Music Of Gerald Levinson

On this CD:

1. Dreamlight
Composed by Gerald Levinson
Performed by Peter Basquin, Andre Emelianoff, Paul Hostetter

2. Bronze Music, for two pianos
Composed by Gerald Levinson
Performed by Charles Abramovic, James Freeman

3. Black Magic/White Magic
Composed by Gerald Levinson
Performed by Orchestra 2001 with Constance Beavon

4. Morning Star, Chorale for Piano, Four Hands
Composed by Gerald Levinson
Performed by Charles Abramovic, James Freeman

Tracks:

Dreamlight: I Very Slow, Meditative
Dreamlight: II Poco pesante
Dreamlight: III Very Slow, Suspended
Bronze Music
Black Magic - White Magic: Prelude
Black Magic - White Magic: Bright Wish
Black Magic - White Magic: Green
Black Magic - White Magic: The Hummingbird
Black Magic - White Magic: The Tropics
Black Magic - White Magic: Twilight
Black Magic - White Magic: The Night Herd
Black Magic - White Magic: Serpent Song
Black Magic - White Magic: Piscivorous jack
Black Magic - White Magic: Stones Sing
Black Magic - White Magic: Lilacs
Black Magic - White Magic: Envoi (The Pleasant)
Morning Star

Music Of Our Time For Mixed Ensemble, Vol. 2

Average customer rating:

Music Of Our Time For Mixed Ensemble, Vol. 2

Manufacturer: Composers Recordings
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
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ASIN: B000005TZ1
Release Date: 1997-08-19

Tracks:

Night of the Four Moons (1969): La luna esta muerta, muerta - The moon is dead, dead
Night of the Four Moons (1969): Cuando sale la luna - When the the moon rises
Night of the Four Moons (1969): Otro Adan oscuro esta sonando - Another obscure Adam dreams
Night of the Four Moons (1969): Huye luna, luna, luna - Run away moon, moon, moon
Chesapeake Rythyms (1995): Chesapeake Rythyms
Diadem (1980): Jade
Diadem (1980): Aquamarine
Diadem (1980): Ruby
Diadem (1980): Topaz
Diadem (1980): Diamond
Diadem (1980): Sapphire
Diadem (1980): Emerald
A Clockwork Legend (1993): A Clockwork Legend
in dark (1972): Adagio (vocalise)
in dark (1972): Adante (the moon comes down)
in dark (1972): Scherzando (in dark)
in dark (1972): Lento (they moved like fish)
in dark (1972): Liberamente (vocalise)

Average customer rating:

Great music you haven't heard yet

Chant des Rochers

Manufacturer: Composers Recordings
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B00004WJMM
Release Date: 2000-09-26

Tracks:

Chant Des Rochers - Orch 2001/James Freeman
Double Con: I. Lamento. Andante Serioso - Igor Szwec/Dorothy Freeman
Double Con: Cadenza I - Igor Szwec/Dorothy Freeman
Double Con: II. Scherzo. Vivo - Igor Szwec/Dorothy Freeman
Double Con: Cadenza II - Igor Szwec/Dorothy Freeman
Double Con: III. Notturno. Largo - Igor Szwec/Dorothy Freeman
Fromm Septet - Orch 2001/James Freeman
Vars: Theme
Vars: Var I
Vars: Var II
Vars: Var III
Vars: Var IV
Vars: Var V
Vars: Var VI
Vars: Var VII
Vars: Var VIII
Vars: Var IX

Customer Reviews:

Great music you haven't heard yet.......2000-12-13

Orchestra 2001 does us a great service by bringing to CD four terrific pieces, with fantastic recorded sound (watch out for the bass drum thwacks in the Stucky -- they'll knock you over!). Levinson's _Chant des rochers_ (for winds, harp, piano and percussion), written as a 70th-birthday tribute to his teacher Olivier Messiaen, begins stark and gruff, with growls in the low brass, and ends quietly and beautifully on a long sustained major chord. Stucky's _Double Concerto_ is by turns animated and darkly dramatic, and shows his skill at developing ideas as well as his talent as an orchestrator. _Fromm Septet_ of David Finko has both angular non-tonal lines and intense, memorable melodies. David Crumb's _Variations_ is another rich and lovely work, also beautifully orchestrated. Crumb (not to be confused with his father, George) doesn't employ virtuosic writing at the expense of musical substance; the piece *does* require a virtuoso cellist, but lyricism and ideas, rather than showiness, dominate.

Tracks:

Time and the Bell
Chant des rochers
For the Morning of the World

Album Description

The conductor James Freeman writes: "When a young composer named Gerald Levinson applied for a position in Swarthmore College's Music Department (of which I was then acting chair) more than 20 years ago, I was struck by an extraordinarily luminous, beautifully written piece called in dark which he had included in his portfolio. That piece and several others in the same folder showed so much imagination, feeling for color, and downright compositional skill that I had no doubt this was the composer we were looking for. A heartfelt and passionate letter from Olivier Messiaen only added to my departmental colleagues' and my own conviction that Levinson must be "the real thing." We were counting on the new person to teach the major part of our theory cycle, and young Levinson had absolutely no teaching experience of any kind. Nonetheless, we took a chance and hired him. Anyone who wrote such wonderful music had to be a great teacher and he was. When Orchestra 2001 was founded in 1988, it was the music of George Crumb (which is currently being recorded for Bridge) and Gerald Levinson that I especially wanted to bring to new audiences." The critic Paul Griffiths has written: "What must thrill anyone who comes in contact with Gerald Levinson's music is its sheer joy in sound, and the decisiveness with which it sings or dances its way through time….In sympathy with sound, in sympathy with time, Levinson's music is close to the natural phenomena on which all music depends. Two things spring from this. One is that his music can easily evoke other natural phenomena: the sea, the stars, rugged landscapes. The other is that this music is in tune with other kinds of music from around the world. Levinson's resources are classical western: he writes for the symphony orchestra, for the piano, and for chamber groupings of conventional instruments. His disciplines, too, are those of the western tradition. But the east was present in his music even before his first trip there. His works, right through his career so far, exist on companionable terms with Mahler's music and with Bali's, with Ravel's and with Japan's, with Messiaen's and with India's, with Stravinsky's and with China's, with America's symphonic tradition and with Tibet's slow melody. Out of all this he is creating, piece by piece, a world of his own."