-
Michael Daugherty: TALES OF HEMINGWAY for Cello & Orchestra (2015)—Zuill Bailey, Nashville Symphony
MICHAEL DAUGHERTY
TALES OF HEMINGWAY (2015)
for Cello and Orchestra
I. Big Two-Hearted River (1925, Seney, Michigan) (0:00)
II. For Whom the Bell Tolls (1940, Spanish Civil War) (5:29)
III. The Old Man and the Sea (1952, Cuba) (11:33)
IV. The Sun Also Rises (1926, Pamplona, Spain) (18:11)
——————————
Copyright © 2015 by Michael Daugherty Music. Copyright in all countries. All rights reserved.
Publisher: Michael Daugherty Music
To rent performance materials, visit www.billholabmusic.com
To purchase a score, visit www.sheetmusicplus.com
For more information on Michael Daugherty and his music, visit www.michaeldaugherty.net
Instrumentation:
2 Flutes (2 doubles Piccolo), Oboe, English Horn, 2 Bb Clarinets, Bassoon, Contrabassoon, 2 Horns, 2 C Trumpets, 2 Trombones (2. Bass), Timpani, 2 Per...
published: 21 Oct 2019
-
Michael Daugherty: OF WAR AND PEACE for Symphonic Band
Michael Daugherty
OF WAR AND PEACE
for Symphonic Band
I. War: 0:00-5:05
II. Peace: 5:06-13:37
––––––––––
Publisher: Michael Daugherty Music
For more info go to www.halleonard.com
To purchase the score and to rent performance materials, visit www.billholabmusic.com
Performed by the U of Texas A&M Commerce at CBDNA 2016, Kansas City
––––––––––
Instrumentation:
Piccolo, 4 flutes, alto flute, 2 oboes, English horn, Eb clarinet, 3 clarinets (minimum 2 players per part), bass clarinet, 2 bassoons, contrabassoon and contrabass clarinet or bass saxophone, soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone, 4 trumpets in C or Bb, 4 horns, 4 trombones, 2 euphoniums, 2 tubas, timpani, 4 percussion, piano/celesta, optional harp and contrabass
Duration: 13 minutes, 30 seconds
...
published: 24 Jun 2018
-
Michael Daugherty: "Raise the Roof"for Timpani and Symphonic Band
3.Michael Daugherty: "Raise the Roof"for Timpani and Symphonic Band
麥可.道爾第:"聲震穹蒼",給定音鼓與交響樂團
2014/12/28 擊樂花園音樂會 Garden of Music
指揮:許雙亮 打擊:吳珮菁
臺北市立交響樂團附設管樂團
Taipei Symphonic Winds
published: 23 Mar 2015
-
Michael Daugherty: Dreamachine, for solo percussion and orchestra
Evelyn Glennie, Miller, Albany Symphony
Da Vinci’s Wings • 9:35 Rube Goldberg’s Variations • 14:37 Electric Eel • 25:18 Vulcan’s Forge
published: 15 Sep 2018
-
Michael Daugherty Metropolis Symphony V. Red Cape Tango
Michael Daugherty
Metropolis Symphony for Orchestra (1993)
V. Red Cape Tango
Performed by the University of Michigan Symphony Orchestra
Kenneth Kiesler: Conductor
October 11, 2012
Hill Auditorium, Ann Arbor, Michigan, USA
Since its premiere by the Baltimore Symphony in 1994 at Carnegie Hall, the GRAMMY®-winning Metropolis Symphony has entered the orchestral repertoire and been performed by orchestras all over the world.
Metropolis Symphony is a five-movement musical response to the world of Superman.
V. Red Cape Tango was composed after Superman's fight to the death with Doomsday, and is my final musical work based on the Superman mythology. The principal melody, first heard in the bassoon, is derived from the medieval Latin death chant Dies irae. This dance of death is conceived as a ...
published: 07 May 2013
-
Michael Daugherty: RIO GRANDE for Symphonic Band (Score)
Publisher: Michael Daugherty Music
For more info go to www.halleonard.com
To purchase score go to www.musicdispatch.com
For parts rental go to www.billholabmusic.com
Duration: 9:34
Program Note:
Rio Grande (2015) for symphonic band was commissioned by the University of North Texas (Eugene Migliaro Corporon) and a consortium consisting of the CBDNA North Central Division Intercollegiate Band (James Popejoy), Clovis North Educational Center (David Lesser), De Pauw University (Craig Pare), Greater Dallas Youth Orchestra’s Wind Symphony (Nicholas Williams), Lone Star Wind Orchestra, Limestone College (Patrick K. Carney), Luther College (Joan de Albuquerque), Messiah College (Brad Genevro), Ohio University (Andy Tracsel), Pacific Lutheran University (Ed Powell), Rockwall Heath High School (A...
