Robert Erickson: Pacific Sirens
Track Listings
| 1. White Lady | ||
| 2. Garden | ||
| 3. Piano Concerto | ||
| 4. Pacific Sirens |
Editorial Reviews Robert Erickson (1917–1997) is one of the more unjustly neglected American composers of the latter half of the twentieth century. He was also a revered teacher and author of two important books on music. Early in his career, under the guidance of his teacher Ernst Krenek, he flirted with then abandoned atonality. After relocating to California in 1956, he developed the characteristics for which his work became most recognized: a heightened interest in the atmosphere of a piece, an obsession with timbre, ways of varying the sound of a work with experiments in new technique, and explorations into the new worlds uncovered through the invention of tape recording. The four works in this collection range in date of birth from the 1963 Piano Concerto, when Erickson was a potent force in the musical affairs of the San Francisco Bay Area, to the 1977 Garden nourished by the creative atmosphere at UC—San Diego that he had worked hard to create. At the far end (Piano Concerto) there are the exuberant challenges flung forth to the solo pianist and the seven participating instrumentalists, the interplay between the written-down notes and the improv, the encouragement offered to all eight performers to go as far as they can and then keep on going. At the near end (Garden) there is the elegant, quiet, reflective joy, the infinitely sweet solo melody that seems to sing of gardens spread over the California hillsides and over the hillsides of, perhaps, some distant and exotic land as well. In between there are the revelings in the pure magic of sound: the siren beckonings of Pacific waves (Pacific Sirens), the robust play of colors around a gatheri! ng of wind players in some onshore safe haven (White Lady). Of related interest:
Album Description
"Music is about something. It is always about human experience, human emotion when you get to the essentials." "If you get right down to the bottom of what composers do, I think that what composers do now and have always done is to compose their environment in some sense. So I get a special little lift about working with environmental sounds." —Robert Erickson
80541 General Speech (included on New Music for Virtuosos)
80563 Ricercar à 5 for Trombones (plus works by Edwin Dugger, Phillip Rhodes, Harvey Sollberger, and Peter Westergaard)
Robert Erickson: Pacific Sirens, Music, Robert Erickson, Edwin London, Cleveland Chamber Symphony, University of Illinois Contemporary Chamber Players, Keith Humble, Laura Martin, Chamber, Chamber Music, Chamber Music & Recitals, Classical, Classical Composers, Classical Music, Concerto, Electronic/Avant-Garde/Minimalist Music
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Robert Erickson: Pacific Sirens
Erickson , London , and Cleveland Chamber Symphony Manufacturer: New World Records ProductGroup: Music Binding: Audio CD  Chamber Music
| Forms & Genres
| Classical (c.1770-1830)
| Historical Periods
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
General
| Chamber Music
| Classical
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| Music
Classical
| Indie Music
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ASIN: B000083F3Y Release Date: 2003-01-28 |
Tracks:
Album Description
"Music is about something. It is always about human experience, human emotion when you get to the essentials." "If you get right down to the bottom of what composers do, I think that what composers do now and have always done is to compose their environment in some sense. So I get a special little lift about working with environmental sounds." —Robert EricksonRobert Erickson (1917-1997) is one of the more unjustly neglected American composers of the latter half of the twentieth century. He was also a revered teacher and author of two important books on music. Early in his career, under the guidance of his teacher Ernst Krenek, he flirted with then abandoned atonality. After relocating to California in 1956, he developed the characteristics for which his work became most recognized: a heightened interest in the atmosphere of a piece, an obsession with timbre, ways of varying the sound of a work with experiments in new technique, and explorations into the new worlds uncovered through the invention of tape recording. The four works in this collection range in date of birth from the 1963 Piano Concerto, when Erickson was a potent force in the musical affairs of the San Francisco Bay Area, to the 1977 Garden nourished by the creative atmosphere at UC—San Diego that he had worked hard to create. At the far end (Piano Concerto) there are the exuberant challenges flung forth to the solo pianist and the seven participating instrumentalists, the interplay between the written-down notes and the improv, the encouragement offered to all eight performers to go as far as they can and then keep on going. At the near end (Garden) there is the elegant, quiet, reflective joy, the infinitely sweet solo melody that seems to sing of gardens spread over the California hillsides and over the hillsides of, perhaps, some distant and exotic land as well. In between there are the revelings in the pure magic of sound: the siren beckonings of Pacific waves (Pacific Sirens), the robust play of colors around a gatheri! ng of wind players in some onshore safe haven (White Lady).
Of related interest:
80541 General Speech (included on New Music for Virtuosos)
80563 Ricercar à 5 for Trombones (plus works by Edwin Dugger, Phillip Rhodes, Harvey Sollberger, and Peter Westergaard)
Music Review:
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