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John Corigliano winning Original Score for "The Red Violin"
Charlize Theron and Keanu Reeves presenting John Corigliano the Oscar® for Music (Original Score) for "The Red Violin" at the 72nd Academy Awards® in 2000.
published: 13 Feb 2014
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John Corigliano | Building the Architecture of a Composition
"So I make my own plans. I draw them."
Composer John Corigliano takes you through his approach toward building a percussion concerto. Listen to the piece "Conjurer: Concerto for Percussionist" in "In Focus: Musical Magicians" only on #Adella and Adella.Live.
published: 18 May 2021
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“Composing is a battle for me.” - John Corigliano
Living the Classical Life: Episode 60
Winner of four Grammy Awards, an Oscar, and the Pulitzer Prize, American composer John Corigliano has one of the most diverse and prolific musical outputs of his generation. In an exclusive and emotionally revealing feature, John Corigliano opens up about his influences and inspirations, his difficult relationship with his father who was concertmaster of the New York Philharmonic, the loss of over 100 friends to the AIDS epidemic and its influence on his works, and the tortured nature of his compositional process. He discusses whether composers endure a specific type of stage fright, and if student composers can be taught an individual voice.
published: 06 Oct 2018
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Augustin Hadelich plays The Red Violin Caprices by John Corigliano
John Corigliano - The Red Violin Caprices (1999)
Filmed in April 2020 during Covid19 hiatus
With many thanks to Simon Kiln
published: 29 Apr 2020
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Corigliano - Concerto for Clarinet and Orchestra
John Corigliano [b. 1938] - Concerto for Clarinet and Orchestra [1977]
I. Cadenzas [0:03]
II. Elegy [8:50]
III. Antiphonal Toccata [17:21]
score available here: https://www.wisemusicclassical.com/work/26969/Concerto-for-Clarinet-and-Orchestra--John-Corigliano/
Stanley Druker, clarinet
Zubin Mehta, conductor
New York Philharmonic
"I rely on the components of particular concerts to generate my musical materials. This commission from the New York Philharmonic provided me with a unique constellation of elements that eventually formed the basis of my approach to the work. My associations as a child – attending rehearsals and performances with my father, who was then the concertmaster of the Philharmonic – gave me the opportunity of getting to know many of the men in the orchestra both as ar...
published: 30 Jul 2022
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Corigliano: Symphony No. 3 "Circus Maximus" | MSU Wind Symphony
published: 16 Apr 2020
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John Corigliano - Red Violin Caprices for Solo Violin (1999) (w/analysis)
John Corigliano (1938-) is an American composer who has produced works in various mediums. He is best known for his first symphony and the score for the film Red Violin, which earned him an Oscar. (P.S. I have watched the film before, and while I was impressed by some of the music, I didn’t like the narrative, the scenes, and the story flow, so I didn’t like the film at the time. It felt kind of disorganized for me.)
With the success of the score for Red Violin, Corigliano arranged the music from the film score into various formats, one of which was this popular “Red Violin Caprices”, scored for the solo violin. The sixth caprices are in the form of variation, each of which is drawn from a scene where the “Anna’s Theme” appears in a varied form.
(0:00) Theme - The first caprice is based...
published: 16 Jun 2023
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1 John Corigliano Voyage for flute and orchestra
Janne Thomsen with the Midtvest/Remus Youth Orchestra, Denmark
published: 27 Jan 2016
-
John Corigliano - Red Violin Concerto for Violin and Orchestra (2003) (w/analysis)
John Corigliano (1938-) is an American composer who has produced works in various mediums. He is best known for his first symphony and the score for the film Red Violin, which earned him an Oscar. (P.S. Again, I have watched the film before, and while I was impressed by some of the music, I didn’t like the narrative, the scenes, and the story flow, so I didn’t like the film at the time. It felt kind of disorganized for me.)
(Adapted from the composer’s forward) During the process of writing the film score for Red Violin, a Chaconne came into being, where the chords of chaconne are intermixed with “Anna’s Theme”. And a series of etudes were also composed. Then, during the summer of 1997, the Red Violin Chaconne was completed and was premiered in San Francisco by Joshua Bell and Robert Span...
published: 07 Jul 2023
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John Corigliano - Etude-Fantasy (audio + sheet music)
John Corigliano's Etude Fantasy was premiered by James Tocco in 1976. It comes from the end of Corigliano's first stylistic period, which reflected an outgrowth of the American sounds of Samuel Barber, Aaron Copland, Roy Harris, and William Schuman. True to its name, the Etude Fantasy features movements designed to test the pianist's skill, linked by a tone row and a melodic idea that are introduced in the first etude and developed in a free, episodic manner through the rest of the work. The result is a work which showcases the composer's keen ability to unify diverse material as much as it showcases the pianist's keyboard prowess. Conveniently enough, the first six notes of the work introduce the piece's tone row; after a little virtuoso figuration, the cool, reserved melodic germ follows...
published: 04 Jun 2021
4:05
John Corigliano winning Original Score for "The Red Violin"
Charlize Theron and Keanu Reeves presenting John Corigliano the Oscar® for Music (Original Score) for "The Red Violin" at the 72nd
Academy Awards® in 2000.
