Quintet (2013) - Gareth Wood скачать в хорошем качестве

Quintet (2013) - Gareth Wood

Featuring current students and alumni of the USC Double Bass Studio: Ryan Baird, Sam Shuhan, Eric Windmeier, Bill Wasson, and Michael Fortner Bass ensemble music is often featured in conservatory settings in order to provide bass students with more chamber music opportunities. Pieces for bass ensemble usually seek to highlight the idiomatic tendencies of the bass while providing a wide range of technical challenges for the players; this piece is no exception. Though this music is often heard in an amateur/collegiate setting, a well-executed bass ensemble performance is a unique and wonderful musical experience. In addition to the textural diversity and harmonic density of chamber music written for bass ensemble, seeing a section of bassists playing different parts is a spectacle to behold. In recent years, the Los Angeles Philharmonic’s bass section has championed bass ensemble music through numerous public performances. Here is an excerpt from the February 2015 LA Philharmonic program note about the Quintet you will hear today: Welsh composer Gareth Wood is himself a bass player. After studying composition and bass at the Royal Academy of Music, he joined the Royal Philharmonic Orchestra in 1972; he became the Orchestra’s chairman in 1991 and he conducted the Orchestra at the San Juan Music Festival in 1995. He has written a large body of band music, but has also been commissioned by the RPO and the National Youth Orchestra of Wales. He has also composed a number of concertos, including three for the bass, and his Fantasy on Welsh Song is performed every year at the last night of the Welsh Proms in Cardiff. This Quintet is a burly work, much interested in sonority and texture, which Wood explores with idiomatic energy and confidence. It is also a spiky work, much given to dissonant sequential riffing, but usually pointed at triadic goals. In the slow central section Wood develops a brooding lyricism to an edgy climax that slips away chromatically to a reprise of the opening material. He takes it in a different direction this time, however, to a stress test coda. The final cadence seems characteristic: an A-major chord followed by an E-flat-minor chord; two plain triads, but about as unrelated as possible. Sources available upon request. Thanks to Adam Borecki for the recording