Heather Schmidt (b. 1975) : Symphony No. 1 "Manufactured Landscapes" (2005) **MUST HEAR**
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- เผยแพร่เมื่อ 2 มิ.ย. 2024
- Heather Schmidt (b. 1975) (Canada)
Symphony No. 1 « Manufactured Landscapes » (2005) *MUST HEAR*
Dir : Michael Reason
1- Allegro moderato (15.02) 0:00
2- ? (15.59) 15:02
3- ? (7.45) 31:00
On collectionCB2 and collectionCB3 we can also listen to Heather Schmidt's « Piano Concerto No. 1 » (1997), « Cello Concerto » (1998), « Prelude for Hamilton » (2002), « "Light and Shadow" double concerto for viola, horn and orchestra » (2003) and Piano Concerto No. 4 « Phoenix Ascending » (2005).
Heather Schmidt began studies in piano and composition at the age of 4, and composition at the age of 5. She pursued double majors in piano performance and composition throughout her musical education. She studied at Juilliard in New York City and at Indiana University, where, at age 21, she became the youngest student to receive a Doctor of Music degree.
Since these formative years she has received numerous accolades, including a nomination for the prestigious "Juno" award, the Canadian equivalent of the "Grammy", in the category of "Best Classical Composition."
As a virtuoso soloist, she received First Place in the Eckhardt-Gramatté National Music Competition, and First Place, the Audience Choice Award, and the Maestro's Choice Millennium Foundation Award at the Canadian Concerto Competition.
Other composition awards include three consecutive Broadcast Music Inc. (BMI) Awards, SOCAN Composer Awards, the Zwilich Prize in the International League of Women Composers Competition, the Juilliard Composers Competition, and the Dean's Composition Prize at Indiana University.
Majors works :
« Phantoms », for string quartet (1995)
« Broken Columns », for harp solo and flute, oboe, clarinet, horn, bassoon, percussion, 2 violins, viola, cello, and bass (1995)
« Efflorescence », for orchestra (1996)
« Sinfonia » (1996)
« Piano Concerto No. 1 » (1997)
« Serenade for string orchestra » (1998)
« Cello Concerto » (1998)
« Piano Concerto No. 2 » (2001)
« Delphinidae », for flute, clarinet, harp and string quartet (2001)
« Prelude for Hamilton », for orchestra (2002)
« Flute Concerto » (2003)
« Piano Concerto No. 3 » (2003)
« Light and Shadow », Double concerto for viola and horn with orchestra (2003)
« Petra : The Awakening of Myth », Suite No. 1 and Suite No. 2 (2004)
« Oceanus », for violin, cello and piano (2004)
« Symphony No. 1 "Manufactured Landscapes" » (2005)
« Piano Concerto No. 4 "Phoenix Ascending" » (2005)
« Night Rainbow », for Solo Piano (2007)
« Lunar Reflections », for orchestra, or for violin, cello and piano (2008)
« Centaurus A », for two pianos, four hands (2008)
« Tides and Eternity », for String Orchestra (2008)
« Jupiter Borealis », for orchestra (2008)
« Cassandra Prophecies », Concerto for saxophone quartet and orchestra (2009)
« Piano Concerto No. 5 "Ammolite" » (2009)
« Piano Concerto No. 6 "Mythos" » (2009)
To better know the Canadian composer Heather Schmidt / Pour mieux connaître la compositrice canadienne Heather Schmidt :
www.heatherschmidt.com/
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It just kept getting better and better as I listened to the work.
I had no idea who this composer was until this posting. I'm now a fan. Thanks for sharing!
stumbled on this by accident, after running past another work. Interesting and effective, will put on my listening list. TY, U-tube and all concerned
Another fine female composer.
@fcoleman8: The melody (theme) is clearly stated at the beginning and continues throughout in different permutations note @8:58, where the xylophone states it with horns answering). They do it again in another key. They even repeat it several times!! The theme returns with a tutti by the orchestra and ends the 1st movement still "hammering home the theme". How you don't hear 'melody' is beyond me???
Thank you for uploading this great music!
Perhaps it's semantics, but we may want to use the term "theme" and "thematic development" rather then melody: as you say some ears perceive melody as 18th and 19th century melody. But there are certianly clearly recognizable themes that are worked through and developed in this well written 21st century symphony, even when one does not see them as melodic per se.
thank you!
Música clássica é igual mulher quando você a conhece no início
Se gostar ,além do charme ,da voz,das ideias,,vale a pena escutar além.....
Nem sempre um tom menor dá uma composição agradavey''
Are we finally returning to an era of melody? Where a composer can make a connection with an audience without the audience having to retrain their ear to accept noise as beauty?
nice
Tonal, melodic and romantic (in the broadest sense) music, has never ceased to exist in the 20th century. It represents about 80% of the production. Unfortunately in the capitalist countries, the politically corret and the media wanted to talk only about atonal-experimental music. Today, the entire formerly hidden post-romantic music comes back. collectionCB/CB2 prove that the 20th century has always remained mainly tonal.
Corentin Boissier (collectionCB and collectionCB2)
"...in the capitalist countries..."?
This is just as crappy as all that atonality, serialism and minimalism but for different reasons. Sounds about as interesting as the menu music from Panzer General 3D Assault repeated 20 times.
Enjoyed this Symphony: has lovely harmony and melody, and is "cinematic" throughout ! The first movement features a somewhat sinister, metrically-irregular ostinato (7:30, recurring).
the ostinato makes makes it sound like a video game ost
@@samaritan29 exactly - the sort of stuff that is listenable but boring.
IMO this has many good motifs and great motivic development. To my ear Beethoven's symphonies have much of that--though still much of what we would call melodies (longer than motifs). This sometimes seems a bit too repetitious though.
Excellent. Does this piece have anything to do with the 2006 documentary filmManufactured Landscapes by Edward Burtynsky?
Here we have a composer who has not forgotten what music IS! Thanks for this symphony (and also to the composer who wrote it!). "Atonal Music" is the unltimate oxymoron. Even on remote islands where they have a tradition of "microtonal" systems, music is still tonally based....Many of the so called composers of the 20th century lost perspective on what makes music: that it's just "sounds." or they flunked their theory classes and just cannot write a harmonic progression for the life of them..
Ciao Pierre Boulez, tu viens de mourir une seconde fois... Toi qui exécrais ce style d'écriture musicale tonale et accessible !
I agree with your premise, Paul, that much modern music has little melody, but I fail to hear any in this Schmidt symphony. I suppose to a large degree, melody is in the ear of the beholder, and there are others, like yourself, who find melody here - I don't - not like the 16 movements of the 4 Schumann symphonies, for instance, each one of which has "melody".
I think with The Edmonton Symphony Orchestra
Actually it's the Hamilton Philharmonic Orchestra in this recording.
Corentin Boissier (collectionCB, collectionCB2, collectionCB3, collectionCB4 & collectionCB5)
Too repetitive to have any lasting impact.
It's listenable but it sounds like a 38-minute long piece of menu music from a military strategy game. Dry and utterly boring. No melodic lyricism whatsoever.
I welcome the appreciation to show favours towards melody, rhythm and harmony, but you cannot deny all elements of modern music (aleatorics, multi dimensional colouring, sound layers) and make them non-existant in your music. This one, for example, reminds me a lot to early 20th century British music, close to Delius and is not much unique in musical expression.