43 Results for : parading
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Fireflower
Program Notes for FireFlower These piano solos were composed as a personal tonal record, similar to a diary. They were private expressions, like the pages of one's journal, of a greater process of personal healing. Now I present them as a "tone diary" with the hope that they may touch the listener in an intimate way. I. A Mother's Window is a collection of three pieces that have specific connections with each of my three sons. 1. Variations Toward a Theme (1981) was written while pregnant with my second son, Shad Mosher. Of all my pieces, this one sounds closer to early classical styles than the others. Shad, now a Marine Biologist and talented musician, is drawn to the Baroque and early classical era. 2. Silent Distance (1979) was written for my first son, Todd Murchison, when he was five years old. While on a trip with relatives, he got so homesick that his grandmother, Jean, brought him back early. Missing him as well, I was unable to sleep one night and wrote this. Upon return, I played it back for him and we cried together with the memories of that separation. Now a computer engineer and artist, he has talent for depicting his feelings through art and writing. 3. Crying Out (1982) was written while pregnant with my third son, Trannon Mosher. Although the themes came from the initial frustration at having to stop composing, the energy of the piece became a celebratory "breaking through" of that fear, and ultimately, a triumph. Trannon is now an aeronautical engineer and an energetic dancer. This piece reminds me of his style of choreography. II.Halfsight (1986) was inspired by the following e. e. cummings' poem. Because my life resembled the opening lines of this poem, the piece contains only the longings for the wisdom of the remaining lines: all worlds have halfsight, seeing either with life's eye (which is if things seem spirits) or (if spirits in the guise of things appear) death's: any world must always half perceive. Only whose vision can create the whole (being forever born a foolishwise proudhumble citizen of ecstasies more steep than climb can time with all his years) he's free into the beauty of the truth, and strolls the axis of the universe ---love. Each believing world denies, whereas your lover (looking through both life and death) timelessly celebrates the merciful wonder no world deny may or believe III. The Journey (1988) unfolded during a series of meditations. I had written all four before I realized that they were a set representing the four elements of air, earth, water, and fire. 1. Meadow Light came from the image and feeling of light beams through the woods, hovering upon the air over a field of grass and wildflowers. 2. Kiakra Cave represents the mysterious light of kiakra (a bioluminescent fungi sometimes found on damp wood on the forest floor at night) imagined within the complete cave darkness of mother earth. 3. Thru Water represents the ebbing/ flowing, rising/falling of water's continuous healing dance. 4. FireFlower represents the powerful burning and transformative powers of fire, as well as the courage it takes to allow it to do it's work in one's life. Once all that can burn is cleared, that which is left at the very center is one's core ... something of simple beauty, and as open as a flower. IV. Modal Character Sketches (1996-97) is a collection of short pieces based on the seven medieval scale modes, Ionian through Locrian. I was inspired by a conversation with my friend, Julie Harris, as she daydreamed of writing short pieces on each mode. We picked a common focal tone (G), giving us the potential to combine our sets collaboratively into a larger work in the future. Individual characters, from shadows and plants to people and feelings, arose within the modes of these sketches. 1. Fallen Majesty (Ionian) emerged from Hurricane Fran's fallen trees. The initial feeling of loss, once cleared, turned to hearing the voice of the tree spirits. 2. Dorian Dream (Dorian) floated from the wispy/lazy dream that began this project. 3. Gentle Grief (Phrygian) resulted from a phone call with my mother, Rose, after chemotherapy treatment for her cancer. The feeling was one of a gentle grief that falls lightly like a healing rain upon the earth. 4. Come Play (Lydian) skipped and ran with the innocent feeling of playfulness and the invitation to join in the fun. 5. Front Porch Rocker (Mixolydian) became the character of an elder woman with her memories, rocking back and forth. 6. Water Aura (Aeolian) arose from my observation of a watered plant. It's aura expanded, as happens with all life when nourished. 7. March of the Shadows (Locrian) arose from the natural dissonance of this mode that was banned in Baroque times due to it's Tonic/Dominant tritone. These shadows (feelings we try to ignore) are honored for their potential gift-bearing by parading them into the light. V. Sonata in e minor (Toward Connection) (1980) chronicles a journey through pain towards healing. The music was written from the memories of my personal experiences. I wrote the poem below to accompany it's premier in 1986: Toward Connection We yearn toward wholeness but grow into a disconnected world, parent/child earth/people spirit/soul all connection self, nature, humanity suffocating. Can the inner will of youth survive? Soon our world must be felt, we reach out but cannot touch, it pulls against the will to stay sane. We forget our earth we forget each other and ourselves, now the pain of new mistakes upon the old is no longer bearable, we give in to numbness. Out of touch we refuse to look at the nightmare we've created and fear fills the empty spaces each alone in hell! Awake! Our will toward peace toward connection.- Shop: odax
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Songs from Home: Art Songs & Folk Songs from the Philippines
Songs From Home: Art Songs and Folk Songs from the Philippines Philippine vocal music is as varied as the numerous islands that comprise it's archipelago. Though traditional folk songs are a rich confluence of the country's colonial and indigenous past, it remains distinct from it's various influences. Those featured in this album cover several provinces across the country's major regions (Luzon, Visayas, Mindanao), each detailing rural experiences that capture not only pastoral imagery but the Filipino traits of love, community, the penchant for humor and play. After several periods of powerful colonization, a movement against western musical traditions began to grow in the early 20th century. Composers pursued the restoration or re-creation of a musical identity that was truly Filipino, much of which was greatly based on themes and rhythms established by traditional folk music. The Philippine Art Song around such a time was born. Slow and sentimental, these art songs not only aimed to glorify the talents of local composers and lyricists, it