- 歌曲
- 时长
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作曲家:Deon Nielsen Price
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作曲家:Traditional Song
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作品集:Arr. for Voice and Harpsichord by Deon Nielsen Price
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作曲家:Deon Nielsen Price
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作曲家:Deon Nielsen Price
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作品集:Arr. for Voice and Piano by Deon Nielsen Price
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作曲家:Traditional Song
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作品集:Arr. for Two Guitars by Deon Nielsen Price
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作曲家:Deon Nielsen Price
简介
RADIANCE IN MOTION includes splendid recordings of Deon's dramatic trio for 2 pianos and violin; Troubadour songs with harpsichord accompaniment; modern love songs, spiritual songs including one of David's Psalms: Renaissance carols for guitar duo; a rare contrabass clarinet solo; and a riveting remembrance of the terror of the1965 Watts Riots in Los Angeles with a lamenting Blues "Curfew" section, for saxophones and piano. Several tracks are from scores lost in a studio fire that have resurfaced in private libraries across the country. Also, there is a re-release of an archival trio recording for violin saxophone and piano. DEON NIELSEN PRICE, Doctor of Musical Arts, (Brigham Young University, University of Michigan, and University of Southern California) has received numerous grants and awards as a prolific, commissioned composer, international performing and recording artist, conductor, author, and publisher. Dr. Price’s book, Accompanying Skills for Pianists, 2nd Ed., as well as 250+ compositions, are available at www.culvercrest.com and at Brigham Young University Harold B. Lee Library Special Collections. Many of her works are recorded on the Cambria and Albany labels distributed by NAXOS. Recent CDs were selected for Grammy consideration: ONENESS, featuring her “Violin Concerto for Oneness”; and DANCING ON THE BRINK OF THE WORLD, recorded by the National Symphony Orchestra of Ukraine. Her “Triple Flute Concerto” had its World Premiere in May 2015 in New York, and West Coast Premiere in April 2016. She received a 2016 commission from the Orange County Guitar Orchestra for Ancient Carols for Guitar Orchestra. Her song cycle “To the Children of War” was commissioned and will be premiered in Brooklyn, NY, on April 1, 2017, by the Metro Chamber Orchestra with Victoria Rodrigo, soprano, on a program titled Residuals of War with music by Weill, Ravel, and Price. As an advocate for living composers, especially women composers, she is a former President of the International Alliance for Women in Music, and President Emeritus of the National Association of Composers, USA. More information at www.culvercrest.com. CRITICAL COMMENTS: "Price masterfully combines the best elements of minimalism and romanticism to create a style of vocal writing which is fresh and unique." (Dr. Darryl Taylor, University of California Irvine, countertenor) "I strongly feel that all of Deon Price's compositions, each with a certain theme and mood, convey a message, which I think is the reason audiences like them. They all contain musical ideas, with neo-romantic flavoring, which the performer can easily convey. I have performed many, many modern compositions by composers at the Tanglewood Music Festival and for Lukas Foss' contemporary music festival, but the most enthusiastic audience response has been when I have played pieces by Deon Nielsen Price." -(Ayke Agus, violinist, pianist and former assistant to Jascha Heifetz) "The music written by Deon Price possesses a unique coupling of rhythmic ingenuity and vitality with a keen, sensitive lyricism." (Dr. Douglas Masek, saxophonist) "...recorded at a higher level than usual and every detail emerges close-up and vivid... This music is intriguing - rich and strange indeed." (MusicWeb International) "...tuneful, well-made music...prolific contemporary composer who reaches an audience. (The American Record Guide) "Augury is a single-movement work which combines dissonant chromaticism, some microtonal treatment, and multiple sonorities with occasional passages of more lyric nature. The stormy opening includes multiphonics from the saxophone and some double-stopped violin effects played over a rumbling low register piano figure. The saxophone multiphonic, heard at various points throughout the work, helps provide some formal landmark as the work develops. There are some quieter sections, as well as a few more linear, contrapuntally oriented moments, though the composer's free dissonant style colors the music even in its more ethereal moments." (The Saxophone Symposium)