The Music of Life: Concerto for Mankind
Contents:
- Elphy Grey.
- CARZY Lovin Drivin the MOVIE Cars.
- Sundown at Little River (Little River Trilogy Book 1).
A colleague of mine would begin his music history class every year by asking the question, "What is Love? How can you invest your life in music—or anything else for that matter—without knowing? Khalil Gibran said famously: I thought that was a great idea!
What more natural a subject for a double concerto written for Jaime Laredo and Sharon Robinson; two people devoted both to each other and to a lifetime of loving music. The Greeks defined love in three primary ways: For the first movement, I imagined one of the most intense evenings in all mythology: In the Odyssey we read that she saves him from certain death in a shipwreck that killed all of his men.
Calypso compels Odysseus to be her partner for nearly a decade, living alone together in her desert island exile. But he still desires to return to his original home. Calypso finally relents and allows him to make a raft and sail away.
I read the Odyssey years ago and wondered how she must have felt, knowing that as a goddess she would live forever, and, after letting him go, live forever alone again. The soloists play together for the greater part of the movement, writhing amidst both a changing background of traditional sounds of dance and moments of chaos. Tristan and Iseult fall madly in love with each other after unintentionally taking a magic potion, but they know they cannot be formally together because of their positions in life and obligations Tristan to his King and Iseult to her husband.
As in so many stories of love, be it Romeo and Juliet, Lancelot and Guinevere, or Tony and Maria, where circumstances kept them apart the afterworld would not, and the two meet in tragic death at the end of the story. This is reflected in contrast to the first movement, in that the soloists do not play together until the very end.
Writing for a Positive Future
In the first saxophone concerto Anders Koppel makes ample use of the extensive sound palette of the symphony orchestra. In addition to its highly inciting rhythmic passages inspired by both hard-grooving rock rhythms and Bach-inspired fugato, the concerto contains magical night moods in which a celeste and a deep-sounding alto flute are joined by layers of gentle strings. As such, Koppel bridges the gap between modern musical practice and musical practices of the past in which improvisation was integral to the concerto form.
In his double concerto for recorder and saxophone, premiered by Odense Symphony Orchestra with Michala Petri and Benjamin Koppel as soloists, Anders Koppel has staged a magnificent meeting between two instruments that are rarely seen in close contact.
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Inthe tuba concerto the result is superb. The instrument is exposed in all registers, from the lowest depths — where the tuba is the uncrowned king of the orchestra — up to softly sounding top notes in the higher regions normally populated by other,more nimble instruments. His Concerto Piccolo is strikingly subdued, however tremendously intense.
From a gloomy minor third the solo viola unfurls an elegiac song that later reappears in the guise of a funeral march in which trombones and timpani create a solemn musical setting. Yet, despite its somber mood, the viola concerto becomes an infectious homage to life when the solo instrument is allowed to play the part of the irresistible, giddily dancing fiddler.
The Music of Life: Concerto for Mankind, by Nonen Titi
Anders Koppel has added a new dimension to the string quartet with his Le Balajo for four cellos; a tightly crafted work for four musical equals, already from the first note professing to the warm romantic tone inherent in the nature of the cello as well as a bittersweet pain. Recently, Anders Koppel has continued his work with the classic chamber ensemble in the weighty Piano Quintet containing both passages of Mozartian lightness as well as hard-hitting percussive sections fulfilling the huge dramatic potential of the interplay between the piano and the four strings, and giving the pianist ample opportunity to shine as a true soloist.
Without indulging in a pompous royal celebration Koppel has managed to compose a music that is at once lush, festive and mild, and which leaves room for reflection in its quietly flowing musical stream. It is both an artistic and social manifestation of the fact that we, the people, still have good things to offer one another. Performed by Orchestra Gli Armonici 3: Piano, organ, some bells and harps 3: Harpsichord, violin, viola, cello midi 2: The New Oxford Companion to Music.
Chamber music and orchestral works by, and transcriptions after, Johann Sebastian Bach. List of compositions by Johann Sebastian Bach.
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