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Wednesday, 25 December 2024

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  Brett Dean

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Brett Dean

Brett Dean (born 23 October 1961 in Brisbane) is a contemporary Australian composer, violist and conductor.

Career

Brett Dean was raised and educated in Brisbane. He started learning violin at the age of eight, and later studied viola with Elizabeth Morgan and John Curro at the Queensland Conservatorium, where he graduated in 1982 with the Conservatorium Medal for the highest achieving Student of the Year. In 1981 he was a prize winner in the ABC Symphony Australia Young Performers Awards. From 1985 to 1999, Dean was a violist in the Berlin Philharmonic Orchestra. In 2000, he decided to pursue a career as a freelance artist and returned to Australia, where his many appointments have included curating classical music programs with the Sydney Festival (2005) and the Melbourne Festival (2009). As a composer and musician, he is a regularly invited guest to many professional concert stages around the world.

Brett Dean was Artistic Director of the Australian National Academy of Music in Melbourne until June 2010 when his brother, Paul Dean, took up the post.

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This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Brett_Dean

Lawrence Power

Lawrence Power is a British violist, born 1977, noted both for solo performances and for chamber music with the Nash Ensemble and Leopold String Trio.

Career

Power started out as a violist (rather than beginning studies on the violin and switching to viola) at his primary school aged eight. When 11, Power entered the Junior Department of the Guildhall School of Music and Drama in London studying with Mark Knight. Later Power spent a year at the Juilliard School with Karen Tuttle.

After a year in New York, Power returned to London and won first prize in the Primrose International Viola Competition in 1999. Following a third prize at the 2000 Maurice Vieux International Viola Competition in Paris, he made his first recording (Ligeti, Roslavets, Takemitsu and Prokofiev).

In 2001 Power was selected to become a BBC Radio 3 New Generation Artist until 2003.

Power is a visiting professor at the Royal College of Music in London and has given master classes at the Verbier Festival.

In 2003 Power was head-hunted to become the leader of the viola section of Berlin Philharmonic Orchestra, but despite playing with them in Mahler’s 3rd Symphony at the Barbican under Haitink he did not audition for the position.

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This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Lawrence_Power

Podcasts:

Brett Dean

ALBUMS

• The Lost Art of Letter Writing released: 2013
• Brett Dean (Sydney Symphony feat. conductors: Simone Young, Hugo Wolf) released:

The Lost Art of Letter Writing

Released 2013

• The Lost Art of Letter Writing: I. Hamburg, 1854
• The Lost Art of Letter Writing: II. The Hague, 1882
• The Lost Art of Letter Writing: III. Vienna, 1886
• The Lost Art of Letter Writing: IV. Jerilderie, 1879
• Testament
• Vexations and Devotions: I. Watching Others
• Vexations and Devotions: II. Bell and Anti-Bell
• Vexations and Devotions: III. The Path to Your Doo

Brett Dean (Sydney Symphony feat. conductors: Simone Young, Hugo Wolf)

• Viola Concerto: I. Fragment (Unhurried, yet flowing)
• II. Prusuit (Presto)
• III. Veiled and Mysterious (Distant, dark)
• Twelve Angry Men for twelve cellos
• Intimate Decisions
• Komarov's Fall

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Email this Page Play all in Full Screen Show More Related Videos

• 

  Brett Dean - Piano Concerto (Gneixendorf Music - A Winter's Journey) (2019)

  Brett Dean (*1961) Piano Concerto (Gneixendorf Music - A Winter's Journey) (2019) Jonathan Biss, piano Swedish Radio Symphony Orchestra David Afkham, conductor Composer information: https://www.boosey.com/composer/Brett+Dean Publisher information: https://tinyurl.com/um7sosj This video has a purpose of promotion, not for profit. If you have any complaints about copyright issues, please write me a direct message at fukbot75(at)hotmail(dot)com before submitting a report to Youtube. Then I will delete the video as soon as possible.

  published: 19 Mar 2020
• 

  Brett Dean - Viola Concerto (Official Score Video)

  Listen and follow along with our B&H Study Score Video featuring the official publisher's score of Brett Dean's Viola Concerto, set to a recording by Sydney Symphony, conductor Simone Young, and the composer himself as soloist. ------------ Escucha y sigue con nuestro vídeo de la partitura de estudio de B&H, presentando la partitura oficial de la editora musical del Concierto para Viola de Brett Dean, con una grabación por la Sinfónica de Sydney, la conductora Simone Young, y el propio compositor como solista. More info on Dean's Viola Concerto: https://bit.ly/DeanViolaConcertoInfo Watch our other Study Score videos: https://www.youtube.com/playlist?list=PLUr1r_wAANZGIh64QnTvQUtx84SAOvaE0 Music: Viola Concerto Composed by Brett Dean Performed by Brett Dean, viola, Sydney Symphony, and Si...

  published: 03 Sep 2021
• 

  Score Reading 101 with Brett Dean

  Composer, conductor, and violist Brett Dean gives us advice on how to read orchestral scores. Check out his tips for zooming out to see the shape of the musical lines and how different instruments interact, then watch the B&H score video for Brett Dean's Viola Concerto here: https://youtu.be/_FHV1-J8Bl8 Music: Viola Concerto Composed by Brett Dean Performed by Brett Dean, viola, Sydney Symphony, and Simone Young Courtesy of BIS Records The recording of Brett Dean’s Viola Concerto is available from BIS (BIS-1696 SACD). Purchase the album here: https://www.eclassical.com/dean-brett/brett-dean-composer-and-performer.html

  published: 08 Sep 2021
• 

  Brett Dean: Viola Concerto [Lawrence Power]

  Brett Dean (b. 1961): Viola Concerto (2004) 00:25 - I. Fragment 03:15 - II. Pursuit 14:36 - III. Veiled and Mysterious (28:00 Brett Dean on stage) Performers: -Lawrence Power, viola (Antonio Brensi, Bologna, c.1590) -Nicholas Collon, conductor -Radio sinfoniaorkesteri // “I've often mused upon the fact that so much music written for the viola is characterised by a particular sense of melancholy, invariably coupled with a busy, dogged brand of defiance or even gruffness. While we violists may look with a certain envy upon the joyous abandon of the finale of Tchaikovsky's Violin concerto, the high drama of the entry of the violin in the Brahms Concerto or the sheer, wide-screen magnificence of the Dvorak or Elgar Cello Concertos, we have a particular voice that is uniquely ours, and...

  published: 21 Oct 2022
• 

  Hamlet by Brett Dean - Act II - Ophelia

  Full opera here: bit.ly/HamletBrettDean Subscribe to our channel for more videos http://ow.ly/ugONZ Hamlet - Brett Dean Barbara Hannigan: Ophelia Sarah Connolly: Gertrude Neil Armfield: Stage director Ralph Myers: Set designer Alice Babidge: Costume designer London Philharmonic Orchestra The Glyndebourne Chorus Vladimir Jurowski: Conductor Opera recorded at Glyndebourne (Lewes, Great Britain), on July 6, 2017 19:00 © François Roussillon et Associés / Glyndebourne – avec la participation de France Télévisions Follow medici.tv on: | Facebook : https://www.facebook.com/medicitv | Twitter : https://twitter.com/medicitv | Instagram : https://www.instagram.com/medici.tv/ Dive into the heart of classical music with medici.tv! Get closer than ever to the artists you love and have an un...