Charlize Theron and Keanu Reeves presenting John Corigliano the Oscar® for Music (Original Score) for "The Red Violin" at the 72nd
Academy Awards® in 2000.
https://wn.com/John_Corigliano_Winning_Original_Score_For_The_Red_Violin
Charlize Theron and Keanu Reeves presenting John Corigliano the Oscar® for Music (Original Score) for "The Red Violin" at the 72nd
Academy Awards® in 2000.
- published: 13 Feb 2014
- views: 128928
4:00
John Corigliano | Building the Architecture of a Composition
"So I make my own plans. I draw them."
Composer John Corigliano takes you through his approach toward building a percussion concerto. Listen to the piece "Conju...
"So I make my own plans. I draw them."
Composer John Corigliano takes you through his approach toward building a percussion concerto. Listen to the piece "Conjurer: Concerto for Percussionist" in "In Focus: Musical Magicians" only on #Adella and Adella.Live.
https://wn.com/John_Corigliano_|_Building_The_Architecture_Of_A_Composition
"So I make my own plans. I draw them."
Composer John Corigliano takes you through his approach toward building a percussion concerto. Listen to the piece "Conjurer: Concerto for Percussionist" in "In Focus: Musical Magicians" only on #Adella and Adella.Live.
- published: 18 May 2021
- views: 1748
34:53
“Composing is a battle for me.” - John Corigliano
Living the Classical Life: Episode 60
Winner of four Grammy Awards, an Oscar, and the Pulitzer Prize, American composer John Corigliano has one of the most di...
Living the Classical Life: Episode 60
Winner of four Grammy Awards, an Oscar, and the Pulitzer Prize, American composer John Corigliano has one of the most diverse and prolific musical outputs of his generation. In an exclusive and emotionally revealing feature, John Corigliano opens up about his influences and inspirations, his difficult relationship with his father who was concertmaster of the New York Philharmonic, the loss of over 100 friends to the AIDS epidemic and its influence on his works, and the tortured nature of his compositional process. He discusses whether composers endure a specific type of stage fright, and if student composers can be taught an individual voice.
https://wn.com/“Composing_Is_A_Battle_For_Me.”_John_Corigliano
Living the Classical Life: Episode 60
Winner of four Grammy Awards, an Oscar, and the Pulitzer Prize, American composer John Corigliano has one of the most diverse and prolific musical outputs of his generation. In an exclusive and emotionally revealing feature, John Corigliano opens up about his influences and inspirations, his difficult relationship with his father who was concertmaster of the New York Philharmonic, the loss of over 100 friends to the AIDS epidemic and its influence on his works, and the tortured nature of his compositional process. He discusses whether composers endure a specific type of stage fright, and if student composers can be taught an individual voice.
- published: 06 Oct 2018
- views: 15097
9:02
Augustin Hadelich plays The Red Violin Caprices by John Corigliano
John Corigliano - The Red Violin Caprices (1999)
Filmed in April 2020 during Covid19 hiatus
With many thanks to Simon Kiln
John Corigliano - The Red Violin Caprices (1999)
Filmed in April 2020 during Covid19 hiatus
With many thanks to Simon Kiln
https://wn.com/Augustin_Hadelich_Plays_The_Red_Violin_Caprices_By_John_Corigliano
John Corigliano - The Red Violin Caprices (1999)
Filmed in April 2020 during Covid19 hiatus
With many thanks to Simon Kiln
- published: 29 Apr 2020
- views: 133881
26:19
Corigliano - Concerto for Clarinet and Orchestra
John Corigliano [b. 1938] - Concerto for Clarinet and Orchestra [1977]
I. Cadenzas [0:03]
II. Elegy [8:50]
III. Antiphonal Toccata [17:21]
score available her...
John Corigliano [b. 1938] - Concerto for Clarinet and Orchestra [1977]
I. Cadenzas [0:03]
II. Elegy [8:50]
III. Antiphonal Toccata [17:21]
score available here: https://www.wisemusicclassical.com/work/26969/Concerto-for-Clarinet-and-Orchestra--John-Corigliano/
Stanley Druker, clarinet
Zubin Mehta, conductor
New York Philharmonic
"I rely on the components of particular concerts to generate my musical materials. This commission from the New York Philharmonic provided me with a unique constellation of elements that eventually formed the basis of my approach to the work. My associations as a child – attending rehearsals and performances with my father, who was then the concertmaster of the Philharmonic – gave me the opportunity of getting to know many of the men in the orchestra both as artists and friends. This feeling of intimacy governed my decision to make sure that my first work for the Philharmonic utilized the entire orchestra. I was aware that, with a wind concerto, this is a potentially dangerous thing to do – to solve problems of balance most such pieces are discreetly scored for small ensembles – but it provided me with a fascinating challenge.
