Y - Ricardo Donoso - Solo Percussion Improvisations
He is making inroads and innovations in all of the more exciting areas of guitaristics, intervallic melody improvisation, really subtle timbrel interactions and discoveries, majestic sonic movements comprised of tiny staccato tone washes, deft shifts to frequency sounding to contrast other ensemble events and seeming telepathy.
Andy McWain , Piano, is another innovator of international stature who maintains a local focus near New Bedford. He is one of a generation of pianists under 50 who have brought unusual wealth to the instrument at a time of material impoverishment for the idiom. Matthew Shipp , Steve Lantner , Pandelis Karayorgis and Eric Zinman each have poured their considerable imaginations and capabilities through keyboards into the idiom's common wealth.
He has also done his part as a concert presenter for the Audible Think series in New Bedford. Todd Keating Bass, is a skilled practitioner of subtlety with a well equipped array of capabilities from a fluttered flow of melodic pluckiness to bow work that carries on an interesting banter with the metal bow parallels of the drummer.
He fully rises to the occasion of interval melody asymmetry and a lexicon of percussive bass inventions. Tatsuya Nakatani , Percussion. A particularly striking Nakatani innovation is an upending of drum kit relations where the epicenter is occupied by the metal and the periphery belongs to the wood.
This works astonishingly well with the ensemble line up. Mr Nakatani is a wealth of subtleties. He also makes bowed metal work a core element of this sound in the way kick drum pumping is a core element of wood based drumming. Mr Frenette does a micro exposition of a melody figure before Mr McWain joins in an interesting zig zag contrast of rising and falling figures in a diagonal lattice work. Mr Keating does a compelling flutter lope with his bass joining Mr Nakatani initially in framing the melodic elements rising from guitar and piano.
This one is a good example of the shifts in ensemble gravity and recombination over time, although it is an element of every piece. Lets see if I can provide a reasonable reflection of these sequences without it coming out like an Abbot and Costello 'who's on first shtick'.
Mr McWain and Mr Frenette lead off in interweaving the full capabilities of the fretted guitar and piano linearity. Mr Keating and Nakatani form a contrasting sonic framework with lots of bowing on bass and metal.
Then the gravity shifts to a Frenette and Nakatani center poised by and juxtaposed against an interlocking McWain and Keating. And this just as readily darts in and out of sudden Frenette and Keating alliances. Jeeze, I'm dizzy and I bet it's wrong anyway but you get the idea A notable facet of this piece would be the Frenette and Nakatani sonic frequency interplay with a contrast from McWain and Keating weighted to melodic washes of interval intricacies.
Nakatani comes a bit closer to kit usage conventions here and one can hear a bit more of the wood side. He also evokes the 'little instruments of AACM yore through basic kit use in new applications. There is a subtly rhapsodic sense if that doesn't seem like an oxymoron like an understated Yankee Rhapsody with otherworldly austerity in the drum kit.
The use of long tone frequency movement and tremolo loop counterpoint are among Mr Frenettes striking contributions to this one.
There is much understatement and whole other applications of subtlety. McWain occupies some compelling real estate in the mid section full of flight and shuddering clusters. We have a full ensemble entry here. Mr Frenette then lends himself to a solo that might be a modern echo to a vamp with astute block clusters as Mr.
McWains punctuations. Mr Keating revs up dense asymmetric bass flights and then it all subsides into reflective minimalism where timbre interweaves become a focus. Hi Ricardo! Going well thanks, keeping busy — thanks for having me.
Most Popular. The 10 best French rap tracks, according to Para One. He started an experimental music label called Semata Productions in , releasing music by artists such as Greg Kelley and Prurient , as well as Perispirit, his noise-collage duo with Luke Moldof.
After releasing a CD-R of solo percussion improvisations, a few cassettes, and a 7" single, Donoso made his debut on the Digitalis label with Deterrence, a limited cassette of dark ambience released in This was followed in by his first vinyl LP, Progress Chance, a much brighter album that harked back to the ambient techno and trance that he grew up listening to, but without beats. Petrels ist Petrels ist Petrels ist Petrels. Und das ist genau so auch genau richtig. Stattdessen schafft Ricardo Donoso es, die unterschiedlichen Quellsounds so zu einen, das die Summe wie etwas ganz eigenes, neues wirkt.
As his personal wealth had declined since the s he required the substantial income earned from his recitals. The opera was first given in January at La Scala in Italian translation. It was a tremendous success, to the composer's considerable relief.
Poulenc in a letter . In Poulenc embarked on a collaboration with his old friend Cocteau, in an operatic version of the latter's monodrama La Voix humaine. Poulenc visited the US in and Among his works given during these trips were the American premiere of La Voix humaine at Carnegie Hall in New York, with Duval,  and the world premiere of his Gloria , a large-scale work for soprano, four-part mixed chorus and orchestra, conducted in Boston by Charles Munch.
On 30 January , at his flat opposite the Jardin du Luxembourg , Poulenc suffered a fatal heart attack. His funeral was at the nearby church of Saint-Sulpice. Poulenc's music is essentially diatonic. In Henri Hell 's view, this is because the main feature of Poulenc's musical art is his melodic gift. Poulenc said that he was not inventive in his harmonic language. The composer Lennox Berkeley wrote of him, "All through his life, he was content to use conventional harmony, but his use of it was so individual, so immediately recognizable as his own, that it gave his music freshness and validity.
If you take away either part, the serious or the non-serious, you destroy him. If one part is erased you get only a pale photocopy of what he really is. Poulenc's principal works for large orchestra comprise two ballets, a Sinfonietta and four keyboard concertos. The first of the ballets, Les biches , was first performed in and remains one of his best-known works.
Nichols writes in Grove that the clear and tuneful score has no deep, or even shallow, symbolism, a fact "accentuated by a tiny passage of mock- Wagnerian brass, complete with emotive minor 9ths ". It draws on a variety of stylistic sources: the first movement ends in a manner reminiscent of Balinese gamelan , and the slow movement begins in a Mozartian style, which Poulenc gradually fills out with his own characteristic personal touches.
Poulenc said that it was "on the outskirts" of his religious music, and there are passages that draw on the church music of Bach , though there are also interludes in breezy popular style. He came to feel, "I dressed too young for my age The piece has been re-evaluated in more recent years, and in the writer Claire Delamarche rated it as the composer's finest concertante work. Poulenc, a highly accomplished pianist, usually composed at the piano and wrote many pieces for the instrument throughout his career.
In Henri Hell's view, Poulenc's piano writing can be divided into the percussive and the gentler style reminiscent of the harpsichord. Hell considers that the finest of Poulenc's music for piano is in the accompaniments to the songs, a view shared by Poulenc himself. I like very much my two collections of Improvisations, an Intermezzo in A flat, and certain Nocturnes. Of the pieces cited with approval by Poulenc, the fifteen Improvisations were composed at intervals between and Numbers one and two were composed in August ; the A flat followed in March The commentators Marina and Victor Ledin describe the work as "the embodiment of the word 'charming'.
The music seems simply to roll off the pages, each sound following another in such an honest and natural way, with eloquence and unmistakable Frenchness. Whether or not Poulenc originally conceived them as an integral set, he gave the eighth the title "To serve as Coda for the Cycle" Pour servir de Coda au Cycle. All consist of short sections, the longest being the "Hymne", the second of the three pieces, which lasts about four minutes.Sep 11, · , August 23 - Washington, DC. Adrian and Amanda of DC Casineros dance Son Cubano at Monroe Street Market Arts Plaza (Brookland). DC Casineros YouTube: ht.