  published: 13 Jul 2017
• 

  Brett Dean - Electric Preludes, for electric violin and strings (2012)

  00:00 I. Abandoned Playground: Wide, reverberant arpeggios open onto furtive dense textures in the strings, slowly growing more frenzied (1:43) before returning to a solemn, open sound (2:21) 04:00 II. Topography - Papunya: The electric violin sneaks out of an eerie "spectral drone". The solo and orchestra gradually assert themselves more on a harsh downward motif, before the solo flies off into the extreme upper registers (6:41) 06:59 III. Peripeteia: A rapid frenzy of irregular rhythms in the solo electric violin, opposes an unrelenting beating drive in the orchestra 08:21 IV. The beyonds of mirrors: The electric violin, with an otherworldly theremin-like sound, sings over a kaleidoscope of descending lines. 10:43 (Really this part is just awesome!) The movement ends violently with heavi...

  published: 29 Oct 2023
• 

  Highlights of Brett Dean's Stringquintet "Epitaphs" at a concert in Berlin

  German cellist Alban Gerhardt will be interviewing wonderful Australian composer Brett Dean tomorrow, March 6, at 18:00 CET (Berlin/Madrid) exlusively for his patrons in a livestream on his Patreon channel - here some "highlights" from the performance of his stellar string quintet "Epitaphs" which he performed last year at Berlin's Radialsystem - with Gergana Gergova, Baiba Skride, Micha Afkham and Brett Dean playing the second viola himself. This will be after talks with Jean-Guihen Queyras, Johannes Moser and Julian Anderson his fourth "AlbanTalk" which are all available here: http://www.patreon.com/albangerhardt​ - please feel free to join in case you might be interested in the other content like all his Daily routines, How to vibrate, How to ricochet, How to memorize, How to fix proble...

  published: 05 Mar 2021
• 

  Brett Dean - Equality

  Brett Dean - Equality (2004) Live from the Sydney International Piano Competition, July 2016.

  published: 07 Feb 2017
• 

  Richard Tognetti & Brett Dean talk violins - Australian Chamber Orchestra

  Australian Chamber Orchestra Artistic Director and Lead Violin Richard Tognetti and composer Brett Dean discuss electric and acoustic violins. Richard demonstrates the sound of each. http://www.aco.com.au

  published: 22 Feb 2013
• 

  Brett Dean – How do you start writing a new piece?

  Episode 4 from The Studio: New LPO Composer in Residence Brett Dean discusses how he begins to compose a new work. When generating new ideas, quantity over quality is the key! #GetInspired #Creativity #MakingMusic #YoungMusician #YoungComposer This video is part of The Studio, an online platform for the LPO Soundworks community, sharing insights from industry professionals across the arts, and creative resources for young musicians. LPO Soundworks is a programme for young people aged 14-19, uniting musicians with talented experts from other art forms, to collaborate and create performance pieces at various points across the year.

  published: 21 Jul 2020

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24:42

Brett Dean - Piano Concerto (Gneixendorf Music - A Winter's Journey) (2019)

• Order: Reorder
• Duration: 24:42
• Uploaded Date: 19 Mar 2020
• views: 4172

Brett Dean (*1961) Piano Concerto (Gneixendorf Music - A Winter's Journey) (2019) Jonathan Biss, piano Swedish Radio Symphony Orchestra David Afkham, conductor...

Brett Dean (*1961) Piano Concerto (Gneixendorf Music - A Winter's Journey) (2019) Jonathan Biss, piano Swedish Radio Symphony Orchestra David Afkham, conductor Composer information: https://www.boosey.com/composer/Brett+Dean Publisher information: https://tinyurl.com/um7sosj This video has a purpose of promotion, not for profit. If you have any complaints about copyright issues, please write me a direct message at fukbot75(at)hotmail(dot)com before submitting a report to Youtube. Then I will delete the video as soon as possible.

https://wn.com/Brett_Dean_Piano_Concerto_(Gneixendorf_Music_A_Winter's_Journey)_(2019)

Brett Dean (*1961) Piano Concerto (Gneixendorf Music - A Winter's Journey) (2019) Jonathan Biss, piano Swedish Radio Symphony Orchestra David Afkham, conductor Composer information: https://www.boosey.com/composer/Brett+Dean Publisher information: https://tinyurl.com/um7sosj This video has a purpose of promotion, not for profit. If you have any complaints about copyright issues, please write me a direct message at fukbot75(at)hotmail(dot)com before submitting a report to Youtube. Then I will delete the video as soon as possible.

• published: 19 Mar 2020
• views: 4172

25:38

Brett Dean - Viola Concerto (Official Score Video)

• Order: Reorder
• Duration: 25:38
• Uploaded Date: 03 Sep 2021
• views: 30938

Listen and follow along with our B&H Study Score Video featuring the official publisher's score of Brett Dean's Viola Concerto, set to a recording by Sydney Sym...

Listen and follow along with our B&H Study Score Video featuring the official publisher's score of Brett Dean's Viola Concerto, set to a recording by Sydney Symphony, conductor Simone Young, and the composer himself as soloist. ------------ Escucha y sigue con nuestro vídeo de la partitura de estudio de B&H, presentando la partitura oficial de la editora musical del Concierto para Viola de Brett Dean, con una grabación por la Sinfónica de Sydney, la conductora Simone Young, y el propio compositor como solista. More info on Dean's Viola Concerto: https://bit.ly/DeanViolaConcertoInfo Watch our other Study Score videos: https://www.youtube.com/playlist?list=PLUr1r_wAANZGIh64QnTvQUtx84SAOvaE0 Music: Viola Concerto Composed by Brett Dean Performed by Brett Dean, viola, Sydney Symphony, and Simone Young Courtesy of BIS Records #BHStudyScores

https://wn.com/Brett_Dean_Viola_Concerto_(Official_Score_Video)

Listen and follow along with our B&H Study Score Video featuring the official publisher's score of Brett Dean's Viola Concerto, set to a recording by Sydney Symphony, conductor Simone Young, and the composer himself as soloist. ------------ Escucha y sigue con nuestro vídeo de la partitura de estudio de B&H, presentando la partitura oficial de la editora musical del Concierto para Viola de Brett Dean, con una grabación por la Sinfónica de Sydney, la conductora Simone Young, y el propio compositor como solista. More info on Dean's Viola Concerto: https://bit.ly/DeanViolaConcertoInfo Watch our other Study Score videos: https://www.youtube.com/playlist?list=PLUr1r_wAANZGIh64QnTvQUtx84SAOvaE0 Music: Viola Concerto Composed by Brett Dean Performed by Brett Dean, viola, Sydney Symphony, and Simone Young Courtesy of BIS Records #BHStudyScores

• published: 03 Sep 2021
• views: 30938

3:17

Score Reading 101 with Brett Dean

• Order: Reorder
• Duration: 3:17
• Uploaded Date: 08 Sep 2021
• views: 5939

Composer, conductor, and violist Brett Dean gives us advice on how to read orchestral scores. Check out his tips for zooming out to see the shape of the musical...