[...]
I. Cadenzas: The first movement is actually two cadenzas, separated by an interlude. It starts directly with the first cadenza, subtitled “ignis fatuus” (“Will-o’-the wisp”). Like that phosphorescent flickering light, this cadenza is almost audibly invisible. The soloist begins with a rapid unaccompanied whispering run. He then appears and disappears, playing as fast as possible, leaving glowing remnants behind in the orchestra. All the material for this movement is contained in the initial cadenza, including a central chord which functions as a tonic might in conventional harmony. This chord (E-flat, D, A, E-natural) is derived from the clarinet melody, and is held by the strings under the rapid clarinet passages of the last part of the cadenza. [...] “Corona solis” (i.e., the crown or corona of the sun) is the macrocosmic version of the microcosmic “Ignis fatuus” – the opening cadenza transformed into blazing bursts of energy, accompanied by orchestral outbursts and dominated by the soloist. “Corona solis” builds to a peak that signals the entrance of the full orchestra. This in turn builds to a long-held climax in which the “tonic” chord from the “Ignis fatuus” boils with energy. The chord eventually diminishes in intensity until at last it is held only by four solo strings. The solo clarinet then enters pianissimo, and after assisting the disintegration of the held chord, it flickers and finally disappears into silence.
II. Elegy: The slow movement, , was written in memory of my father, who died on September 1, 1975. He had been concertmaster of the Philharmonic for 23 years and I still find it hard to think of the orchestra without him sitting in the first chair. So the idea of an extended dialogue for clarinet and violin seemed not only natural but inevitable. This duet has a special poignancy for me when I remember the many years that my father and Stanley Drucker were colleagues under the baton of Leonard Bernstein.
[...]
III. Antiphonal Toccata: The finale is my solution to the balance problems created by using the full orchestra in a wind concerto. Early on I made a decision to save some of the instruments (five French horns, two trumpets, and two clarinets) for the final moments of the Concerto. This gave the idea of physically separating them from the rest of the orchestra, and that, in turn, led to locating them in spatial positions so that they could be used antiphonally. An immediate problem arose: that of being able to synchronize the distant instruments with the orchestra. The relatively slow speed of sound can mean up to a one-second delay between the sounding of a tone and its perception at a distance in a concert hall, making precisely synchronized playing impossible. The solution, I found, was to write music which specifically shouldn’t be synchronized, and against these erratic patterns I superimposed the opposite rhythmic idea – that of a toccata, with its regular, tightly aligned motor-rhythmic pulsations."
John Corigliano (https://www.wisemusicclassical.com/work/26969/Concerto-for-Clarinet-and-Orchestra--John-Corigliano/)
https://wn.com/Corigliano_Concerto_For_Clarinet_And_Orchestra
John Corigliano [b. 1938] - Concerto for Clarinet and Orchestra [1977]
I. Cadenzas [0:03]
II. Elegy [8:50]
III. Antiphonal Toccata [17:21]
score available here: https://www.wisemusicclassical.com/work/26969/Concerto-for-Clarinet-and-Orchestra--John-Corigliano/
Stanley Druker, clarinet
Zubin Mehta, conductor
New York Philharmonic
"I rely on the components of particular concerts to generate my musical materials. This commission from the New York Philharmonic provided me with a unique constellation of elements that eventually formed the basis of my approach to the work. My associations as a child – attending rehearsals and performances with my father, who was then the concertmaster of the Philharmonic – gave me the opportunity of getting to know many of the men in the orchestra both as artists and friends. This feeling of intimacy governed my decision to make sure that my first work for the Philharmonic utilized the entire orchestra. I was aware that, with a wind concerto, this is a potentially dangerous thing to do – to solve problems of balance most such pieces are discreetly scored for small ensembles – but it provided me with a fascinating challenge.
[...]
I. Cadenzas: The first movement is actually two cadenzas, separated by an interlude. It starts directly with the first cadenza, subtitled “ignis fatuus” (“Will-o’-the wisp”). Like that phosphorescent flickering light, this cadenza is almost audibly invisible. The soloist begins with a rapid unaccompanied whispering run. He then appears and disappears, playing as fast as possible, leaving glowing remnants behind in the orchestra. All the material for this movement is contained in the initial cadenza, including a central chord which functions as a tonic might in conventional harmony. This chord (E-flat, D, A, E-natural) is derived from the clarinet melody, and is held by the strings under the rapid clarinet passages of the last part of the cadenza. [...] “Corona solis” (i.e., the crown or corona of the sun) is the macrocosmic version of the microcosmic “Ignis fatuus” – the opening cadenza transformed into blazing bursts of energy, accompanied by orchestral outbursts and dominated by the soloist. “Corona solis” builds to a peak that signals the entrance of the full orchestra. This in turn builds to a long-held climax in which the “tonic” chord from the “Ignis fatuus” boils with energy. The chord eventually diminishes in intensity until at last it is held only by four solo strings. The solo clarinet then enters pianissimo, and after assisting the disintegration of the held chord, it flickers and finally disappears into silence.
