ALAXANDROS DROSOS: ''FILLING''

Filling is my only composition to experiment with a personal approach on structure. It igradual process of moving from a thin sonic texture into a thick and full texture. A gradual process of filling the same space with more and more sound. Until, there is that point, where sound exceeds the given space. That is the point where the sound… bursts.

(audio)

KAYAN KALOR

Venice Baroque Orchestra

Pierre Boulez : Anton Webern

Les 14 et 15 novembre 2009, une master-classe réunissait au Conservatoire de Paris, Pierre Boulez et neufs étudiants de la classe de direction et l'Orchestre des Lauréats du Conservatoire. Retour en image sur une rencontre exceptionnelle avec l'une des grandes personnalités musicales actuelles, autour d'un programme composé de quelques-unes des grandes oeuvres de la première moitié du XXe siècle.

Voici la session consacrée à Webern et à ses Six pièces op.6 (1928), numéros 1, 2, 4, 5.

So Percussion Perform Steven Reich's Drumming Part 1

http://vimeo.com/7042304

CORELLI CONCERTO GROSSO OPUS N 6 Nr4

L'orchestre Philharmonique de Radio France interprète Borodine et Chostakovich à la Salle Pleyel

GUSTAV MAHLER

Mahler is big. Real big. (HUUUUGE, if you live in upstate NY and get to enjoy all those Fucillo car adverts). He famously — and way overquotedly — said that:

A symphony should be like the world. It must embrace everything.

And my oh my, his symphonies have a heck of lot of stuff packed into them.

His musical style is pretty much Romantic, with little hints of the weird orchestrations and tonalities that the 20th century dudes went kind of crazy with.

Mahler

ALEXANDROS DROSOS: ''BRICKS''

‘Bricks’ describes a simple, visual phenomenon. A solid body, constantly being struck by an internal power, suddenly breaks into pieces. On a human level this process could be compared with someone struggling to keep a straight face, not bursting into laughter or tears, but eventually failing to do so. Since there was no particular example, but rather this vague, visual idea that inspired the piece, I came up with the title ‘Bricks’ for 2 reasons: Firstly, a brick would be a perfect example of such a solid body and secondly, bricks are units used to construct walls or buildings, in the same way that this piece is gradually built up. In terms of instrumentation, the wind and brass sections as a whole, describe the solid body. The cello is the power, which stimulates that gradual, internal change, while the timpani adds a descriptive element to the whole process. ‘Bricks’ was awarded the Daryl Runswick Prize in 2009 and was performed by the Trinity College of Music Contemporary Music Group, conducted by Gregory Rose.''
A. Drosos

SOUND SAMPLES: ''KING HENRY THE VIII''

Samples..

Why Switching to Classical Music

''This just might be the geekiest thing I have written, but what do you expect? I’m a physics graduate student. I’ve gone through both of these conversions myself, and realized that there are some interesting similarities between the two, and that the kind of people willing to do the geeky one are probably pretty well suited to doing the musical one. So here we go:

It’s a deceptively different experience

Both situations involve switching to something which, on the surface, doesn’t seem too different from what you are used to, whereas in fact, both are radically different. For example, many people think of classical as basically long-winded and unstructured, especially compared to non-classical stuff. What you don’t realize until you’re well entrenched is that most classical pieces are structured around one of a few basic, but somewhat complex, underlying structures: sonata form, rondo form, etc. Identifying and understanding these forms is geek heaven. In a similar fashion, people new to Linux get a load of the tarted up window managers and see it as basically a free, slightly different looking, version of Windows. Of course, you find out quite quickly that that is just the very tiniest tip of the command-line based iceberg..''

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