Composer, conductor, and violist Brett Dean gives us advice on how to read orchestral scores. Check out his tips for zooming out to see the shape of the musical lines and how different instruments interact, then watch the B&H score video for Brett Dean's Viola Concerto here: https://youtu.be/_FHV1-J8Bl8 Music: Viola Concerto Composed by Brett Dean Performed by Brett Dean, viola, Sydney Symphony, and Simone Young Courtesy of BIS Records The recording of Brett Dean’s Viola Concerto is available from BIS (BIS-1696 SACD). Purchase the album here: https://www.eclassical.com/dean-brett/brett-dean-composer-and-performer.html

https://wn.com/Score_Reading_101_With_Brett_Dean

Composer, conductor, and violist Brett Dean gives us advice on how to read orchestral scores. Check out his tips for zooming out to see the shape of the musical lines and how different instruments interact, then watch the B&H score video for Brett Dean's Viola Concerto here: https://youtu.be/_FHV1-J8Bl8 Music: Viola Concerto Composed by Brett Dean Performed by Brett Dean, viola, Sydney Symphony, and Simone Young Courtesy of BIS Records The recording of Brett Dean’s Viola Concerto is available from BIS (BIS-1696 SACD). Purchase the album here: https://www.eclassical.com/dean-brett/brett-dean-composer-and-performer.html

• published: 08 Sep 2021
• views: 5939

29:36

Brett Dean: Viola Concerto [Lawrence Power]

• Order: Reorder
• Duration: 29:36
• Uploaded Date: 21 Oct 2022
• views: 2740

Brett Dean (b. 1961): Viola Concerto (2004) 00:25 - I. Fragment 03:15 - II. Pursuit 14:36 - III. Veiled and Mysterious (28:00 Brett Dean on stage) Performe...

Brett Dean (b. 1961): Viola Concerto (2004) 00:25 - I. Fragment 03:15 - II. Pursuit 14:36 - III. Veiled and Mysterious (28:00 Brett Dean on stage) Performers: -Lawrence Power, viola (Antonio Brensi, Bologna, c.1590) -Nicholas Collon, conductor -Radio sinfoniaorkesteri // “I've often mused upon the fact that so much music written for the viola is characterised by a particular sense of melancholy, invariably coupled with a busy, dogged brand of defiance or even gruffness. While we violists may look with a certain envy upon the joyous abandon of the finale of Tchaikovsky's Violin concerto, the high drama of the entry of the violin in the Brahms Concerto or the sheer, wide-screen magnificence of the Dvorak or Elgar Cello Concertos, we have a particular voice that is uniquely ours, and a very telling and touching one it is too. Largely deprived of such masterworks of the classical and romantic periods, viola players generally tend to embrace the music of the 20th and 21st centuries with greater passion than our violin and cello playing colleagues. Here, the solo viola repertoire undoubtedly also has its moments of joy and vigorously positive energy. The last movements of the Bartok concerto and of Hindemith's "Schwanendreher", for example, both lend the viola a folk-inspired voice of singular freshness and exuberance. But when it comes to finding the true essence of the viola's character, these are perhaps exceptions rather than the rule. So it is then a unique privilege and challenge to have the opportunity to now approach the form of the viola concerto as both composer and performer. Above all, it filled me with thoughts about my own relationship with this curiously beautiful, somewhat enigmatic instrument of my choosing. Due to the unusually hands-on directness of writing a concerto for oneself, it also inspired thoughts upon the workings of music itself, removed from any sense of external programmatic influences or stories which inform so many of my other pieces. Hence this work is simply entitled Viola Concerto. More by coincidence than design, the piece follows the traditional concerto shape of three movements. Having completed the substantial second and third movements, I felt the piece required a "scene setting" of some kind. Thus, the work begins with "Fragment", a brief visit to a delicate sound world in which some of the work's main motives and instrumental colours are introduced in the orchestra, eventually enticing a high, floating cantilena response from the soloist. "Fragment" however serves merely as a short satellite of serenity before the orchestra tumbles into the longer second movement, "Pursuit". As its name implies, this is a restless ride for all concerned, presenting the solo viola as a harried, lonely figure fighting against the latent threat of the orchestra, which seems only too keen to burst in and have its say whenever it gets the opportunity. A solo cadenza of bird-call inspired flageolets and high C-string yearnings forms a fleeting central reprieve before the chase resumes. This is music of jagged virtuosity and rhythmic edginess, the kind of hybrid that might have arisen if Paul Hindemith had played in a band with Tom Waits... The piece closes with "Veiled and Mysterious", an extended elegy in which the viola sings an unfolding "Klagelied" over icy sonorities of solo celli and bowed percussion. After a passage of sudden stillness and delicate question marks in the solo voice, the viola's line develops again in intensity, eventually awakening the orchestra into action, taking over from the viola to emerge in a large scale tutti section in which statements from throughout the piece are thrown into a melting pot, by turns stark and lyric. Out of the remnants of this material, the solitary figure of the viola solo resurfaces in an atmosphere of conciliation and dreaminess. Accompanied by the weaving lines of oboe and cor anglais, the viola, no longer hassled and pursued, guides us to a peaceful, if somewhat ambivalent conclusion with a revisiting of the bird- like harmonics from the middle movement.” ~Brett Dean, 2005