II. Elegy: The slow movement, , was written in memory of my father, who died on September 1, 1975. He had been concertmaster of the Philharmonic for 23 years and I still find it hard to think of the orchestra without him sitting in the first chair. So the idea of an extended dialogue for clarinet and violin seemed not only natural but inevitable. This duet has a special poignancy for me when I remember the many years that my father and Stanley Drucker were colleagues under the baton of Leonard Bernstein.
[...]
III. Antiphonal Toccata: The finale is my solution to the balance problems created by using the full orchestra in a wind concerto. Early on I made a decision to save some of the instruments (five French horns, two trumpets, and two clarinets) for the final moments of the Concerto. This gave the idea of physically separating them from the rest of the orchestra, and that, in turn, led to locating them in spatial positions so that they could be used antiphonally. An immediate problem arose: that of being able to synchronize the distant instruments with the orchestra. The relatively slow speed of sound can mean up to a one-second delay between the sounding of a tone and its perception at a distance in a concert hall, making precisely synchronized playing impossible. The solution, I found, was to write music which specifically shouldn’t be synchronized, and against these erratic patterns I superimposed the opposite rhythmic idea – that of a toccata, with its regular, tightly aligned motor-rhythmic pulsations."
John Corigliano (https://www.wisemusicclassical.com/work/26969/Concerto-for-Clarinet-and-Orchestra--John-Corigliano/)
- published: 30 Jul 2022
- views: 9029
8:46
John Corigliano - Red Violin Caprices for Solo Violin (1999) (w/analysis)
John Corigliano (1938-) is an American composer who has produced works in various mediums. He is best known for his first symphony and the score for the film Re...
John Corigliano (1938-) is an American composer who has produced works in various mediums. He is best known for his first symphony and the score for the film Red Violin, which earned him an Oscar. (P.S. I have watched the film before, and while I was impressed by some of the music, I didn’t like the narrative, the scenes, and the story flow, so I didn’t like the film at the time. It felt kind of disorganized for me.)
With the success of the score for Red Violin, Corigliano arranged the music from the film score into various formats, one of which was this popular “Red Violin Caprices”, scored for the solo violin. The sixth caprices are in the form of variation, each of which is drawn from a scene where the “Anna’s Theme” appears in a varied form.
(0:00) Theme - The first caprice is based on the “Anna’s Theme”, which is the leitmotif for the wife (and the Red Violin too) of the fictional violin maker, Nicolò Bussotti, that produced the “Red Violin”. This violin was for Nicolò’s unborn son, but when his wife and son died, he infused his wife’s blood into the varnish, and produced his final masterpiece, the “Red Violin”. It is a slow, lullaby-like theme.
(1:31) Var.1 Presto - The first variation draws from “Etudes; Death of Kaspar”. The only variation in major, it features virtuosic arpeggios in the style of Baroque and Classical pieces. In the movie, this corresponds to the death of Kaspar Weiss (a child prodigy) from a heart defect. Due to the usage of comfortable positions and open strings, this sounds harder than it actually is, but the last repeat is quite tortuous, due to the immense speed required.
(2:09) Var.2 Con bravura - The second variation draws from “Pope's Gypsy Cadenza”. The violin (stolen from Weiss’ grave and now in the UK) comes into the possession of Lord Frederick Pope, who exchanges this violin from gypsies with hospitalities in his manor. In this variation, we can see many “gypsy” idioms that is also prevalent in many violin music of the 19th century, such as the harmonic scale, and virtuosic passages with left hand pizzicato. There are some unusual hand positions and 2nd/unison double stops (which is really hard to do), and the left hand picc would be hard to get at the first time, but like others in this piece, it is less difficult than it sounds.
(4:07) Var.3 Adagio, languid - The third variation draws from “Coitus Musicalis; Victoria's Departure”. Lord Pope’s muse, Victoria Byrd leaves temporarily to Russia, and Pope is in loneliness. I felt this kind of sounds like one of Paganini’s caprices. The octaves are always something really hard to get right, and it is necessary to care about the tone quality especially in this variation. It helps that it is a slow variation.
(5:20) Var.4 Slowly con rubato - The last two appear in the opposite sequence as the film. The fourth variation is based on “Pope's Betrayal”, which is when the returned Victoria learns about the Pope’s betrayal (he changed his muse into a Gypsy violinist). The fourth variation is a section of contrast, with the lyrical theme on extremely high positions, and rhythmic double/triple/quadruple stops.
(7:22) Var.5 Presto, pesante - The last variation is based on “Pope's Concert”, which comes before the “Pope’s Betrayal” in the film. This variation is the most rhythmic out of the 6, but in a romantic mood. The fifth variation sound especially “cool” once you get it right. Moreover, once you are at the level of it, this is probably one of the most “effective” violin pieces, as it sounds about 5 times harder than the actual difficulty. The wide arpeggios all fall comfortably in the hands, and the same goes for most notes. The only piece of (extreme) difficulty would be the parallel fifths in the middle.