published: 16 Jun 2017
28:05
Michael Daugherty: TALES OF HEMINGWAY for Cello & Orchestra (2015)—Zuill Bailey, Nashville Symphony
MICHAEL DAUGHERTY
TALES OF HEMINGWAY (2015)
for Cello and Orchestra
I. Big Two-Hearted River (1925, Seney, Michigan) (0:00)
II. For Whom the Bell Tolls (1940,...
MICHAEL DAUGHERTY
TALES OF HEMINGWAY (2015)
for Cello and Orchestra
I. Big Two-Hearted River (1925, Seney, Michigan) (0:00)
II. For Whom the Bell Tolls (1940, Spanish Civil War) (5:29)
III. The Old Man and the Sea (1952, Cuba) (11:33)
IV. The Sun Also Rises (1926, Pamplona, Spain) (18:11)
——————————
Copyright © 2015 by Michael Daugherty Music. Copyright in all countries. All rights reserved.
Publisher: Michael Daugherty Music
To rent performance materials, visit www.billholabmusic.com
To purchase a score, visit www.sheetmusicplus.com
For more information on Michael Daugherty and his music, visit www.michaeldaugherty.net
Instrumentation:
2 Flutes (2 doubles Piccolo), Oboe, English Horn, 2 Bb Clarinets, Bassoon, Contrabassoon, 2 Horns, 2 C Trumpets, 2 Trombones (2. Bass), Timpani, 2 Percussion, Harp, Violoncello Solo, Strings
Duration: 28 minutes
——————————
TALES OF HEMINGWAY for cello and orchestra was commissioned by the Nashville Symphony and a consortium consisting of: the Asheville Symphony, the Detroit Symphony Orchestra, the El Paso Symphony Orchestra, the Erie Philharmonic, the Redwood Symphony, the South Florida Orchestra and the Virginia Symphony.
The world premiere performances and recording of the concerto took place April 17-19, 2015, with the Nashville Symphony Orchestra, under the direction of Giancarlo Guerrero,with Zuill Bailey, solo cello, at the Schermerhorn Symphony Center, Nashville, Tennessee. The recording of the concerto on Naxos was awarded three GRAMMY Awards in 2016: Best Contemporary Classical Composition(Michael Daugherty), Best Classical Instrumental Soloist (Zuill Bailey), Best Classical Compendium (Nashville Symphony Orchestra).
TALES OF HEMINGWAY evokes the turbulent life, adventures, and literature of American author and journalist Ernest Hemingway (1899-1961). His terse, direct, accessible writing style, combined with a mastery of dialogue and brilliant use of omission and repetition, made him one of the most influential and original writers of the 20th century. Hemingway’s distinctive body of work was also informed by his larger-than-life experiences.
In his youth in Oak Park, Chicago, Hemingway was surrounded by music, where his mother was a prominent music teacher and he played the cello in school orchestras. Hemingway’s family owned a remote summer home on Walloon Lake near Petoskey, Michigan, where hunting, fishing, and camping were a family ritual. As an adult, Hemingway’s passion and expertise for deep-sea fishing in the Florida Keys and Cuba, big game hunting in Africa, bullfighting in Spain, and boxing were legendary.
Hemingway experienced the horrors and ironies of war as a Red Cross ambulance driver in World War I (1918) and as a journalist on the front lines of the Spanish Civil War (1937) and World War II (1944-45). In the 1920s, Hemingway was part of Gertrude Stein’s “Lost Generation” in Paris and haunted the bars and cafés with F. Scott Fitzgerald. During his lifetime, many of his works were made into Hollywood films, and his journalism and literature was syndicated in magazines and newspapers around the world, making Hemingway an international celebrity and a household name. Twenty-eight minutes in duration, my cello concerto is divided into four movements, which are inspired by one of Hemingway’s short stories or novels:
I. Big Two-Hearted River (1925, Seney, Michigan) (0:00)
In this story, Nick Adams is an emotionally scarred and disillusioned soldier from World War I who treks to Northern Michigan for a camping-fishing trip to try to regain control of his life. I have composed serene and passionate music that evokes a leitmotif in Hemingway’s writing: his belief that one can be healed by the power of nature through exploring isolated outdoor terrains.