https://wn.com/Brett_Dean_Viola_Concerto_Lawrence_Power

Brett Dean (b. 1961): Viola Concerto (2004) 00:25 - I. Fragment 03:15 - II. Pursuit 14:36 - III. Veiled and Mysterious (28:00 Brett Dean on stage) Performers: -Lawrence Power, viola (Antonio Brensi, Bologna, c.1590) -Nicholas Collon, conductor -Radio sinfoniaorkesteri // “I've often mused upon the fact that so much music written for the viola is characterised by a particular sense of melancholy, invariably coupled with a busy, dogged brand of defiance or even gruffness. While we violists may look with a certain envy upon the joyous abandon of the finale of Tchaikovsky's Violin concerto, the high drama of the entry of the violin in the Brahms Concerto or the sheer, wide-screen magnificence of the Dvorak or Elgar Cello Concertos, we have a particular voice that is uniquely ours, and a very telling and touching one it is too. Largely deprived of such masterworks of the classical and romantic periods, viola players generally tend to embrace the music of the 20th and 21st centuries with greater passion than our violin and cello playing colleagues. Here, the solo viola repertoire undoubtedly also has its moments of joy and vigorously positive energy. The last movements of the Bartok concerto and of Hindemith's "Schwanendreher", for example, both lend the viola a folk-inspired voice of singular freshness and exuberance. But when it comes to finding the true essence of the viola's character, these are perhaps exceptions rather than the rule. So it is then a unique privilege and challenge to have the opportunity to now approach the form of the viola concerto as both composer and performer. Above all, it filled me with thoughts about my own relationship with this curiously beautiful, somewhat enigmatic instrument of my choosing. Due to the unusually hands-on directness of writing a concerto for oneself, it also inspired thoughts upon the workings of music itself, removed from any sense of external programmatic influences or stories which inform so many of my other pieces. Hence this work is simply entitled Viola Concerto. More by coincidence than design, the piece follows the traditional concerto shape of three movements. Having completed the substantial second and third movements, I felt the piece required a "scene setting" of some kind. Thus, the work begins with "Fragment", a brief visit to a delicate sound world in which some of the work's main motives and instrumental colours are introduced in the orchestra, eventually enticing a high, floating cantilena response from the soloist. "Fragment" however serves merely as a short satellite of serenity before the orchestra tumbles into the longer second movement, "Pursuit". As its name implies, this is a restless ride for all concerned, presenting the solo viola as a harried, lonely figure fighting against the latent threat of the orchestra, which seems only too keen to burst in and have its say whenever it gets the opportunity. A solo cadenza of bird-call inspired flageolets and high C-string yearnings forms a fleeting central reprieve before the chase resumes. This is music of jagged virtuosity and rhythmic edginess, the kind of hybrid that might have arisen if Paul Hindemith had played in a band with Tom Waits... The piece closes with "Veiled and Mysterious", an extended elegy in which the viola sings an unfolding "Klagelied" over icy sonorities of solo celli and bowed percussion. After a passage of sudden stillness and delicate question marks in the solo voice, the viola's line develops again in intensity, eventually awakening the orchestra into action, taking over from the viola to emerge in a large scale tutti section in which statements from throughout the piece are thrown into a melting pot, by turns stark and lyric. Out of the remnants of this material, the solitary figure of the viola solo resurfaces in an atmosphere of conciliation and dreaminess. Accompanied by the weaving lines of oboe and cor anglais, the viola, no longer hassled and pursued, guides us to a peaceful, if somewhat ambivalent conclusion with a revisiting of the bird- like harmonics from the middle movement.” ~Brett Dean, 2005

• published: 21 Oct 2022
• views: 2740

3:12

Hamlet by Brett Dean - Act II - Ophelia

• Order: Reorder
• Duration: 3:12
• Uploaded Date: 13 Jul 2017
• views: 13646

Full opera here: bit.ly/HamletBrettDean Subscribe to our channel for more videos http://ow.ly/ugONZ Hamlet - Brett Dean Barbara Hannigan: Ophelia Sarah Conn...

Full opera here: bit.ly/HamletBrettDean Subscribe to our channel for more videos http://ow.ly/ugONZ Hamlet - Brett Dean Barbara Hannigan: Ophelia Sarah Connolly: Gertrude Neil Armfield: Stage director Ralph Myers: Set designer Alice Babidge: Costume designer London Philharmonic Orchestra The Glyndebourne Chorus Vladimir Jurowski: Conductor Opera recorded at Glyndebourne (Lewes, Great Britain), on July 6, 2017 19:00 © François Roussillon et Associés / Glyndebourne – avec la participation de France Télévisions Follow medici.tv on: | Facebook : https://www.facebook.com/medicitv | Twitter : https://twitter.com/medicitv | Instagram : https://www.instagram.com/medici.tv/ Dive into the heart of classical music with medici.tv! Get closer than ever to the artists you love and have an unforgettable experience with 150+ live webcasts each year and 2600+ videos. A rare and exclusive selection of concerts, ballets, operas, documentaries, master classes, behind-the-scenes and interviews!

https://wn.com/Hamlet_By_Brett_Dean_Act_Ii_Ophelia

Full opera here: bit.ly/HamletBrettDean Subscribe to our channel for more videos http://ow.ly/ugONZ Hamlet - Brett Dean Barbara Hannigan: Ophelia Sarah Connolly: Gertrude Neil Armfield: Stage director Ralph Myers: Set designer Alice Babidge: Costume designer London Philharmonic Orchestra The Glyndebourne Chorus Vladimir Jurowski: Conductor Opera recorded at Glyndebourne (Lewes, Great Britain), on July 6, 2017 19:00 © François Roussillon et Associés / Glyndebourne – avec la participation de France Télévisions Follow medici.tv on: | Facebook : https://www.facebook.com/medicitv | Twitter : https://twitter.com/medicitv | Instagram : https://www.instagram.com/medici.tv/ Dive into the heart of classical music with medici.tv! Get closer than ever to the artists you love and have an unforgettable experience with 150+ live webcasts each year and 2600+ videos. A rare and exclusive selection of concerts, ballets, operas, documentaries, master classes, behind-the-scenes and interviews!

• published: 13 Jul 2017
• views: 13646

21:57

Brett Dean - Electric Preludes, for electric violin and strings (2012)

• Order: Reorder
• Duration: 21:57
• Uploaded Date: 29 Oct 2023
• views: 4855

00:00 I. Abandoned Playground: Wide, reverberant arpeggios open onto furtive dense textures in the strings, slowly growing more frenzied (1:43) before returning...

00:00 I. Abandoned Playground: Wide, reverberant arpeggios open onto furtive dense textures in the strings, slowly growing more frenzied (1:43) before returning to a solemn, open sound (2:21) 04:00 II. Topography - Papunya: The electric violin sneaks out of an eerie "spectral drone". The solo and orchestra gradually assert themselves more on a harsh downward motif, before the solo flies off into the extreme upper registers (6:41) 06:59 III. Peripeteia: A rapid frenzy of irregular rhythms in the solo electric violin, opposes an unrelenting beating drive in the orchestra 08:21 IV. The beyonds of mirrors: The electric violin, with an otherworldly theremin-like sound, sings over a kaleidoscope of descending lines. 10:43 (Really this part is just awesome!) The movement ends violently with heavily distorted, overdriven electric violin ("sound hack"). 11:20 V. Perpetuum mobile: A hard-edged unrelentless drive 13:20 Cadenza: An open space is left as the "Perpetuum mobile" cuts out, allowing the solo to fill it with reverb and various electronic effects 17:08 VI. Berceuse: Contrapuntal lines rise out of the very depths of the orchestra, leading to a stratospheric lullaby over hauntingly beautiful string chords (18:43, 19:50). The electric violin slowly descends to its very lowest note (21:09) in a gorgeously bittersweet ending. It seems fitting that my new work for Richard Tognetti and the ACO, “Electric Preludes”, has been commissioned by Melbourne art curator and gallerist Jan Minchin. My work has always had a strong visual aspect to it, owing much to the long-standing partnership with my wife, Heather Betts, herself a painter. Several of my works, such as “Beggars and Angels” and “Night Window” pay direct homage to the influence of Heather’s remarkable paintings on my own creative life. These new preludes follow this line of creativity, owing much of their inspiration and development to visual stimuli. Whilst conceived as pieces of pure music, the lines, gestures and energies contained within nevertheless owe much of their ultimate shape to imagery. Some of these came to my attention by traditional means; seeing the National Gallery of Victoria’s extraordinary exhibition “Tjukurrtjanu: Origins of Western Desert Art” last year, for example, proved to be an especially inspiring encounter. The magical cartographic works of Clifford Possum Tjapaltjarri in particular, displaying such an encyclopaedic knowledge of his country, led directly to the second movement, “Topography-Papunya”, in which the music unfolds as if seen from above, taking in more and more detail as it scans and focuses, joining the dots as it were. Another prelude was inspired simply by browsing through images on the web. The initial idea for the very opening of the piece, an ascending arpeggio over all six strings of Richard’s Violectra – and its subsequent descending counterpart heard somewhat later, reminded me of a rusty, squeaky swing in an abandoned playground. Just entering those two words in a google image search provided a beautifully wistful gallery of possible narratives and imagined sounds. Try it. But the most striking image that fired my fantasy throughout the entire compositional process was that of Richard standing with the ACO, his exotic electric fiddle under his chin, taking mere breaths of sound and embryonic motivic shapes and transforming them, with the help of this impressive piece of electronics and sound designer Bob Scott at the mixing desk, filling the hall and enticing the orchestra’s manifold responses. My heartfelt thanks to Richard and Bob for their invaluable contributions to this joyfully collaborative commission, and to Jan Minchin for her belief in the project and the financial support to allow us to realize it. —Brett Dean Composer: Brett Dean (October 23, 1961–) Electric Violin: Richard Tognetti Orchestra: Australian Chamber Orchestra Score available from Boosey and Hawkes: https://www.boosey.com/cr/music/Brett-Dean-Electric-Preludes/57840 How I make my videos: https://github.com/CMajSeven/WorkflowTemplate Program I develop for this channel: https://github.com/edwardx999/ScoreProcessor