Overall, it is a very dramatic and effective piece, that is very hard, but once you get through getting the notes right and the speed, there’s not much obstacles, unlike Bach or Mozart. So, if you believe you are at the level, get the score (only $13 on Amazon) and try this yourself!
Performed by Sergey Malov (https://www.youtube.com/watch?v=sMXTn4Fws7I)
This video is for non-commercial purpose, and I do not get any profit from it. If there is an ad, it is by Youtube, who will then distribute the profit to the rightful owners (hopefully). If you are the rightful owner of the score or the recording and want the video down, contact me, and I will promptly take it down.
https://wn.com/John_Corigliano_Red_Violin_Caprices_For_Solo_Violin_(1999)_(W_Analysis)
John Corigliano (1938-) is an American composer who has produced works in various mediums. He is best known for his first symphony and the score for the film Red Violin, which earned him an Oscar. (P.S. I have watched the film before, and while I was impressed by some of the music, I didn’t like the narrative, the scenes, and the story flow, so I didn’t like the film at the time. It felt kind of disorganized for me.)
With the success of the score for Red Violin, Corigliano arranged the music from the film score into various formats, one of which was this popular “Red Violin Caprices”, scored for the solo violin. The sixth caprices are in the form of variation, each of which is drawn from a scene where the “Anna’s Theme” appears in a varied form.
(0:00) Theme - The first caprice is based on the “Anna’s Theme”, which is the leitmotif for the wife (and the Red Violin too) of the fictional violin maker, Nicolò Bussotti, that produced the “Red Violin”. This violin was for Nicolò’s unborn son, but when his wife and son died, he infused his wife’s blood into the varnish, and produced his final masterpiece, the “Red Violin”. It is a slow, lullaby-like theme.
(1:31) Var.1 Presto - The first variation draws from “Etudes; Death of Kaspar”. The only variation in major, it features virtuosic arpeggios in the style of Baroque and Classical pieces. In the movie, this corresponds to the death of Kaspar Weiss (a child prodigy) from a heart defect. Due to the usage of comfortable positions and open strings, this sounds harder than it actually is, but the last repeat is quite tortuous, due to the immense speed required.
(2:09) Var.2 Con bravura - The second variation draws from “Pope's Gypsy Cadenza”. The violin (stolen from Weiss’ grave and now in the UK) comes into the possession of Lord Frederick Pope, who exchanges this violin from gypsies with hospitalities in his manor. In this variation, we can see many “gypsy” idioms that is also prevalent in many violin music of the 19th century, such as the harmonic scale, and virtuosic passages with left hand pizzicato. There are some unusual hand positions and 2nd/unison double stops (which is really hard to do), and the left hand picc would be hard to get at the first time, but like others in this piece, it is less difficult than it sounds.
(4:07) Var.3 Adagio, languid - The third variation draws from “Coitus Musicalis; Victoria's Departure”. Lord Pope’s muse, Victoria Byrd leaves temporarily to Russia, and Pope is in loneliness. I felt this kind of sounds like one of Paganini’s caprices. The octaves are always something really hard to get right, and it is necessary to care about the tone quality especially in this variation. It helps that it is a slow variation.
(5:20) Var.4 Slowly con rubato - The last two appear in the opposite sequence as the film. The fourth variation is based on “Pope's Betrayal”, which is when the returned Victoria learns about the Pope’s betrayal (he changed his muse into a Gypsy violinist). The fourth variation is a section of contrast, with the lyrical theme on extremely high positions, and rhythmic double/triple/quadruple stops.
(7:22) Var.5 Presto, pesante - The last variation is based on “Pope's Concert”, which comes before the “Pope’s Betrayal” in the film. This variation is the most rhythmic out of the 6, but in a romantic mood. The fifth variation sound especially “cool” once you get it right. Moreover, once you are at the level of it, this is probably one of the most “effective” violin pieces, as it sounds about 5 times harder than the actual difficulty. The wide arpeggios all fall comfortably in the hands, and the same goes for most notes. The only piece of (extreme) difficulty would be the parallel fifths in the middle.
Overall, it is a very dramatic and effective piece, that is very hard, but once you get through getting the notes right and the speed, there’s not much obstacles, unlike Bach or Mozart. So, if you believe you are at the level, get the score (only $13 on Amazon) and try this yourself!
Performed by Sergey Malov (https://www.youtube.com/watch?v=sMXTn4Fws7I)
This video is for non-commercial purpose, and I do not get any profit from it. If there is an ad, it is by Youtube, who will then distribute the profit to the rightful owners (hopefully). If you are the rightful owner of the score or the recording and want the video down, contact me, and I will promptly take it down.