II. For Whom the Bell Tolls (1940, Spanish Civil War) (5:29)
Hemingway tells the tale of the last three days in the life of Robert Jordan, an American teacher turned anti-fascist Loyalist guerilla in Spain. The cello strums and plucks, leading the martyr’s march to battle the Fascists and to Jordan’s eventual death. As the chimes explode at the conclusion of the movement, the epitaph of the novel rings forth: “And therefore never send to know for whom the bell tolls; it tolls for thee.”
III. The Old Man and the Sea (1952, Cuba) (11:33)
As a musical response to Hemingway’s Nobel Prize-winning novella, I have composed an elegy to the struggle of life and death between man and nature. The cello represents the old fisherman’s journey as he searches for the truths of man’s existence with dignity and grace.
IV. The Sun Also Rises (1926, Pamplona, Spain) (18:11)
For the final movement of the concerto, I have created an exciting and dramatic sound world where I imagine the unhappy, aimless expatriate journalist Jake Barnes, his entourage (and Hemingway) in Pamplona, Spain, watching the running of the bulls and reveling in the spectacle of the bullfights.
—Michael Daugherty
https://wn.com/Michael_Daugherty_Tales_Of_Hemingway_For_Cello_Orchestra_(2015)—Zuill_Bailey,_Nashville_Symphony
MICHAEL DAUGHERTY
TALES OF HEMINGWAY (2015)
for Cello and Orchestra
I. Big Two-Hearted River (1925, Seney, Michigan) (0:00)
II. For Whom the Bell Tolls (1940, Spanish Civil War) (5:29)
III. The Old Man and the Sea (1952, Cuba) (11:33)
IV. The Sun Also Rises (1926, Pamplona, Spain) (18:11)
——————————
Copyright © 2015 by Michael Daugherty Music. Copyright in all countries. All rights reserved.
Publisher: Michael Daugherty Music
To rent performance materials, visit www.billholabmusic.com
To purchase a score, visit www.sheetmusicplus.com
For more information on Michael Daugherty and his music, visit www.michaeldaugherty.net
Instrumentation:
2 Flutes (2 doubles Piccolo), Oboe, English Horn, 2 Bb Clarinets, Bassoon, Contrabassoon, 2 Horns, 2 C Trumpets, 2 Trombones (2. Bass), Timpani, 2 Percussion, Harp, Violoncello Solo, Strings
Duration: 28 minutes
——————————
TALES OF HEMINGWAY for cello and orchestra was commissioned by the Nashville Symphony and a consortium consisting of: the Asheville Symphony, the Detroit Symphony Orchestra, the El Paso Symphony Orchestra, the Erie Philharmonic, the Redwood Symphony, the South Florida Orchestra and the Virginia Symphony.
The world premiere performances and recording of the concerto took place April 17-19, 2015, with the Nashville Symphony Orchestra, under the direction of Giancarlo Guerrero,with Zuill Bailey, solo cello, at the Schermerhorn Symphony Center, Nashville, Tennessee. The recording of the concerto on Naxos was awarded three GRAMMY Awards in 2016: Best Contemporary Classical Composition(Michael Daugherty), Best Classical Instrumental Soloist (Zuill Bailey), Best Classical Compendium (Nashville Symphony Orchestra).
TALES OF HEMINGWAY evokes the turbulent life, adventures, and literature of American author and journalist Ernest Hemingway (1899-1961). His terse, direct, accessible writing style, combined with a mastery of dialogue and brilliant use of omission and repetition, made him one of the most influential and original writers of the 20th century. Hemingway’s distinctive body of work was also informed by his larger-than-life experiences.
In his youth in Oak Park, Chicago, Hemingway was surrounded by music, where his mother was a prominent music teacher and he played the cello in school orchestras. Hemingway’s family owned a remote summer home on Walloon Lake near Petoskey, Michigan, where hunting, fishing, and camping were a family ritual. As an adult, Hemingway’s passion and expertise for deep-sea fishing in the Florida Keys and Cuba, big game hunting in Africa, bullfighting in Spain, and boxing were legendary.