https://wn.com/Brett_Dean_Electric_Preludes,_For_Electric_Violin_And_Strings_(2012)

00:00 I. Abandoned Playground: Wide, reverberant arpeggios open onto furtive dense textures in the strings, slowly growing more frenzied (1:43) before returning to a solemn, open sound (2:21) 04:00 II. Topography - Papunya: The electric violin sneaks out of an eerie "spectral drone". The solo and orchestra gradually assert themselves more on a harsh downward motif, before the solo flies off into the extreme upper registers (6:41) 06:59 III. Peripeteia: A rapid frenzy of irregular rhythms in the solo electric violin, opposes an unrelenting beating drive in the orchestra 08:21 IV. The beyonds of mirrors: The electric violin, with an otherworldly theremin-like sound, sings over a kaleidoscope of descending lines. 10:43 (Really this part is just awesome!) The movement ends violently with heavily distorted, overdriven electric violin ("sound hack"). 11:20 V. Perpetuum mobile: A hard-edged unrelentless drive 13:20 Cadenza: An open space is left as the "Perpetuum mobile" cuts out, allowing the solo to fill it with reverb and various electronic effects 17:08 VI. Berceuse: Contrapuntal lines rise out of the very depths of the orchestra, leading to a stratospheric lullaby over hauntingly beautiful string chords (18:43, 19:50). The electric violin slowly descends to its very lowest note (21:09) in a gorgeously bittersweet ending. It seems fitting that my new work for Richard Tognetti and the ACO, “Electric Preludes”, has been commissioned by Melbourne art curator and gallerist Jan Minchin. My work has always had a strong visual aspect to it, owing much to the long-standing partnership with my wife, Heather Betts, herself a painter. Several of my works, such as “Beggars and Angels” and “Night Window” pay direct homage to the influence of Heather’s remarkable paintings on my own creative life. These new preludes follow this line of creativity, owing much of their inspiration and development to visual stimuli. Whilst conceived as pieces of pure music, the lines, gestures and energies contained within nevertheless owe much of their ultimate shape to imagery. Some of these came to my attention by traditional means; seeing the National Gallery of Victoria’s extraordinary exhibition “Tjukurrtjanu: Origins of Western Desert Art” last year, for example, proved to be an especially inspiring encounter. The magical cartographic works of Clifford Possum Tjapaltjarri in particular, displaying such an encyclopaedic knowledge of his country, led directly to the second movement, “Topography-Papunya”, in which the music unfolds as if seen from above, taking in more and more detail as it scans and focuses, joining the dots as it were. Another prelude was inspired simply by browsing through images on the web. The initial idea for the very opening of the piece, an ascending arpeggio over all six strings of Richard’s Violectra – and its subsequent descending counterpart heard somewhat later, reminded me of a rusty, squeaky swing in an abandoned playground. Just entering those two words in a google image search provided a beautifully wistful gallery of possible narratives and imagined sounds. Try it. But the most striking image that fired my fantasy throughout the entire compositional process was that of Richard standing with the ACO, his exotic electric fiddle under his chin, taking mere breaths of sound and embryonic motivic shapes and transforming them, with the help of this impressive piece of electronics and sound designer Bob Scott at the mixing desk, filling the hall and enticing the orchestra’s manifold responses. My heartfelt thanks to Richard and Bob for their invaluable contributions to this joyfully collaborative commission, and to Jan Minchin for her belief in the project and the financial support to allow us to realize it. —Brett Dean Composer: Brett Dean (October 23, 1961–) Electric Violin: Richard Tognetti Orchestra: Australian Chamber Orchestra Score available from Boosey and Hawkes: https://www.boosey.com/cr/music/Brett-Dean-Electric-Preludes/57840 How I make my videos: https://github.com/CMajSeven/WorkflowTemplate Program I develop for this channel: https://github.com/edwardx999/ScoreProcessor

• published: 29 Oct 2023
• views: 4855

4:08

Highlights of Brett Dean's Stringquintet "Epitaphs" at a concert in Berlin

• Order: Reorder
• Duration: 4:08
• Uploaded Date: 05 Mar 2021
• views: 897

German cellist Alban Gerhardt will be interviewing wonderful Australian composer Brett Dean tomorrow, March 6, at 18:00 CET (Berlin/Madrid) exlusively for his p...

German cellist Alban Gerhardt will be interviewing wonderful Australian composer Brett Dean tomorrow, March 6, at 18:00 CET (Berlin/Madrid) exlusively for his patrons in a livestream on his Patreon channel - here some "highlights" from the performance of his stellar string quintet "Epitaphs" which he performed last year at Berlin's Radialsystem - with Gergana Gergova, Baiba Skride, Micha Afkham and Brett Dean playing the second viola himself. This will be after talks with Jean-Guihen Queyras, Johannes Moser and Julian Anderson his fourth "AlbanTalk" which are all available here: http://www.patreon.com/albangerhardt​ - please feel free to join in case you might be interested in the other content like all his Daily routines, How to vibrate, How to ricochet, How to memorize, How to fix problems with the bowarm, How to play Bach, 16 40-min videos of me learning two different pieces from scratch, four PlayTalks in which he slowly works through so far the first movements of the Dvorak, Schumann and Haydn D Major Concerto and explain his take on them - and much more! On top of it it's easy to cancel with no strings attached 😉

https://wn.com/Highlights_Of_Brett_Dean's_Stringquintet_Epitaphs_At_A_Concert_In_Berlin

