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曲目リスト
| 1. Grace - Pendula and the Center of Gravity |
| 2. Grace - Of the Heaviness of Matter |
| 3. Grace - Grace Will Return |
| 4. Tent of Miracles |
| 5. Songs of the Mouse People - Common Squeaking (made apparent by its delicacy) |
| 6. Songs of the Mouse People - That Peace We Yearn For |
| 7. Songs of the Mouse People - Every Disturbance Is an Opportunity |
| 8. Songs of the Mouse People - A Thousand Shoulders Tremble (under a burden actually meant for one) |
| 9. Laughter Stops (when we see Josephine) |
| 10. Fantasia on a Theme by Willie Dixon |
| 11. My Twentieth Century |
商品の説明
内容紹介
Martin Bresnick (b. 1946) has long been an influential teacher of music composition at Yale but over the past few years he has begun to receive recognition as an important composer in his own right. On the occasion of Bresnicks receiving the first Ives Living Award, John Harbison averred, "His music is formally clear, and it has a combination of a direct expressivity and a rigorous method, as well as a real sense of sonic immediacy." His versatility and ecumenical approach to the materials of his art are evident throughout this program of several of his most recent compositions.
Bresnicks music aims to calmly convince rather than to incite. Mostly scored for various-sized chamber ensembles, his most public, large-scale works are conspicuously unflamboyant. What is striking is not the surface but rather the underlying architecture that supports itinvariably a faultless model of compositional craft, of palindromes and pitch rotations, inversional symmetriesof governing logic recapitulated on all structural levels, of minutely planned proportions unfolding across a rich and varied temporal canvas.
Bresnicks consummate professionalism results from an intimate familiarity and intense study of five centuries of musical literature as well as an apprenticeship with the uncompromising modernist Gyrgy Ligeti, whose works are similar tours de force of elegance and refinement. It is this legacy that his compositional work celebrates and which he has transmitted to his many students. As Bresnicks artistic identity has come into sharper focus, his position as a Janus, simultaneously looking back from modernist rigor and ahead to post-modern eclecticism has become increasingly evident.
Product Description
Martin Bresnick (b. 1946) has long been an influential teacher of music composition at Yale but over the past few years he has begun to receive recognition as an important composer in his own right. On the occasion of Bresnick痴 receiving the first Ives Living Award, John Harbison averred, "His music is formally clear, and it has a combination of a direct expressivity and a rigorous method, as well as a real sense of sonic immediacy." His versatility and ecumenical approach to the materials of his art are evident throughout this program of several of his most recent compositions.
Bresnick痴 music aims to calmly convince rather than to incite. Mostly scored for various-sized chamber ensembles, his most public, large-scale works are conspicuously unflamboyant. What is striking is not the surface but rather the underlying architecture that supports it擁nvariably a faultless model of compositional craft, of palindromes and pitch rotations, inversional symmetries熔f governing logic recapitulated on all structural levels, of minutely planned proportions unfolding across a rich and varied temporal canvas.
Bresnick痴 consummate professionalism results from an intimate familiarity and intense study of five centuries of musical literature as well as an apprenticeship with the uncompromising modernist Gyrgy Ligeti, whose works are similar tours de force of elegance and refinement. It is this legacy that his compositional work celebrates and which he has transmitted to his many students. As Bresnick痴 artistic identity has come into sharper focus, his position as a Janus, simultaneously looking back from modernist rigor and ahead to post-modern eclecticism has become increasingly evident.
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