Hemingway experienced the horrors and ironies of war as a Red Cross ambulance driver in World War I (1918) and as a journalist on the front lines of the Spanish Civil War (1937) and World War II (1944-45). In the 1920s, Hemingway was part of Gertrude Stein’s “Lost Generation” in Paris and haunted the bars and cafés with F. Scott Fitzgerald. During his lifetime, many of his works were made into Hollywood films, and his journalism and literature was syndicated in magazines and newspapers around the world, making Hemingway an international celebrity and a household name. Twenty-eight minutes in duration, my cello concerto is divided into four movements, which are inspired by one of Hemingway’s short stories or novels:
I. Big Two-Hearted River (1925, Seney, Michigan) (0:00)
In this story, Nick Adams is an emotionally scarred and disillusioned soldier from World War I who treks to Northern Michigan for a camping-fishing trip to try to regain control of his life. I have composed serene and passionate music that evokes a leitmotif in Hemingway’s writing: his belief that one can be healed by the power of nature through exploring isolated outdoor terrains.
II. For Whom the Bell Tolls (1940, Spanish Civil War) (5:29)
Hemingway tells the tale of the last three days in the life of Robert Jordan, an American teacher turned anti-fascist Loyalist guerilla in Spain. The cello strums and plucks, leading the martyr’s march to battle the Fascists and to Jordan’s eventual death. As the chimes explode at the conclusion of the movement, the epitaph of the novel rings forth: “And therefore never send to know for whom the bell tolls; it tolls for thee.”
III. The Old Man and the Sea (1952, Cuba) (11:33)
As a musical response to Hemingway’s Nobel Prize-winning novella, I have composed an elegy to the struggle of life and death between man and nature. The cello represents the old fisherman’s journey as he searches for the truths of man’s existence with dignity and grace.
IV. The Sun Also Rises (1926, Pamplona, Spain) (18:11)
For the final movement of the concerto, I have created an exciting and dramatic sound world where I imagine the unhappy, aimless expatriate journalist Jake Barnes, his entourage (and Hemingway) in Pamplona, Spain, watching the running of the bulls and reveling in the spectacle of the bullfights.
—Michael Daugherty
- published: 21 Oct 2019
- views: 1553
13:38
Michael Daugherty: OF WAR AND PEACE for Symphonic Band
Michael Daugherty
OF WAR AND PEACE
for Symphonic Band
I. War: 0:00-5:05
II. Peace: 5:06-13:37
––––––––––
Publisher: Michael Daugherty Music
For more info go t...
Michael Daugherty
OF WAR AND PEACE
for Symphonic Band
I. War: 0:00-5:05
II. Peace: 5:06-13:37
––––––––––
Publisher: Michael Daugherty Music
For more info go to www.halleonard.com
To purchase the score and to rent performance materials, visit www.billholabmusic.com
Performed by the U of Texas A&M Commerce at CBDNA 2016, Kansas City
––––––––––
Instrumentation:
Piccolo, 4 flutes, alto flute, 2 oboes, English horn, Eb clarinet, 3 clarinets (minimum 2 players per part), bass clarinet, 2 bassoons, contrabassoon and contrabass clarinet or bass saxophone, soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone, 4 trumpets in C or Bb, 4 horns, 4 trombones, 2 euphoniums, 2 tubas, timpani, 4 percussion, piano/celesta, optional harp and contrabass
Duration: 13 minutes, 30 seconds
––––––––––
Composer's Note:
Of War and Peace (2017) for Symphonic Band was commissioned by the Zeta Kappa chapter of Kappa Kappa Psi and the Epsilon Beta chapter of Tau Beta Sigma from Texas A&M University-Commerce along with a consortium of Kappa Kappa Psi and Tau Beta Sigma chapters from across Texas, Oklahoma and Arkansas.
The world premiere was given by the Texas A&M University Commerce Wind Ensemble conducted by Phillip Clements, at Texas A&M University-Commerce, Finney Concert Hall, Commerce, Texas on March 9, 2017.
Of War and Peace (2017) is my sonic response to the never ending tragedy of war and the hope for peace. The composition is in two movements performed without pause. The music I have composed for the first movement entitled “War” is turbulent, relentless and seductive. Swirling woodwind cluster chords charge into a fast moving requiem performed by brass, saxophones, chimes, timpani and drums. Punctuated by an unyielding woodblock, a provocative polytonal parade morphs into a brutal but seductive march: there are still those who are foolishly attracted to the allure of war and in denial of the suffering it brings to those “in harm’s way”.