German cellist Alban Gerhardt will be interviewing wonderful Australian composer Brett Dean tomorrow, March 6, at 18:00 CET (Berlin/Madrid) exlusively for his patrons in a livestream on his Patreon channel - here some "highlights" from the performance of his stellar string quintet "Epitaphs" which he performed last year at Berlin's Radialsystem - with Gergana Gergova, Baiba Skride, Micha Afkham and Brett Dean playing the second viola himself. This will be after talks with Jean-Guihen Queyras, Johannes Moser and Julian Anderson his fourth "AlbanTalk" which are all available here: http://www.patreon.com/albangerhardt​ - please feel free to join in case you might be interested in the other content like all his Daily routines, How to vibrate, How to ricochet, How to memorize, How to fix problems with the bowarm, How to play Bach, 16 40-min videos of me learning two different pieces from scratch, four PlayTalks in which he slowly works through so far the first movements of the Dvorak, Schumann and Haydn D Major Concerto and explain his take on them - and much more! On top of it it's easy to cancel with no strings attached 😉

• published: 05 Mar 2021
• views: 897

4:06

Brett Dean - Equality

• Order: Reorder
• Duration: 4:06
• Uploaded Date: 07 Feb 2017
• views: 3355

Brett Dean - Equality (2004) Live from the Sydney International Piano Competition, July 2016.

Brett Dean - Equality (2004) Live from the Sydney International Piano Competition, July 2016.

https://wn.com/Brett_Dean_Equality

Brett Dean - Equality (2004) Live from the Sydney International Piano Competition, July 2016.

• published: 07 Feb 2017
• views: 3355

2:02

Richard Tognetti & Brett Dean talk violins - Australian Chamber Orchestra

• Order: Reorder
• Duration: 2:02
• Uploaded Date: 22 Feb 2013
• views: 4552

Australian Chamber Orchestra Artistic Director and Lead Violin Richard Tognetti and composer Brett Dean discuss electric and acoustic violins. Richard demonstra...

Australian Chamber Orchestra Artistic Director and Lead Violin Richard Tognetti and composer Brett Dean discuss electric and acoustic violins. Richard demonstrates the sound of each. http://www.aco.com.au

https://wn.com/Richard_Tognetti_Brett_Dean_Talk_Violins_Australian_Chamber_Orchestra

Australian Chamber Orchestra Artistic Director and Lead Violin Richard Tognetti and composer Brett Dean discuss electric and acoustic violins. Richard demonstrates the sound of each. http://www.aco.com.au

• published: 22 Feb 2013
• views: 4552

2:03

Brett Dean – How do you start writing a new piece?

• Order: Reorder
• Duration: 2:03
• Uploaded Date: 21 Jul 2020
• views: 386

Episode 4 from The Studio: New LPO Composer in Residence Brett Dean discusses how he begins to compose a new work. When generating new ideas, quantity over qual...

Episode 4 from The Studio: New LPO Composer in Residence Brett Dean discusses how he begins to compose a new work. When generating new ideas, quantity over quality is the key! #GetInspired #Creativity #MakingMusic #YoungMusician #YoungComposer This video is part of The Studio, an online platform for the LPO Soundworks community, sharing insights from industry professionals across the arts, and creative resources for young musicians. LPO Soundworks is a programme for young people aged 14-19, uniting musicians with talented experts from other art forms, to collaborate and create performance pieces at various points across the year.

https://wn.com/Brett_Dean_–_How_Do_You_Start_Writing_A_New_Piece

Episode 4 from The Studio: New LPO Composer in Residence Brett Dean discusses how he begins to compose a new work. When generating new ideas, quantity over quality is the key! #GetInspired #Creativity #MakingMusic #YoungMusician #YoungComposer This video is part of The Studio, an online platform for the LPO Soundworks community, sharing insights from industry professionals across the arts, and creative resources for young musicians. LPO Soundworks is a programme for young people aged 14-19, uniting musicians with talented experts from other art forms, to collaborate and create performance pieces at various points across the year.

• published: 21 Jul 2020
• views: 386

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24:42

Brett Dean - Piano Concerto (Gneixendorf Music - A Winter's Journey) (2019)

Brett Dean (*1961) Piano Concerto (Gneixendorf Music - A Winter's Journey) (2019) Jonatha...

published: 19 Mar 2020

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Brett Dean - Piano Concerto (Gneixendorf Music - A Winter's Journey) (2019)

Brett Dean - Piano Concerto (Gneixendorf Music - A Winter's Journey) (2019)

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• views: 4172

Brett Dean (*1961) Piano Concerto (Gneixendorf Music - A Winter's Journey) (2019) Jonathan Biss, piano Swedish Radio Symphony Orchestra David Afkham, conductor Composer information: https://www.boosey.com/composer/Brett+Dean Publisher information: https://tinyurl.com/um7sosj This video has a purpose of promotion, not for profit. If you have any complaints about copyright issues, please write me a direct message at fukbot75(at)hotmail(dot)com before submitting a report to Youtube. Then I will delete the video as soon as possible.

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25:38

Brett Dean - Viola Concerto (Official Score Video)

Listen and follow along with our B&H Study Score Video featuring the official publisher's ...

published: 03 Sep 2021

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Brett Dean - Viola Concerto (Official Score Video)

Brett Dean - Viola Concerto (Official Score Video)

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• published: 03 Sep 2021
• views: 30938

Listen and follow along with our B&H Study Score Video featuring the official publisher's score of Brett Dean's Viola Concerto, set to a recording by Sydney Symphony, conductor Simone Young, and the composer himself as soloist. ------------ Escucha y sigue con nuestro vídeo de la partitura de estudio de B&H, presentando la partitura oficial de la editora musical del Concierto para Viola de Brett Dean, con una grabación por la Sinfónica de Sydney, la conductora Simone Young, y el propio compositor como solista. More info on Dean's Viola Concerto: https://bit.ly/DeanViolaConcertoInfo Watch our other Study Score videos: https://www.youtube.com/playlist?list=PLUr1r_wAANZGIh64QnTvQUtx84SAOvaE0 Music: Viola Concerto Composed by Brett Dean Performed by Brett Dean, viola, Sydney Symphony, and Simone Young Courtesy of BIS Records #BHStudyScores

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3:17

Score Reading 101 with Brett Dean

Composer, conductor, and violist Brett Dean gives us advice on how to read orchestral scor...

published: 08 Sep 2021

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Score Reading 101 with Brett Dean

Score Reading 101 with Brett Dean

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• published: 08 Sep 2021
• views: 5939

Composer, conductor, and violist Brett Dean gives us advice on how to read orchestral scores. Check out his tips for zooming out to see the shape of the musical lines and how different instruments interact, then watch the B&H score video for Brett Dean's Viola Concerto here: https://youtu.be/_FHV1-J8Bl8 Music: Viola Concerto Composed by Brett Dean Performed by Brett Dean, viola, Sydney Symphony, and Simone Young Courtesy of BIS Records The recording of Brett Dean’s Viola Concerto is available from BIS (BIS-1696 SACD). Purchase the album here: https://www.eclassical.com/dean-brett/brett-dean-composer-and-performer.html