- published: 16 Jun 2023
- views: 18099
9:16
1 John Corigliano Voyage for flute and orchestra
Janne Thomsen with the Midtvest/Remus Youth Orchestra, Denmark
Janne Thomsen with the Midtvest/Remus Youth Orchestra, Denmark
https://wn.com/1_John_Corigliano_Voyage_For_Flute_And_Orchestra
Janne Thomsen with the Midtvest/Remus Youth Orchestra, Denmark
- published: 27 Jan 2016
- views: 6723
36:52
John Corigliano - Red Violin Concerto for Violin and Orchestra (2003) (w/analysis)
John Corigliano (1938-) is an American composer who has produced works in various mediums. He is best known for his first symphony and the score for the film Re...
John Corigliano (1938-) is an American composer who has produced works in various mediums. He is best known for his first symphony and the score for the film Red Violin, which earned him an Oscar. (P.S. Again, I have watched the film before, and while I was impressed by some of the music, I didn’t like the narrative, the scenes, and the story flow, so I didn’t like the film at the time. It felt kind of disorganized for me.)
(Adapted from the composer’s forward) During the process of writing the film score for Red Violin, a Chaconne came into being, where the chords of chaconne are intermixed with “Anna’s Theme”. And a series of etudes were also composed. Then, during the summer of 1997, the Red Violin Chaconne was completed and was premiered in San Francisco by Joshua Bell and Robert Spano.
Later, he decided to expand the chaconne into a concerto, and then added three movements. Sadly, I could not get my hand on the full score, so I’m using the violin + piano score instead.
It is a very difficult and intense piece, but also very impressive and rather easy to digest, among the modern violin concertos. This belongs in one of my "dream pieces", as somebody who plays violin.
(0:00) Mov.1 Chaconne - The first movement is the previously composed “Red Violin Chaconne”. I do not have access to the full score, so I don’t know if anything in the orchestra changed. This is like an introduction, with the solo stating part of the chaconne chords, and the orchestra playing a florid accompaniment.
(0:50) The chaconne chords (T1)
(1:47) The more lyrical “Anna’s Theme” (T2), but varied.
(2:52) T2, stated in its original form. We have seen this in the Caprices, haven’t we? Anyway, this theme gets more intense, till…
(4:19) T2+T1, leading to the first variation at (4:30)
(4:57) Var.2
(5:11) Climax. Var.3, T1
(5:19) Var.4
(5:43) Whether to categorize this as a variant of T1, or a variant of T2 is very vague, as the two themes share some features. I'll treat this as the variant of T1.
(6:14) Transition
(7:19) T2, similar to the third variation in the caprices. (9:07) Climax
(9:17) Transition
(9:42) T1 Var.6, alternating heavy orchestral fanfare with the solo.
(10:15) T1 Var.7
(10:40) T2
(11:46) T1 + T2, similar to the first appearance of T2.
(12:08) Cadenza. Based on both themes, but more from T2.
(14:05) T1 Var.8
(14:28) T2
(14:54) T1 Var.9
(15:13) Transition
(15:25) T2 - Climax.
(15:41) T1 Var.10 - Climax Part 2
(15:52) T1 Var.11 - Virtuosic tremolo, ending the movement in a fiery manner.
(16:24) Mov.2 Pianissimo Scherzo - The second movement is a scherzo in ABA form. The outer section features very soft (and ambiguous) playing with sul ponticello, tremolo, and glissando (as well as harmonics).
(18:40) Middle section. Starts with high position and harmonics. The composer states that the theme of the central section is related to Anna’s theme. Indeed, fragments of the theme appear in the melodies.
(19:45) Outer section again, still in a light mood.
(20:52) Coda, with the figures from the middle section again.
(21:27) Mov.3 Andante Flautando - The third movement starts with chorale-like introduction from the strings.
(22:09) Then, it gives way to the soloist’s recitativo that is related to “Anna’s Theme”.
(23:56) A rocking melody with high positions, creating the “floating” feeling.
(26:06) Return of the initial recitativo, but this time going up and up, and it directly leads to the next movement.
(27:51) Mov.4 Accelerando Finale - The last movement is in rondo form, and it is a “rollicking race” between the soloist and orchestra.
(28:04) The A section starts with a “rustic” theme with glissando.
(28:23) B, which leads to the passage from 28:35, where the soloist and orchestra accelerates independent of each other.
(29:23) A, leading to a climax at 29:50.
(30:31) C, using the “Moritz’s Theme” from the film. A lyrical section.
(31:52) Also, the “Anna’s Theme” is used
(32:34) And the Chaconne chords. This gets more and more intense.
(33:31) A. However, the outer section returns instead of the climax.
(34:07) Cadenza, serving as the B section.
(35:20) A.
(36:13) The A section leads to a final climax using the chaconne chords.
(36:26) A section main theme, which concludes the piece in a rather triumphant way.
Performed by Joshua Bell, Marin Alsop, Baltimore Symphony Orchestra
This video is for non-commercial purpose, and I do not get any profit from it. If there is an ad, it is by Youtube, who will then distribute the profit to the rightful owners (hopefully). If you are the rightful owner of the score or the recording and want the video down, contact me, and I will promptly take it down.
https://wn.com/John_Corigliano_Red_Violin_Concerto_For_Violin_And_Orchestra_(2003)_(W_Analysis)
John Corigliano (1938-) is an American composer who has produced works in various mediums. He is best known for his first symphony and the score for the film Red Violin, which earned him an Oscar. (P.S. Again, I have watched the film before, and while I was impressed by some of the music, I didn’t like the narrative, the scenes, and the story flow, so I didn’t like the film at the time. It felt kind of disorganized for me.)