The music I have composed for the second movement entitled “Peace” is calm, longing, and reflective. Bassoons, clarinets and oboes sing a haunting melody accompanied by “change ringing” crotales, glockenspiel, marimba and celeste. After re-orchestrations of the opening material, a stormy dramatic middle section featuring the horns and euphoniums interrupts the proceedings. This intrusion suggests the dark psychological residue often suffered by the victims of war. An “heroic” coda is followed by a “hopeful” (or is it naïve?) musical epilogue, which proposes a time when we can “imagine all the people living in peace…and the world will be as one.”
--Michael Daugherty
Distributed by Hal Leonard Corporation
https://wn.com/Michael_Daugherty_Of_War_And_Peace_For_Symphonic_Band
Michael Daugherty
OF WAR AND PEACE
for Symphonic Band
I. War: 0:00-5:05
II. Peace: 5:06-13:37
––––––––––
Publisher: Michael Daugherty Music
For more info go to www.halleonard.com
To purchase the score and to rent performance materials, visit www.billholabmusic.com
Performed by the U of Texas A&M Commerce at CBDNA 2016, Kansas City
––––––––––
Instrumentation:
Piccolo, 4 flutes, alto flute, 2 oboes, English horn, Eb clarinet, 3 clarinets (minimum 2 players per part), bass clarinet, 2 bassoons, contrabassoon and contrabass clarinet or bass saxophone, soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone, 4 trumpets in C or Bb, 4 horns, 4 trombones, 2 euphoniums, 2 tubas, timpani, 4 percussion, piano/celesta, optional harp and contrabass
Duration: 13 minutes, 30 seconds
––––––––––
Composer's Note:
Of War and Peace (2017) for Symphonic Band was commissioned by the Zeta Kappa chapter of Kappa Kappa Psi and the Epsilon Beta chapter of Tau Beta Sigma from Texas A&M University-Commerce along with a consortium of Kappa Kappa Psi and Tau Beta Sigma chapters from across Texas, Oklahoma and Arkansas.
The world premiere was given by the Texas A&M University Commerce Wind Ensemble conducted by Phillip Clements, at Texas A&M University-Commerce, Finney Concert Hall, Commerce, Texas on March 9, 2017.
Of War and Peace (2017) is my sonic response to the never ending tragedy of war and the hope for peace. The composition is in two movements performed without pause. The music I have composed for the first movement entitled “War” is turbulent, relentless and seductive. Swirling woodwind cluster chords charge into a fast moving requiem performed by brass, saxophones, chimes, timpani and drums. Punctuated by an unyielding woodblock, a provocative polytonal parade morphs into a brutal but seductive march: there are still those who are foolishly attracted to the allure of war and in denial of the suffering it brings to those “in harm’s way”.
The music I have composed for the second movement entitled “Peace” is calm, longing, and reflective. Bassoons, clarinets and oboes sing a haunting melody accompanied by “change ringing” crotales, glockenspiel, marimba and celeste. After re-orchestrations of the opening material, a stormy dramatic middle section featuring the horns and euphoniums interrupts the proceedings. This intrusion suggests the dark psychological residue often suffered by the victims of war. An “heroic” coda is followed by a “hopeful” (or is it naïve?) musical epilogue, which proposes a time when we can “imagine all the people living in peace…and the world will be as one.”
--Michael Daugherty
Distributed by Hal Leonard Corporation
- published: 24 Jun 2018
- views: 3106
13:41
Michael Daugherty: "Raise the Roof"for Timpani and Symphonic Band
3.Michael Daugherty: "Raise the Roof"for Timpani and Symphonic Band
麥可.道爾第:"聲震穹蒼",給定音鼓與交響樂團
2014/12/28 擊樂花園音樂會 Garden of Music
指揮:許雙亮 打擊:吳珮菁
臺北市立交響樂團附設管樂團
Ta...