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29:36

Brett Dean: Viola Concerto [Lawrence Power]

Brett Dean (b. 1961): Viola Concerto (2004) 00:25 - I. Fragment 03:15 - II. Pursuit 14:3...

published: 21 Oct 2022

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Brett Dean: Viola Concerto [Lawrence Power]

Brett Dean: Viola Concerto [Lawrence Power]

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• published: 21 Oct 2022
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Brett Dean (b. 1961): Viola Concerto (2004) 00:25 - I. Fragment 03:15 - II. Pursuit 14:36 - III. Veiled and Mysterious (28:00 Brett Dean on stage) Performers: -Lawrence Power, viola (Antonio Brensi, Bologna, c.1590) -Nicholas Collon, conductor -Radio sinfoniaorkesteri // “I've often mused upon the fact that so much music written for the viola is characterised by a particular sense of melancholy, invariably coupled with a busy, dogged brand of defiance or even gruffness. While we violists may look with a certain envy upon the joyous abandon of the finale of Tchaikovsky's Violin concerto, the high drama of the entry of the violin in the Brahms Concerto or the sheer, wide-screen magnificence of the Dvorak or Elgar Cello Concertos, we have a particular voice that is uniquely ours, and a very telling and touching one it is too. Largely deprived of such masterworks of the classical and romantic periods, viola players generally tend to embrace the music of the 20th and 21st centuries with greater passion than our violin and cello playing colleagues. Here, the solo viola repertoire undoubtedly also has its moments of joy and vigorously positive energy. The last movements of the Bartok concerto and of Hindemith's "Schwanendreher", for example, both lend the viola a folk-inspired voice of singular freshness and exuberance. But when it comes to finding the true essence of the viola's character, these are perhaps exceptions rather than the rule. So it is then a unique privilege and challenge to have the opportunity to now approach the form of the viola concerto as both composer and performer. Above all, it filled me with thoughts about my own relationship with this curiously beautiful, somewhat enigmatic instrument of my choosing. Due to the unusually hands-on directness of writing a concerto for oneself, it also inspired thoughts upon the workings of music itself, removed from any sense of external programmatic influences or stories which inform so many of my other pieces. Hence this work is simply entitled Viola Concerto. More by coincidence than design, the piece follows the traditional concerto shape of three movements. Having completed the substantial second and third movements, I felt the piece required a "scene setting" of some kind. Thus, the work begins with "Fragment", a brief visit to a delicate sound world in which some of the work's main motives and instrumental colours are introduced in the orchestra, eventually enticing a high, floating cantilena response from the soloist. "Fragment" however serves merely as a short satellite of serenity before the orchestra tumbles into the longer second movement, "Pursuit". As its name implies, this is a restless ride for all concerned, presenting the solo viola as a harried, lonely figure fighting against the latent threat of the orchestra, which seems only too keen to burst in and have its say whenever it gets the opportunity. A solo cadenza of bird-call inspired flageolets and high C-string yearnings forms a fleeting central reprieve before the chase resumes. This is music of jagged virtuosity and rhythmic edginess, the kind of hybrid that might have arisen if Paul Hindemith had played in a band with Tom Waits... The piece closes with "Veiled and Mysterious", an extended elegy in which the viola sings an unfolding "Klagelied" over icy sonorities of solo celli and bowed percussion. After a passage of sudden stillness and delicate question marks in the solo voice, the viola's line develops again in intensity, eventually awakening the orchestra into action, taking over from the viola to emerge in a large scale tutti section in which statements from throughout the piece are thrown into a melting pot, by turns stark and lyric. Out of the remnants of this material, the solitary figure of the viola solo resurfaces in an atmosphere of conciliation and dreaminess. Accompanied by the weaving lines of oboe and cor anglais, the viola, no longer hassled and pursued, guides us to a peaceful, if somewhat ambivalent conclusion with a revisiting of the bird- like harmonics from the middle movement.” ~Brett Dean, 2005

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3:12

Hamlet by Brett Dean - Act II - Ophelia

Full opera here: bit.ly/HamletBrettDean Subscribe to our channel for more videos http://o...

published: 13 Jul 2017

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Hamlet by Brett Dean - Act II - Ophelia

Hamlet by Brett Dean - Act II - Ophelia

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• published: 13 Jul 2017
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Full opera here: bit.ly/HamletBrettDean Subscribe to our channel for more videos http://ow.ly/ugONZ Hamlet - Brett Dean Barbara Hannigan: Ophelia Sarah Connolly: Gertrude Neil Armfield: Stage director Ralph Myers: Set designer Alice Babidge: Costume designer London Philharmonic Orchestra The Glyndebourne Chorus Vladimir Jurowski: Conductor Opera recorded at Glyndebourne (Lewes, Great Britain), on July 6, 2017 19:00 © François Roussillon et Associés / Glyndebourne – avec la participation de France Télévisions Follow medici.tv on: | Facebook : https://www.facebook.com/medicitv | Twitter : https://twitter.com/medicitv | Instagram : https://www.instagram.com/medici.tv/ Dive into the heart of classical music with medici.tv! Get closer than ever to the artists you love and have an unforgettable experience with 150+ live webcasts each year and 2600+ videos. A rare and exclusive selection of concerts, ballets, operas, documentaries, master classes, behind-the-scenes and interviews!

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21:57

Brett Dean - Electric Preludes, for electric violin and strings (2012)

00:00 I. Abandoned Playground: Wide, reverberant arpeggios open onto furtive dense texture...

published: 29 Oct 2023

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Brett Dean - Electric Preludes, for electric violin and strings (2012)

Brett Dean - Electric Preludes, for electric violin and strings (2012)

