondersAreMany A documentary on the making of Dr. Atomic, a modern opera about the making of the atomic bomb.

-- LINER NOTES -- In his own music, Erickson initially worked in a style influenced by the contemporary European masters that held his fascination, including Berg and Schoenberg as well as Krenek. Although he was never really a serialist, the twelve-tone method colored his harmonic language and contrapuntal textures. His early works, such as the Introduction and Allegro for orchestra, the Piano Sonata, and the String Quartet No. 1, reveal a strong respect for the traditions of his predecessors. The expressionistic, rhapsodic Fantasy for Cello and Orchestra, the earliest piece on this program, employs motivic retrograde and inversion and other such techniques not exclusive to but frequently encountered in the twelve-tone method. In fact we can find similar techniques in Schoenberg’s Chamber Symphony No. 1, written more than a decade before the development of the twelve-tone method. This piece seems to stand as a particular model for the Fantasy: the harmonic and melodic sonority of the perfect fourth, which dominates Erickson’s piece, is prevalent in Schoenberg’s seminal post-tonal work. Erickson wrote the Fantasy in 1954, partly as a reaction to the death of his Park House mentor Frank Kearney. Ernst Krenek led the premiere with the Hamburg Radio Symphony in Hamburg later that year, and it was quickly taken up by the San Francisco Symphony. In a single movement of about fifteen minutes’duration, the piece can be seen as three big sections, A-B-A. An opening recitative in slow and free tempo, the cello well in the foreground with light accompaniment, primarily in the orchestra strings, takes about a third of the piece. The second section, although not always propulsive in its meter, is marked “Fast and Intense” at the start. The soloist for the most part keeps to the tempos established by the orchestra, which has a far more active and colorful role than in the first part. The final section is a return to the opening mood, but with far greater participation from the large and colorful orchestra. The Fantasy was one of the first works Erickson wrote upon arriving in San Francisco, and it arguably hailed the end of a period of reliance on older models. By the end of the 1950s Erickson was deeply involved in the kinds of theatrical and perceptual experimentation of which John Cage was the most famous instigator. The use of technology in music, including pre-recorded and live electronic sound, was a part of many of concerts presented by Erickson and his San Francisco Conservatory colleagues. Erickson, fascinated by sound of any kind, built chiming sound sculptures that grew seemingly of their own volition and constantly tested materials for their use in new pieces, sometimes working with ancient or traditional tuning systems. Cardinitas ’68 was written for some of these hand-assembled instruments. Improvisational passages and graphic notation opened the door to a high degree of trust in Erickson’s many performing colleagues. Particularly notable in his works of the 1960s are the Concerto for Piano and Seven Instruments, a thorny, frenetic modernist work from 1963 that includes improvisation but otherwise bears comparison to Berg’s Chamber Concerto; Ricercar à 5 for trombone with four tracks of pre-recorded trombone, written for Stuart Dempster; and Ricercar à 3, a similar work for double bass written for Bertram Turetzky. The large-scale orchestra work Sirens and Other Flyers III loomed in the middle of the decade; his Pacific Sirens (1969) for orchestra incorporates pre-recorded and manipulated ocean sounds.—Robert Kirzinger Robert Kirzinger is an active composer who writes frequently for the Boston Symphony Orchestra program book and is editor of the program book for the annual Tanglewood Festival of Contemporary Music.

Forget what your mom says - you really should play with your food.Author: DiagonalView Tags: orchestra vegetables music diagonal view germany Posted: 28 October 2009 Rating: 3.7 Votes: 3

Attitude, gun fights and itchy pants - Take Metal Gear to a whole new level with Powder Snake. The Onision site: http://onision.com

Beethoven 5th Symphony 5 (graphical score animation) FAQ Q: What do the colors in the bar-graph score mean? A: The colors show which instruments are playing. Here's a chart: http://www.musanim.com/pdf/Instruments_B5.pdf Q: Please tell me more about the composer. A: You can read about Beethoven here http://en.wikipedia.org/wiki/Beethoven Q: Who is playing this? A: I licensed this recording from http://www.royalty-free-classical-music.org It is performed by the Royalty Free Classical Music Symphony Orchestra, under the direction of Dr. Keith J. Salmon. I don't know anything beyond that about the recording (like, whether it is a real orchestra or synthetic, who are its members, when and where was the recording made, etc.) Q: Is there a way I could make bar-graph scores like this myself? A: The Music Animation Machine MIDI file player will generate this display; you can get the (Windows) software here: http://www.musanim.com/player/ There are lots of places on the web where you can get MIDI files; I usually go to the Classical Archives site first: http://www.classicalarchives.com/ Q: Could you please do a MAM video of _________? A: First, check my to do list: http://www.musanim.com/all/MAMToDoList.html ... If the piece isn't listed, read the Could you please do a MAM video of _________? item on my main FAQ: http://www.musanim.com/mam/mamfaq.html#copyright ... and if you think I'd consider doing it, email me (stephen at musanim dot com). Q: How did you make this video? A: There were a lot of steps; here's a short summary. I found a recording I could license and made the arrangements to use it. I found a MIDI file that was fairly complete, and imported that into the notation program Sibelius. I compared it to a printed copy of the score from my library and fixed things that were wrong (b5_fullscore.pdf is a snapshot taken during this process; note that there was a piano part in the MIDI file --- not something in the real score). Then, I listened to the recording and compared that to the score, and modified the score so that the timings were more like what the orchestra was actually playing (see b5_timings_adjusted.pdf). I exported this as a MIDI file and ran it through my custom frame-rendering software. Then, I made a reduction of the score (b5_reduction.pdf) and colored it to match the colors I was planning to use in the bar-graph score (b5_reduction_color.pdf). Unfortunately, when I squished the bar-graph score enough to make room for the notation score, too much detail was lost, so I ended up deciding not to use the notation. Then I put all the pieces (rendered frames, audio, titles) together in Adobe Premiere and exported the movie as a QuickTime file. Then, I used On2 Flix to convert the final file into Flash format (so that YouTube's conversion to their Flash format wouldn't change it in unpredictable ways), and uploaded the result. The PDFs mentioned in this description are in this ZIP file: http://www.musanim.com/pdf/b5_scores.zip .

Author: earthpeopleorchestra Keywords: earth people orchestra ifc sxsw interview austin this air madre luna Added: April 2, 2009

Gustav Mahler Symphony No.4, 4th movement Das Himmlische Leben, Royal Concertgebouw Orchestra, Bernard Haitink, Christinne Schafer

From the live DVD 'Anarchy in the Ukulele'