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NA 9165
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NA 9165
DAUGHERTY, M.: Philadelphia Stories / UFO (Glennie, Colorado Symphony, Alsop)

DAUGHERTY: Philadelphia Stories / UFO

The Classical Shop
release date: November 2008

Originally recorded in 2004

Artists:

Marin Alsop



Evelyn Glennie

percussion

Record Label
Naxos

Genre:

Classical




Total Time - 64:29
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DAUGHERTY, M.: Philadelphia Stories / UFO (Glennie, Colorado Symphony, Alsop)

 

MICHAEL DAUGHERTY

Select Complete Single Disc for
     
 

Philadelphia Stories

 
1 No. 1. Sundown On South Street 7:28
 
2 No. 2. Tell-Tale Harp 7:38
 
3 No. 3. Bells for Stokowski 13:44
 
     
 

UFO

 
4 I. Traveling Music 2:12
 Evelyn Glennie percussion
5 II. Unidentified 4:06
 Evelyn Glennie percussion
6 III. Flying 14:44
 Evelyn Glennie percussion
7 IV. ??? 4:17
 Evelyn Glennie percussion
8 V. Objects 10:20
 Evelyn Glennie percussion
 Marin Alsop


In Sundown On South Street, I recreate the groove of people cruising down one of the most popular streets of Philadelphia, where one finds nightclubs and musicians from all walks of life. The many generations of musicians who lived in Philadelphia and walked down this musical street include Sun Ra, John Coltrane, Fabian, Mario Lanza, and Patti LaBelle. In the 1980s I too was a frequent visitor to South Street, playing jazz piano and performing experimental electronic music in various nightclubs. Not only is Philadelphia said to be one of America’s most haunted cities but it is also where Edgar Allan Poe penned The Tell-Tale Heart, one of his most famous tales of horror. In his lyric poetry Poe also often invoked the lute and the lyre. Tell- Tale Harp is an arabesque for two solo harps and orchestra. Arranged stereophonically on the stage, the solo harpists play obsessive rhythms, rolling chords, and ghostly echoes in a periodic heart-like pulse. To quote Poe himself, we hear “spirits moving musically, to a lute’s well-tuned law”. In Bells for Stokowski I imagine Leopold Stokowski (1882-1977), one of the most influential and controversial conductors/arrangers of the twentieth century, visiting the Liberty Bell in Philadelphia at sunrise and listening to all the bells of the city resonate. As maestro of the Philadelphia Orchestra (1912-36) he created a sensation by conducting world premières of orchestral works by composers such as Stravinsky and Varèse, and enraged classical purists by conducting his lavish Romantic orchestral transcriptions of J.S. Bach. In my rousing tribute to Stokowski, I have composed an original theme in the style of Bach that is modulated through a series of canonic tonal and atonal variations in my own musical language. Later I also introduce my own transcription of Bach’s C major Prelude from The Well- Tempered Klavier. In the coda I evoke the famous overthe- top “Stokowski sound,” by making the orchestra resound like an enormous, rumbling gothic organ.

UFO (1999) for solo percussion and orchestra is inspired by unidentified flying objects and sounds. The concerto was commissioned by the National Symphony Orchestra through a grant from the John and June Hechinger Commissioning Fund and written for Evelyn Glennie. The world première was performed by Evelyn Glennie, solo percussion, and the National Symphony Orchestra conducted by Leonard Slatkin, at the Kennedy Center, Washington D.C. on 10th April 1999. The concerto begins with Traveling Music where the percussion soloist, in the guise of an alien from outer space, mysteriously enters the concert hall playing a waterphone and mechanical siren. The second movement, Unidentified, refers to the famous UFO crash in 1947 near Roswell, New Mexico. Large scraps of unidentifiable metal were discovered in the desert and quickly moved by the U.S. military to Area 51 in Nevada, where its secret base was reputed to be the repository for alien objects. What happened to those scattered scraps? They resonate on the concert stage, as the percussion soloist plays on xylophone and eight pieces of unidentified metal. In Flying, the third movement, we hear a virtuoso performance by the solo percussionist on vibraphone, mark tree, and cymbals that hover and shimmer in the air like flying saucers. In the fourth movement, the percussion soloist performs sleight-of-hand improvisations with strange sounding percussion instruments accompanied by a contrabassoon soloist and the percussion section, which is located in the balcony. This movement, entitled ???, may leave the listener wondering: is this another UFO sighting? Pulsating with rhythms in 5/4 time, the final movement is entitled Objects. It features virtuosic drumming by the percussion soloist at warp speed to suggest the outer trappings and inner machinery of a fine-tuned alien aircraft.

Michael Daugherty



 

"...Evelyn Glennie gives a jaw-dropping performance in UFO. Her hands move quicker than the eye and almost the ear. However, she also can play very lyrically. Some of the effects Daugherty specifies can sound merely bizarre in other players. She makes them beautiful, without sacrificing their alien distance... Marin Alsop "gets" Daugherty and the Romanticism hiding beneath his ironies and jokes. She keeps a convincing narrative going in "Bells for Stokowski," which can sprawl and natter in other hands. The Colorado Symphony plays with conviction... a fine disc."

Steve Schwartz - ClasicalNet - 12 June 2012


"Philadelphia Stories, Michael Daugherty’s terrific third symphony, was commissioned by the Philadelphi orchestra and premiered by them in 2001. It’s a dizzy but entertaining three-movement love letter to the city of Brotherly Love... good, inexpensive introduction to this enjoyable composer."

Gimbel - American Record Guide - July 2005


"...Here his [Daugherty] subjects are Philadelphia, incorporating a homage to Stokowski, and UFOs, but the influences and allusions are considerably wider, from Bach to film noir and beyond. His languarge is often complex 9difficult time-signatures and cononic variations for example) and he sometimes adopts and adapts modernist volcabulary, but the result is highly accessible ... always great fun. UFO was written for Glennie ... she again negotiates all the technical obstacles and hurdles with her usual insouciance and apparent ease."

Barry Witherden - Gramophone magazine - January 2004


                   Performance ***      Sound  ****
"... I find this recording perfectly listenable because of the exuberance and conviction - leavened with a certain knowingness - that Marin Alsop brings to the proceedings. This is actually the second time that Evelyn Glennie has recorded UFO, but this version of the percussice tour de force far surpasses the earlier release ... largely for these reasons... she’s [Glennie] clearly in her element. The other work here is a pleasant enough musical postcard inspired by the city of Philadelphia, animated and contemplative by turns. The record sound is spacious, accommodating both detail and grand gesture."

Roger Thomas - BBC Music magazine -  November 2004




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