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• published: 29 Oct 2023
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00:00 I. Abandoned Playground: Wide, reverberant arpeggios open onto furtive dense textures in the strings, slowly growing more frenzied (1:43) before returning to a solemn, open sound (2:21) 04:00 II. Topography - Papunya: The electric violin sneaks out of an eerie "spectral drone". The solo and orchestra gradually assert themselves more on a harsh downward motif, before the solo flies off into the extreme upper registers (6:41) 06:59 III. Peripeteia: A rapid frenzy of irregular rhythms in the solo electric violin, opposes an unrelenting beating drive in the orchestra 08:21 IV. The beyonds of mirrors: The electric violin, with an otherworldly theremin-like sound, sings over a kaleidoscope of descending lines. 10:43 (Really this part is just awesome!) The movement ends violently with heavily distorted, overdriven electric violin ("sound hack"). 11:20 V. Perpetuum mobile: A hard-edged unrelentless drive 13:20 Cadenza: An open space is left as the "Perpetuum mobile" cuts out, allowing the solo to fill it with reverb and various electronic effects 17:08 VI. Berceuse: Contrapuntal lines rise out of the very depths of the orchestra, leading to a stratospheric lullaby over hauntingly beautiful string chords (18:43, 19:50). The electric violin slowly descends to its very lowest note (21:09) in a gorgeously bittersweet ending. It seems fitting that my new work for Richard Tognetti and the ACO, “Electric Preludes”, has been commissioned by Melbourne art curator and gallerist Jan Minchin. My work has always had a strong visual aspect to it, owing much to the long-standing partnership with my wife, Heather Betts, herself a painter. Several of my works, such as “Beggars and Angels” and “Night Window” pay direct homage to the influence of Heather’s remarkable paintings on my own creative life. These new preludes follow this line of creativity, owing much of their inspiration and development to visual stimuli. Whilst conceived as pieces of pure music, the lines, gestures and energies contained within nevertheless owe much of their ultimate shape to imagery. Some of these came to my attention by traditional means; seeing the National Gallery of Victoria’s extraordinary exhibition “Tjukurrtjanu: Origins of Western Desert Art” last year, for example, proved to be an especially inspiring encounter. The magical cartographic works of Clifford Possum Tjapaltjarri in particular, displaying such an encyclopaedic knowledge of his country, led directly to the second movement, “Topography-Papunya”, in which the music unfolds as if seen from above, taking in more and more detail as it scans and focuses, joining the dots as it were. Another prelude was inspired simply by browsing through images on the web. The initial idea for the very opening of the piece, an ascending arpeggio over all six strings of Richard’s Violectra – and its subsequent descending counterpart heard somewhat later, reminded me of a rusty, squeaky swing in an abandoned playground. Just entering those two words in a google image search provided a beautifully wistful gallery of possible narratives and imagined sounds. Try it. But the most striking image that fired my fantasy throughout the entire compositional process was that of Richard standing with the ACO, his exotic electric fiddle under his chin, taking mere breaths of sound and embryonic motivic shapes and transforming them, with the help of this impressive piece of electronics and sound designer Bob Scott at the mixing desk, filling the hall and enticing the orchestra’s manifold responses. My heartfelt thanks to Richard and Bob for their invaluable contributions to this joyfully collaborative commission, and to Jan Minchin for her belief in the project and the financial support to allow us to realize it. —Brett Dean Composer: Brett Dean (October 23, 1961–) Electric Violin: Richard Tognetti Orchestra: Australian Chamber Orchestra Score available from Boosey and Hawkes: https://www.boosey.com/cr/music/Brett-Dean-Electric-Preludes/57840 How I make my videos: https://github.com/CMajSeven/WorkflowTemplate Program I develop for this channel: https://github.com/edwardx999/ScoreProcessor

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4:08

Highlights of Brett Dean's Stringquintet "Epitaphs" at a concert in Berlin

German cellist Alban Gerhardt will be interviewing wonderful Australian composer Brett Dea...

published: 05 Mar 2021

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Highlights of Brett Dean's Stringquintet "Epitaphs" at a concert in Berlin

Highlights of Brett Dean's Stringquintet "Epitaphs" at a concert in Berlin

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• published: 05 Mar 2021
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German cellist Alban Gerhardt will be interviewing wonderful Australian composer Brett Dean tomorrow, March 6, at 18:00 CET (Berlin/Madrid) exlusively for his patrons in a livestream on his Patreon channel - here some "highlights" from the performance of his stellar string quintet "Epitaphs" which he performed last year at Berlin's Radialsystem - with Gergana Gergova, Baiba Skride, Micha Afkham and Brett Dean playing the second viola himself. This will be after talks with Jean-Guihen Queyras, Johannes Moser and Julian Anderson his fourth "AlbanTalk" which are all available here: http://www.patreon.com/albangerhardt​ - please feel free to join in case you might be interested in the other content like all his Daily routines, How to vibrate, How to ricochet, How to memorize, How to fix problems with the bowarm, How to play Bach, 16 40-min videos of me learning two different pieces from scratch, four PlayTalks in which he slowly works through so far the first movements of the Dvorak, Schumann and Haydn D Major Concerto and explain his take on them - and much more! On top of it it's easy to cancel with no strings attached 😉

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4:06

Brett Dean - Equality

Brett Dean - Equality (2004) Live from the Sydney International Piano Competition, July 2...

published: 07 Feb 2017

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Brett Dean - Equality

Brett Dean - Equality

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• published: 07 Feb 2017
• views: 3355

Brett Dean - Equality (2004) Live from the Sydney International Piano Competition, July 2016.

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2:02

Richard Tognetti & Brett Dean talk violins - Australian Chamber Orchestra

Australian Chamber Orchestra Artistic Director and Lead Violin Richard Tognetti and compos...

published: 22 Feb 2013

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Richard Tognetti & Brett Dean talk violins - Australian Chamber Orchestra

Richard Tognetti & Brett Dean talk violins - Australian Chamber Orchestra

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• published: 22 Feb 2013
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Australian Chamber Orchestra Artistic Director and Lead Violin Richard Tognetti and composer Brett Dean discuss electric and acoustic violins. Richard demonstrates the sound of each. http://www.aco.com.au

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2:03

Brett Dean – How do you start writing a new piece?

Episode 4 from The Studio: New LPO Composer in Residence Brett Dean discusses how he begin...

published: 21 Jul 2020

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Brett Dean – How do you start writing a new piece?

Brett Dean – How do you start writing a new piece?

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• published: 21 Jul 2020
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Episode 4 from The Studio: New LPO Composer in Residence Brett Dean discusses how he begins to compose a new work. When generating new ideas, quantity over quality is the key! #GetInspired #Creativity #MakingMusic #YoungMusician #YoungComposer This video is part of The Studio, an online platform for the LPO Soundworks community, sharing insights from industry professionals across the arts, and creative resources for young musicians. LPO Soundworks is a programme for young people aged 14-19, uniting musicians with talented experts from other art forms, to collaborate and create performance pieces at various points across the year.

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Brett Dean

Brett Dean (born 23 October 1961 in Brisbane) is a contemporary Australian composer, violist and conductor.

Career

Brett Dean was raised and educated in Brisbane. He started learning violin at the age of eight, and later studied viola with Elizabeth Morgan and John Curro at the Queensland Conservatorium, where he graduated in 1982 with the Conservatorium Medal for the highest achieving Student of the Year. In 1981 he was a prize winner in the ABC Symphony Australia Young Performers Awards. From 1985 to 1999, Dean was a violist in the Berlin Philharmonic Orchestra. In 2000, he decided to pursue a career as a freelance artist and returned to Australia, where his many appointments have included curating classical music programs with the Sydney Festival (2005) and the Melbourne Festival (2009). As a composer and musician, he is a regularly invited guest to many professional concert stages around the world.

Brett Dean was Artistic Director of the Australian National Academy of Music in Melbourne until June 2010 when his brother, Paul Dean, took up the post.

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This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Brett_Dean

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Brett Dean - Piano Concerto (Gneixendorf Music - A...

Brett Dean - Viola Concerto (Official Score Video)...

Score Reading 101 with Brett Dean...

Brett Dean: Viola Concerto [Lawrence Power]...

Hamlet by Brett Dean - Act II - Ophelia...

Brett Dean - Electric Preludes, for electric violi...

Highlights of Brett Dean's Stringquintet "Epitaphs...

Brett Dean - Equality...

Richard Tognetti & Brett Dean talk violins - Austr...

Brett Dean – How do you start writing a new piece?...