(Adapted from the composer’s forward) During the process of writing the film score for Red Violin, a Chaconne came into being, where the chords of chaconne are intermixed with “Anna’s Theme”. And a series of etudes were also composed. Then, during the summer of 1997, the Red Violin Chaconne was completed and was premiered in San Francisco by Joshua Bell and Robert Spano.
Later, he decided to expand the chaconne into a concerto, and then added three movements. Sadly, I could not get my hand on the full score, so I’m using the violin + piano score instead.
It is a very difficult and intense piece, but also very impressive and rather easy to digest, among the modern violin concertos. This belongs in one of my "dream pieces", as somebody who plays violin.
(0:00) Mov.1 Chaconne - The first movement is the previously composed “Red Violin Chaconne”. I do not have access to the full score, so I don’t know if anything in the orchestra changed. This is like an introduction, with the solo stating part of the chaconne chords, and the orchestra playing a florid accompaniment.
(0:50) The chaconne chords (T1)
(1:47) The more lyrical “Anna’s Theme” (T2), but varied.
(2:52) T2, stated in its original form. We have seen this in the Caprices, haven’t we? Anyway, this theme gets more intense, till…
(4:19) T2+T1, leading to the first variation at (4:30)
(4:57) Var.2
(5:11) Climax. Var.3, T1
(5:19) Var.4
(5:43) Whether to categorize this as a variant of T1, or a variant of T2 is very vague, as the two themes share some features. I'll treat this as the variant of T1.
(6:14) Transition
(7:19) T2, similar to the third variation in the caprices. (9:07) Climax
(9:17) Transition
(9:42) T1 Var.6, alternating heavy orchestral fanfare with the solo.
(10:15) T1 Var.7
(10:40) T2
(11:46) T1 + T2, similar to the first appearance of T2.
(12:08) Cadenza. Based on both themes, but more from T2.
(14:05) T1 Var.8
(14:28) T2
(14:54) T1 Var.9
(15:13) Transition
(15:25) T2 - Climax.
(15:41) T1 Var.10 - Climax Part 2
(15:52) T1 Var.11 - Virtuosic tremolo, ending the movement in a fiery manner.
(16:24) Mov.2 Pianissimo Scherzo - The second movement is a scherzo in ABA form. The outer section features very soft (and ambiguous) playing with sul ponticello, tremolo, and glissando (as well as harmonics).
(18:40) Middle section. Starts with high position and harmonics. The composer states that the theme of the central section is related to Anna’s theme. Indeed, fragments of the theme appear in the melodies.
(19:45) Outer section again, still in a light mood.
(20:52) Coda, with the figures from the middle section again.
(21:27) Mov.3 Andante Flautando - The third movement starts with chorale-like introduction from the strings.
(22:09) Then, it gives way to the soloist’s recitativo that is related to “Anna’s Theme”.
(23:56) A rocking melody with high positions, creating the “floating” feeling.
(26:06) Return of the initial recitativo, but this time going up and up, and it directly leads to the next movement.
(27:51) Mov.4 Accelerando Finale - The last movement is in rondo form, and it is a “rollicking race” between the soloist and orchestra.
(28:04) The A section starts with a “rustic” theme with glissando.
(28:23) B, which leads to the passage from 28:35, where the soloist and orchestra accelerates independent of each other.
(29:23) A, leading to a climax at 29:50.
(30:31) C, using the “Moritz’s Theme” from the film. A lyrical section.
(31:52) Also, the “Anna’s Theme” is used
(32:34) And the Chaconne chords. This gets more and more intense.
(33:31) A. However, the outer section returns instead of the climax.
(34:07) Cadenza, serving as the B section.
(35:20) A.
(36:13) The A section leads to a final climax using the chaconne chords.
(36:26) A section main theme, which concludes the piece in a rather triumphant way.
Performed by Joshua Bell, Marin Alsop, Baltimore Symphony Orchestra
This video is for non-commercial purpose, and I do not get any profit from it. If there is an ad, it is by Youtube, who will then distribute the profit to the rightful owners (hopefully). If you are the rightful owner of the score or the recording and want the video down, contact me, and I will promptly take it down.
- published: 07 Jul 2023
- views: 3989
17:37
John Corigliano - Etude-Fantasy (audio + sheet music)
John Corigliano's Etude Fantasy was premiered by James Tocco in 1976. It comes from the end of Corigliano's first stylistic period, which reflected an outgrowth...
