Michael Torke: UNSEEN (complete) скачать в хорошем качестве

Michael Torke: UNSEEN (complete)

Composer: Michael Torke Performers: Michael Torke Orchestra, East Coast Chamber Orchestra Music Director: Michael Torke Recording Locations: Sound on Sound Studio (NJ), Samurai Hotel Recording Studio (NY) Recording Dates: Feb 10, Mar 6, 20, May 4, 5, 2023 Producers: Silas Brown, Michael Torke Mastering: Silas Brown Publisher: Adjustable Music; Bill Holab Music, agent; Modern Works Music Publishing, agent To buy study score: https://billholabmusic.com/product/un... To buy CD: https://www.michaeltorke.com/recordin... 00:00 No. 1 05:32 No. 2 10:14 No. 3 15:08 No. 4 19:34 No. 5 25:14 No. 6 29:16 No. 7 35:31 No. 8 40:25 No. 9 Ecstatic Records: ER092402 Musicians: Flutes: Tara O’Connor, Adeline DeBella Oboes: Toyin Spellman-Diaz, Noah Kay Clarinets: Alan Kay, Yu-Ting Cheng Bassoons: Monica Ellis, Gina Cuffari Horns: John Clark, Jeffrey Scott, Kevin Newton, Eric C. Davis Trumpets: Chris Martin, Ray Riccomini Trombones: Joseph Alessi, Marshall Gilkes, Carlos Jiménez Fernández, Colin Williams Timpani: Eric Poland Vibes and Marimba: Ian Rosenbaum Piano: Amir Farid Violins: Siwoo Kim, Min-Young Kim, Joanna Maurer, Kobi Malkin, Rebecca Fischer, Nick Kendall Violas: Jessica Thompson, Celia Hatton, Brian Hong Cellos: Gabriel Cabezas, Mihai Marica, Jia Kim Bass: Anthony Manzo Contracting: Melissa Reardon UNSEEN (2024) is the fourth composition and recording that completes a tetralogy of work; BEING (2020), PSALMS AND CANTICLES (2021), and TIME (2022) have preceded it. Unifying these four projects is the use of syncopated rhythms caused by the intersection of 3’s against 2’s, which through their interlocking, creates a unified rhythmic effect, or groove. Melodies and harmonies flow from the rhythms used. What sets UNSEEN apart from the other three is the size of the group: a full orchestra. I brought together musicians I’ve worked with in New York with the strings of the East Coast Chamber Orchestra. The scope is larger and the color possibilities more varied when writing for orchestra, compared to chamber groups. Colossal timbres can be achieved with a full brass section, woodwinds in pairs can provide scintillating pinpoints of light, and a full string section gives a sheen of richness (through the accumulation of minute pitch variation) as well as the particularity of unified bow strokes. The title, UNSEEN, comes from the Nicene Creed “…creator of all things, seen and unseen.” We are a visual people—we take in the world primarily through our eyes. But what we value the most are things that can’t be seen: feelings, ideas, energy, accomplishment, memories, contentment. What I seek in these four projects is a way for music to take us outside of ourselves. If through its rhythms and harmonies we give up a literal grip on the now, such experience opens the potential of renewal and even a kind of cleansing joy.