actually celebrated the achievement of a unique Filipino musical identity. Such musical nationalism eventually carried on decades later with popular songs that catered to a wider audience, infiltrating various media like TV, film, and radio. With much pride, I present to you this collection of Philippine musical gems, each piece holding some significance close to my heart. It is my hope that what I hear and feel each time I sing these works will transport you similarly through a journey of my homeland, the Philippines. Joseph Legaspi Sitsiritsit Based on a childhood playground rhyme, nonsensical text and rhythmic onomatopoeia characterize this playful song. It humorously puts together charmingly peculiar scenes and images that include gold and green beetles, women parading around like roosters, babies being bartered for fish paste (bagoong) or a doll, rice flour cookies (puto seko), and even the Child Jesus (Sto. Niño) finds it's way into the song. Lagi Kitang Naaalala An earnest love song that deals with nostalgia and unrequited love, the persona in this piece continues to pine for the affections of his beloved. Written by Leopoldo Silos, Sr., one of the well-known purveyors of Original contemporary Filipino Music, this song exemplifies his abilities as a composer of ballads and romantic tunes. Solis was also known as a master arranger and singer, and was awarded for his musical direction of the television musical "Aawitan Kita" (I'll Sing For You). Pamulinawen This song originates from the Ilocos region, northern Philippines. Many often mistake this as a traditional folksong when it had actually been written during the turn of the century. This is perhaps due to the fact that it utilizes the customary pattern of likening an amour to the idyllic surroundings and it's rather simple depiction of unreciprocated love. In this case, the woman is likened to that of a stone, stoic to the wooing of a man's affections. Manang Biday A traditional Ilokano folksong, this piece refers to a woman named "Biday" (the title "Manang" used as a sign of respect in the Ilocos region and in several parts of the country). The man is asking Biday to look outside her window and listen to his plea. The piece is interestingly cast in two contrasting eight-measure periods (parts A and B), the entire text composed of eight nine-syllable lines. The first four lines (part A) refer to the lover's plea for attention, while the next four (part B) contain Manang Biday's rejection of him. No Dua Dua-em Pay A traditional folksong from the Ilocos Region, north of the Philippines, this popular piece tells of a lover's fervent plea for reciprocation from his beloved who is doubtful of his feelings for her. A unique character of the piece is it's use of the Cuban habanera rhythm. One of the outcomes of 300 years of Spanish colonization, this musical style is more locally known as a 'danza', evident in many of the folksongs during the era. Sarung Banggi This contemplative piece is one of the Bicol region's most popular songs. Written in 1912, it has been performed constantly across the archipelago, adapted into various mediums by numerous composers: piano (R. Santos), choral (L. D. San Pedro), solo voice with piano accompaniment (F. De Leon, C. de Guzman, E. Pajaro), rondalla ensemble (A. Buenaventura), and symphonic theme (F. Buencamino). Aside from it's elegant melody, the lyricism of it's words evokes certain sophistication as the persona beholds the presence of his amour. Si Nanay, Si Tatay Di Co Babayaan Akin to most kundimans, this piece is written in a minor key and is in slow ¾ time. These aspects reinforce the significance of the subject matter, which tackles the relationship between parent and child, admonishing the latter's gratitude and service in return for having been cared for since birth. This Bicolano song is composed of four phrases, each beginning with similar rhythmic patterns that are sung on the same note. Dandansoy A sentimental and melancholic theme pervades throughout this traditional Visayan folksong. Originating from middle region of the Philippine archipelago (Kulasi, Antique), the piece is set in a minor key and written in slow triple time similar to many kundimans. The song's persona bids a sad farewell to his lover, urging her to look toward the direction of his departure should she begin to miss him. Several versions shift to a major key in the middle section, intensifying the piece's emotion by casting hope in the persona's possible change of heart. Ahay, Tuburan Like many folksongs passed on orally through generations, it is possible that the piece would veer away from the original, it's lyrics the result of varying translations and interpretations. Though it finds it's origins in the Visayan region (Aklan), another version of this gem was heard in the Mindanao region (Cotobato). This particular version is based on a transcription of the song collected and recorded in 1956 in Aklan by Priscilla Magdamo, one of the pioneers in the field of Philippine ethnomusicology. The piece poignantly conveys the emotions felt during farewells, of having to yield personal happiness to more pressing matters. Damgo Man Lang Written in 1982, this song from the Bohol region deals with social realities that include injustice and deprivation, and the dream of eventually finding truth and rising above all that muddle it. Though it was primarily created as a love song, several revisions had resulted into a powerful commentary on Philippine society, it's themes remaining relevant to this day. The piece had won the grand prize during the 1983 Cebu Pop Music Festival, the original version sung by Arthur Ungab, one of Bohol region's celebrated voices in contemporary music. Usahay With it's unforgettable and dreamy melody, this popular love song was recorded with the composer as 'unknown." Popular recording artists Susan Fuentes, Dulce and Pilita Corrales were among those who recorded this Visayan melody. It has been recently discovered that the real composer was Col. Gregorio Labja, a largely unacknowledged but venerable and prolific composer from Tagum, Davao del Norte, of the Visayan region. This is the first time in this song's history that Labja is acknowledged publicly as the song's genuine composer. Originally composed for the male voice, as it was dedicated to a lady whom the composer courted, the first recording by Susan Fuentes omitted a stanza that would attribute to the male voice. Sukta ang Kabulakan A folksong from the Visayas region, found in central Philippines, this piece likens a fair maiden and her affections to blossoms in a garden, the metaphor characteristic of songs during the Spanish colonial era. This piece may very well be an example of the 'balitaw' musical form prevalent then, an exchange of love poetry between two singers. Usually sung in a quatrain or ballad stanza, the 'balitaw' can go on for some length either re- Shop: odax
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