John Corigliano's Etude Fantasy was premiered by James Tocco in 1976. It comes from the end of Corigliano's first stylistic period, which reflected an outgrowth of the American sounds of Samuel Barber, Aaron Copland, Roy Harris, and William Schuman. True to its name, the Etude Fantasy features movements designed to test the pianist's skill, linked by a tone row and a melodic idea that are introduced in the first etude and developed in a free, episodic manner through the rest of the work. The result is a work which showcases the composer's keen ability to unify diverse material as much as it showcases the pianist's keyboard prowess. Conveniently enough, the first six notes of the work introduce the piece's tone row; after a little virtuoso figuration, the cool, reserved melodic germ follows. Both rely on the interval of a second, which is also developed throughout the work. The first etude is subtitled "For the Left Hand Alone," and indeed it is; such are the demands placed upon the pianist that one never misses the right hand. After the initial melodic statement, the virtuoso figurations accompanying the tone row return, followed by a gradual slowing down which finally introduces the right hand, playing a quiet chromatic scale over a gently pulsing left-hand accompaniment. The "Legato" etude, which tests the pianist's ability to play at a quiet yet sustained melodic line while the two hands descend the keyboard and cross each other frequently. The atmosphere created here is magical. The title of the next etude, "Fifths to Thirds," refers to the intervallic contraction from a fifth, played with the thumb and little finger, to a third, played with the index and ring fingers. Corigliano whips up a playful, frothy scherzo-like movement here, out of which an ebullient melody eventually emerges, all without straying too far from the basic device. As a contrast, "Ornaments," the next etude, brings back material from the first etude, cloaks it in trills, grace notes, tremolos, glissandos, and roulades, and eventually charges it into a demonic scherzando, pausing only to restate the tone row with appropriate ornaments. The music immediately regains its momentum and reaches a thunderous climax. Out of the climax's aftermath grows the fifth etude, a study in melody. The pianist's job here is to isolate the melodic line from the filigree that surrounds it. Material from the first and second etudes is developed in a desolate, brooding atmosphere. The work ends with a statement of the tone row in reverse, accompanying a quiet two-note ostinato. Corigliano has imagined a new form and given a good account of its possibilities here; his Etude Fantasy is exciting and arresting.
(AllMusic)
Please take note that the audio AND sheet music ARE NOT mine. Please set the video quality to a minimum of 480p for the best viewing experience.
Performer: Jimmy Briere
Sheet music: http://en.scorser.com/I/Sheet+music/300214700.html (G. Schirmer, 1981)
https://wn.com/John_Corigliano_Etude_Fantasy_(Audio_Sheet_Music)
John Corigliano's Etude Fantasy was premiered by James Tocco in 1976. It comes from the end of Corigliano's first stylistic period, which reflected an outgrowth of the American sounds of Samuel Barber, Aaron Copland, Roy Harris, and William Schuman. True to its name, the Etude Fantasy features movements designed to test the pianist's skill, linked by a tone row and a melodic idea that are introduced in the first etude and developed in a free, episodic manner through the rest of the work. The result is a work which showcases the composer's keen ability to unify diverse material as much as it showcases the pianist's keyboard prowess. Conveniently enough, the first six notes of the work introduce the piece's tone row; after a little virtuoso figuration, the cool, reserved melodic germ follows. Both rely on the interval of a second, which is also developed throughout the work. The first etude is subtitled "For the Left Hand Alone," and indeed it is; such are the demands placed upon the pianist that one never misses the right hand. After the initial melodic statement, the virtuoso figurations accompanying the tone row return, followed by a gradual slowing down which finally introduces the right hand, playing a quiet chromatic scale over a gently pulsing left-hand accompaniment. The "Legato" etude, which tests the pianist's ability to play at a quiet yet sustained melodic line while the two hands descend the keyboard and cross each other frequently. The atmosphere created here is magical. The title of the next etude, "Fifths to Thirds," refers to the intervallic contraction from a fifth, played with the thumb and little finger, to a third, played with the index and ring fingers. Corigliano whips up a playful, frothy scherzo-like movement here, out of which an ebullient melody eventually emerges, all without straying too far from the basic device. As a contrast, "Ornaments," the next etude, brings back material from the first etude, cloaks it in trills, grace notes, tremolos, glissandos, and roulades, and eventually charges it into a demonic scherzando, pausing only to restate the tone row with appropriate ornaments. The music immediately regains its momentum and reaches a thunderous climax. Out of the climax's aftermath grows the fifth etude, a study in melody. The pianist's job here is to isolate the melodic line from the filigree that surrounds it. Material from the first and second etudes is developed in a desolate, brooding atmosphere. The work ends with a statement of the tone row in reverse, accompanying a quiet two-note ostinato. Corigliano has imagined a new form and given a good account of its possibilities here; his Etude Fantasy is exciting and arresting.
(AllMusic)
Please take note that the audio AND sheet music ARE NOT mine. Please set the video quality to a minimum of 480p for the best viewing experience.
Performer: Jimmy Briere
Sheet music: http://en.scorser.com/I/Sheet+music/300214700.html (G. Schirmer, 1981)
- published: 04 Jun 2021
- views: 14860