12/24/2022 0 Comments Eric whitaker cloudburst![]() ![]() There’s something about the process of composition that. JNew Virtual School Certification in association with Hal LeonardĪs part of Hal Leonard’s free certification courses, educators can now register for a new course focusing on the Virtual School and The Beautiful Mess: Masterclass in Composition and Creativity.Įric speaks to Hannah Fiddy from Alternative Classical about people-pleasing, failing (and recovering), life lessons and the weight of composition within the classical tradition. Round-up of local press ahead of Eric’s tour to Australia and New Zealand next month.Įric talks to Jo Litson from Limelight Magazine, Australia about the story behind The Sacred Veil and how the highly personal choral work has helped others. ![]() SeptemPress: Limelight, CutCommon, The Sydney Morning Herald, ABC Classic / Drawing Room, 2MBS Fine Music Sydney, RNZ Is it possible for a performance to be too perfect? Last week, one of Eric’s newest choral works The Sacred Veil had its Sydney premiere at the Sydney Opera House. Cloudburst deserves every bit of its considerable success.SeptemLimelight Magazine reviews The Sacred Veil with Sydney Philharmonia Choirs at the Sydney Opera House Inspired by the poetry of Paz and a desert cloudburst, Whitacre composed this work to include finger snaps to simulate rain. The sound environment, as usual with Polyphony, is perfectly suited to the music. ![]() Polyphony, an English choir with an ear for outstanding American choral music, delivers beautifully shaped lines, clear text articulation, and clean execution of Whitacre's little clusters of tones that resolve themselves into patterns as if an aural kaleidoscope were slowly turning. His work is more rigorous than Rutter's, less mystical than Pärt's, and choral singers and directors who haven't heard Whitacre yet need to make it their business to do so soon. The mood throughout is reverent, meditative and. Whitacre's sensitivity to these texts alone raises his music well above the norm, and his instinct for choral writing adds to the interest of these short works. The Cloudburst is a ceremony, Whitacre writes, a celebration of the unleashed kinetic energy in all things. cummings, Octavio Paz (in a mixture of Spanish and English), Federico García Lorca, Edmund Waller, and various contemporary writers. For a modern composer, Whitacre's choral music is surprisingly popular amongst those that perform choral music it is rich and challenging. Other works set poems by Emily Dickinson, e.e. The longest work on the album is a setting of the Bible verse beginning "When David heard that Absalom was slain." with much of the duration given to crystalline, shifting, very moving repetition of the words "my son." All of the music on this disc is a cappella except for the title track. The music is accessible to any listener, consonant but not really tonal, and driven by close attention to a wide variety of poetic texts, for which Whitacre devises unique forms of declamation. His music is marked by unusual choral effects including, most characteristically, a fleeting, shimmering use of dissonance, with sequences of what might be called micro-resolutions. On his first day in the choir, which he joined because of some pretty girls in the soprano section, they rehearsed the Kyrie from Mozart's Requiem - and, says Whitacre, "My life was profoundly changed on that day, and I became a choir geek of the highest order." He began to write choral music that drew on the styles of the man who became his teacher, John Corigliano, and on the minimalist choral works of Arvo Pärt and John Tavener without sounding much like any of them. Eric Whitacre is a fifth-generation Nevadan who couldn't read music when he enrolled at the University of Nevada at Las Vegas. but tell me, burnt earth, is there no water only blood, only dust, only naked. This disc was a bestseller straight out of the box, one of a precious few collections of new music by a contemporary composer of which that might be said. ![]()
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