3.Michael Daugherty: "Raise the Roof"for Timpani and Symphonic Band
麥可.道爾第:"聲震穹蒼",給定音鼓與交響樂團
2014/12/28 擊樂花園音樂會 Garden of Music
指揮:許雙亮 打擊:吳珮菁
臺北市立交響樂團附設管樂團
Taipei Symphonic Winds
https://wn.com/Michael_Daugherty_Raise_The_Roof_For_Timpani_And_Symphonic_Band
3.Michael Daugherty: "Raise the Roof"for Timpani and Symphonic Band
麥可.道爾第:"聲震穹蒼",給定音鼓與交響樂團
2014/12/28 擊樂花園音樂會 Garden of Music
指揮:許雙亮 打擊:吳珮菁
臺北市立交響樂團附設管樂團
Taipei Symphonic Winds
- published: 23 Mar 2015
- views: 1514379
34:30
Michael Daugherty: Dreamachine, for solo percussion and orchestra
Evelyn Glennie, Miller, Albany Symphony
Da Vinci’s Wings • 9:35 Rube Goldberg’s Variations • 14:37 Electric Eel • 25:18 Vulcan’s Forge
Evelyn Glennie, Miller, Albany Symphony
Da Vinci’s Wings • 9:35 Rube Goldberg’s Variations • 14:37 Electric Eel • 25:18 Vulcan’s Forge
https://wn.com/Michael_Daugherty_Dreamachine,_For_Solo_Percussion_And_Orchestra
Evelyn Glennie, Miller, Albany Symphony
Da Vinci’s Wings • 9:35 Rube Goldberg’s Variations • 14:37 Electric Eel • 25:18 Vulcan’s Forge
- published: 15 Sep 2018
- views: 2236
16:00
Michael Daugherty Metropolis Symphony V. Red Cape Tango
Michael Daugherty
Metropolis Symphony for Orchestra (1993)
V. Red Cape Tango
Performed by the University of Michigan Symphony Orchestra
Kenneth Kiesler: Conduc...
Michael Daugherty
Metropolis Symphony for Orchestra (1993)
V. Red Cape Tango
Performed by the University of Michigan Symphony Orchestra
Kenneth Kiesler: Conductor
October 11, 2012
Hill Auditorium, Ann Arbor, Michigan, USA
Since its premiere by the Baltimore Symphony in 1994 at Carnegie Hall, the GRAMMY®-winning Metropolis Symphony has entered the orchestral repertoire and been performed by orchestras all over the world.
Metropolis Symphony is a five-movement musical response to the world of Superman.
V. Red Cape Tango was composed after Superman's fight to the death with Doomsday, and is my final musical work based on the Superman mythology. The principal melody, first heard in the bassoon, is derived from the medieval Latin death chant Dies irae. This dance of death is conceived as a tango, presented at times like a concertino comprising string quintet, brass trio, bassoon, chimes, and castanets. The tango rhythm, introduced by the castanets and heard later in the finger cymbals, undergoes a gradual timbral transformation, concluding dramatically with crash cymbals, brake drum, and timpani. The orchestra alternates between legato and staccato sections to suggest a musical bullfight.
Duration - ca. 16:00
Composer: Michael Daugherty
http://www.michaeldaugherty.net
Publisher: Peermusic Classical
http://www.peermusicclassical.com
Score can be purchased through the following links:
Red Cape Tango only:
http://www.halleonard.com/product/viewproduct.do?itemid=228883
Metropolis Symphony (all five movements):
http://www.halleonard.com/product/viewproduct.do?itemid=103030
Parts for performance can be rented through the following link:
http://www.subitomusic.com/rental/place-rental-order
Recording can be purchased through the following links:
Nashville Symphony; Gian Carlo Guerro (2010) Three GRAMMY wins:
http://www.amazon.com/Daugherty-Metropolis-Symphony-Nashville/dp/B002JIBC80/ref=sr_1_1?ie=UTF8&qid=1367901364&sr=8-1&keywords=michael+daugherty+nashville+symphony
Baltimore Symphony; David Zinman (1996):
http://www.amazon.com/Daugherty-Metropolis-Symphony-Bizarro-Michael/dp/B000004CWL/ref=sr_1_fkmr0_3?ie=UTF8&qid=1367901364&sr=8-3-fkmr0&keywords=michael+daugherty+nashville+symphony
https://wn.com/Michael_Daugherty_Metropolis_Symphony_V._Red_Cape_Tango
Michael Daugherty
Metropolis Symphony for Orchestra (1993)
V. Red Cape Tango
Performed by the University of Michigan Symphony Orchestra
Kenneth Kiesler: Conductor
October 11, 2012
Hill Auditorium, Ann Arbor, Michigan, USA
Since its premiere by the Baltimore Symphony in 1994 at Carnegie Hall, the GRAMMY®-winning Metropolis Symphony has entered the orchestral repertoire and been performed by orchestras all over the world.
