![]() ![]() ![]() ![]() With true polyphonic legato and portamento, two-part auto divisi, and four microphone mixes, STRING ENSEMBLE offers the precise sound, versatility, and mixing detail essential for modern scoring. It is ideal for a wide range of modern and cinematic scoring projects. STRING ENSEMBLE has a tight, bold, and natural sound, with advanced performance controls for nuance and clarity. Programme note developed from Erica Challis.The lush, detailed sound of a 60-piece string ensemble with a reduced set of samples and articulations for light scoring tasks.Ī 60-piece string section recorded at Studio 22, Budapest. As I composed the final movement of, there developed an irresistible gravity that drew together the energy in Prokofiev's concerto and that in my own." John Psathas writes, "This material has inspired me for the entire course of my musical life to date, and I have always wished that it lasted longer and went further. The final movement, 'Sergei Bk.3 Ch.1', becomes a celebration of the opening of the first movement of Prokofiev's Third Piano Concerto, on of the most ebullient passages in all piano concerto repertoire. Nachtwey travels to the world's most troubled places and photographs the grimmest sights in such a way as to thrust them into the view of the world. The second, 'Inferno', was inspired by the haunting and deeply disturbing images in James Nachtwey's photographic elegy of the same name. The first, 'Aria', introduces the simple melodic idea which 'tells the story' of the concerto and which evolves throughout it. Psathas writes, "Michael's playing inspired me throughout its composition, and his enthusiasm for the work as it grew boosted the confidence that an be sensed in the music." Three Psalms, a kind of piano concerto, was commissioned by the New Zealand Symphony Orchestra at the instigation of Michael Houstoun (to whom it is dedicated). This audio is not downloadable due to copyright restrictions. Recorded 26 September 2020, Michael Fowler Centre, Wellington by RNZ ConcertĪdd to playlist Playlist John PSATHAS: Three Psalms - Michael Houstoun (piano), Orchestra Wellington conducted by Marc Taddei Tchaikovsky’s Russian soul is expressed in the Finale, where he borrows a folk tune from the Volga region, and the main theme of the movement is a popular dance tune from Moscow. But its probably more like the kind of music that Tchaikovsky would have written if he’d been around in Mozart’s era. Tchaikovsky described the opening movement as his "homage to Mozart", intending to imitate his style, referring back to the slow introductions to a few of Mozart’s symphonies and the light Classical form of a sonatina for the middle section. The serenade on the other hand, he ventured to hope was "not wholly lacking in artistic qualities." It was a piece from the heart and an immediate success. He described the overture as "very noisy" and said he wrote it "without much warmth or enthusiasm – therefore it has no great artistic value" – he was talking about the 1812 Overture. ![]() He produced two quite contrasting works very quickly: a festival overture and the serenade. Tchaikovsky wrote his Serenade for Strings in 1880. ![]()
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