Metropolis Symphony is a five-movement musical response to the world of Superman.
V. Red Cape Tango was composed after Superman's fight to the death with Doomsday, and is my final musical work based on the Superman mythology. The principal melody, first heard in the bassoon, is derived from the medieval Latin death chant Dies irae. This dance of death is conceived as a tango, presented at times like a concertino comprising string quintet, brass trio, bassoon, chimes, and castanets. The tango rhythm, introduced by the castanets and heard later in the finger cymbals, undergoes a gradual timbral transformation, concluding dramatically with crash cymbals, brake drum, and timpani. The orchestra alternates between legato and staccato sections to suggest a musical bullfight.
Duration - ca. 16:00
Composer: Michael Daugherty
http://www.michaeldaugherty.net
Publisher: Peermusic Classical
http://www.peermusicclassical.com
Score can be purchased through the following links:
Red Cape Tango only:
http://www.halleonard.com/product/viewproduct.do?itemid=228883
Metropolis Symphony (all five movements):
http://www.halleonard.com/product/viewproduct.do?itemid=103030
Parts for performance can be rented through the following link:
http://www.subitomusic.com/rental/place-rental-order
Recording can be purchased through the following links:
Nashville Symphony; Gian Carlo Guerro (2010) Three GRAMMY wins:
http://www.amazon.com/Daugherty-Metropolis-Symphony-Nashville/dp/B002JIBC80/ref=sr_1_1?ie=UTF8&qid=1367901364&sr=8-1&keywords=michael+daugherty+nashville+symphony
Baltimore Symphony; David Zinman (1996):
http://www.amazon.com/Daugherty-Metropolis-Symphony-Bizarro-Michael/dp/B000004CWL/ref=sr_1_fkmr0_3?ie=UTF8&qid=1367901364&sr=8-3-fkmr0&keywords=michael+daugherty+nashville+symphony
- published: 07 May 2013
- views: 21394
9:34
Michael Daugherty: RIO GRANDE for Symphonic Band (Score)
Publisher: Michael Daugherty Music
For more info go to www.halleonard.com
To purchase score go to www.musicdispatch.com
For parts rental go to www.billholabmusi...
Publisher: Michael Daugherty Music
For more info go to www.halleonard.com
To purchase score go to www.musicdispatch.com
For parts rental go to www.billholabmusic.com
Duration: 9:34
Program Note:
Rio Grande (2015) for symphonic band was commissioned by the University of North Texas (Eugene Migliaro Corporon) and a consortium consisting of the CBDNA North Central Division Intercollegiate Band (James Popejoy), Clovis North Educational Center (David Lesser), De Pauw University (Craig Pare), Greater Dallas Youth Orchestra’s Wind Symphony (Nicholas Williams), Lone Star Wind Orchestra, Limestone College (Patrick K. Carney), Luther College (Joan de Albuquerque), Messiah College (Brad Genevro), Ohio University (Andy Tracsel), Pacific Lutheran University (Ed Powell), Rockwall Heath High School (Andrew Tucker), Sam Houston State University (Matthew McInturf), San Diego State University (Shannon Kitelinger), South Carolina Intercollegiate Band (Doug Presley), Texas A&M University-Commerce (Phillip Clements), Texas Tech University (Sarah McCoin), University of Michigan (Michael Haithcock), University of North Dakota (James Popejoy), University of Sydney (John Lynch), University of Texas-Austin (Jerry Junkin) and University of Texas-Rio Grande Valley Brownsville (Albert Lo).
The world premiere was given by the North Texas Wind Symphony, conducted by Eugene Migliaro Corporon, at the University of North Texas, Murchison Performing Arts Center, Denton, Texas on October 22, 2015. Duration is 9:30 minutes.
I have composed concert music inspired by American landscapes such as Niagara Falls (1997) for symphonic band, Route 66 (1996) for orchestra, Gees Bend (2009) for electric guitar and orchestra, Mount Rushmore (2010) for choir and orchestra, Lost Vegas for orchestra (2011) or symphonic band (2011) and Reflections on the Mississippi for tuba and orchestra (2013) or symphonic band (2015). I continue my exploration of creating unique aural landscapes with Rio Grande for orchestra (2015) or symphonic band (2015).
Rio Grande is a 1,250-mile river that flows from the mountains of southern Colorado to the Gulf of Mexico near Brownsville, Texas. The river forms a natural boundary between the United States and Mexico as it winds its way through El Paso, Texas down to Big Bend National Park. It is at Big Bend, one of the largest, most arid and remote areas of the United States, that one experiences the magical canyons and spectacular rock formations that line the “Big River,” known in Mexico as “Rio Bravo.”
In my Rio Grande for symphonic band, I have composed a dynamic, expansive musical landscape that is stark, haunting, agitated and majestic. The percussion section, comprised of timpani, bongos, woodblocks, tom-toms and bass drums, creates a rhythmic undercurrent to an angular motif, first heard in the woodwinds, which emerges high above the musical precipice. This jagged motif is passed on to individual instruments, such as the tuba, and eventually in various colorful guises to the entire symphonic band. Reminding us of the long cultural history associated with the Rio Grande, we also hear ghostly Mexican mariachi music echoing faraway through the canyons. In the coda, I combine all the musical material heard throughout the composition to create a majestic ending to our journey down the timeless Rio Grande.
--Michael Daugherty
Distributed by Hal Leonard Corporation
https://wn.com/Michael_Daugherty_Rio_Grande_For_Symphonic_Band_(Score)
Publisher: Michael Daugherty Music
For more info go to www.halleonard.com
To purchase score go to www.musicdispatch.com
For parts rental go to www.billholabmusic.com
Duration: 9:34
Program Note:
Rio Grande (2015) for symphonic band was commissioned by the University of North Texas (Eugene Migliaro Corporon) and a consortium consisting of the CBDNA North Central Division Intercollegiate Band (James Popejoy), Clovis North Educational Center (David Lesser), De Pauw University (Craig Pare), Greater Dallas Youth Orchestra’s Wind Symphony (Nicholas Williams), Lone Star Wind Orchestra, Limestone College (Patrick K. Carney), Luther College (Joan de Albuquerque), Messiah College (Brad Genevro), Ohio University (Andy Tracsel), Pacific Lutheran University (Ed Powell), Rockwall Heath High School (Andrew Tucker), Sam Houston State University (Matthew McInturf), San Diego State University (Shannon Kitelinger), South Carolina Intercollegiate Band (Doug Presley), Texas A&M University-Commerce (Phillip Clements), Texas Tech University (Sarah McCoin), University of Michigan (Michael Haithcock), University of North Dakota (James Popejoy), University of Sydney (John Lynch), University of Texas-Austin (Jerry Junkin) and University of Texas-Rio Grande Valley Brownsville (Albert Lo).
The world premiere was given by the North Texas Wind Symphony, conducted by Eugene Migliaro Corporon, at the University of North Texas, Murchison Performing Arts Center, Denton, Texas on October 22, 2015. Duration is 9:30 minutes.
I have composed concert music inspired by American landscapes such as Niagara Falls (1997) for symphonic band, Route 66 (1996) for orchestra, Gees Bend (2009) for electric guitar and orchestra, Mount Rushmore (2010) for choir and orchestra, Lost Vegas for orchestra (2011) or symphonic band (2011) and Reflections on the Mississippi for tuba and orchestra (2013) or symphonic band (2015). I continue my exploration of creating unique aural landscapes with Rio Grande for orchestra (2015) or symphonic band (2015).
Rio Grande is a 1,250-mile river that flows from the mountains of southern Colorado to the Gulf of Mexico near Brownsville, Texas. The river forms a natural boundary between the United States and Mexico as it winds its way through El Paso, Texas down to Big Bend National Park. It is at Big Bend, one of the largest, most arid and remote areas of the United States, that one experiences the magical canyons and spectacular rock formations that line the “Big River,” known in Mexico as “Rio Bravo.”
In my Rio Grande for symphonic band, I have composed a dynamic, expansive musical landscape that is stark, haunting, agitated and majestic. The percussion section, comprised of timpani, bongos, woodblocks, tom-toms and bass drums, creates a rhythmic undercurrent to an angular motif, first heard in the woodwinds, which emerges high above the musical precipice. This jagged motif is passed on to individual instruments, such as the tuba, and eventually in various colorful guises to the entire symphonic band. Reminding us of the long cultural history associated with the Rio Grande, we also hear ghostly Mexican mariachi music echoing faraway through the canyons. In the coda, I combine all the musical material heard throughout the composition to create a majestic ending to our journey down the timeless Rio Grande.
--Michael Daugherty
Distributed by Hal Leonard Corporation
- published: 16 Jun 2017
- views: 8213