Classical

Michael Nyman - Mozart 252 (2008)

2018-02-16T13:30:51Z

Michael Nyman - Mozart 252 (2008)


1 	In Re Don Giovanni 	2:37
2 	Revisiting The Don 	4:25
3 	Trysting Fields 	7:16
4 	Not Knowing The Ropes 	1:46
5 	Wedding Tango 	4:46
6 	Wheelbarrow Walk 	2:35
7 	Fish Beach 	2:51
8 	Knowing The Ropes 	6:33
9 	O My Dear Papa		5:28
10 	I Am An Unusual Thing	6:21
11 	Profit And Loss	5:47

The Michael Nyman Band:
Baritone Saxophone – Andrew Findon
Bass Guitar – Martin Elliott
Bass Vocals – Andrew Slater 
Cello – Tony Hinnigan
Contralto Vocals – Hilary Summers
Euphonium – Nigel Barr
Flute – Andrew Findon
Flute [Piccolo] – Andrew Findon
Horn – David Lee
Piano – Michael Nyman, Simon Chamberlain
Soprano Saxophone, Alto Saxophone – David Roach, Simon Haram
Trombone [Bass] – Nigel Barr
Trumpet – Nigel Gomm, Steve Sidwell
Viola – Kate Musker
Violin – Catherine Thompson, Fiona McNaught, Gabrielle Lester, Ian Humphries
Directed By [Musical Director], Composed By, Producer, Liner Notes – Michael Nyman

Mozart has been essential to the Michael Nyman Band since its formation as the Campiello Band in 1977. The first Campiello Band concert, in the Foyer of the National Theatre, featured Nyman's celebrated classic, In Re Don Giovanni, in which the first 16 bars of the 'Catalogue Song' was stripped down and reassembled into a singular combination of western classical music, rock 'n' roll and minimalism.

Nyman has gone on to reference Mozart in several of his film scores and compositions. In 2006 the BBC commissioned Nyman to assemble a collection of his Mozart-based scores for the 250th anniversary of Mozart's birth. Two years on (hence the title Mozart 252!) and Nyman has recorded a fully orchestrated album of the material including gems In Re Don Giovanni and Revisiting the Don.

The album features two main bodies of Mozart-derived works, the first is the soundtrack for Peter Greenaway’s Drowning by Numbers, and is an 'exploration' of the rhythmic, melodic and harmonic qualities that Nyman found so mysteriously attractive in the slow movement of the Sinfonia Concertante for violin and viola [which Greenaway had specified should be the source for the whole soundtrack!].

The second score draws from Letters, Riddles and Writs, a BBC2-commissioned homage to Mozart written in 1991. The film portrays Mozart (played by Ute Lemper) on his deathbed conducting an imaginary performance of The Magic Flute as he muses on his life’s predicaments. Thoughts of his troubled relationship with his father are illustrated in a remake of 'O Isis and Osiris, his dire financial situation is played out in 'Profit and Loss and the tragedy of dying while still at the height of his creativity is echoed in 'I am an Unusual Thing'. His (imaginary) annoyance of realising that Michael Nyman has plagiarised his 'Haydn' quartets also makes up a large part of the score! ---naxosdirect.dk

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Michael Nyman - Piano Concerto ∙ Where the Bee Dances (1998)

2011-08-21T15:36:49Z

Michael Nyman - Piano Concerto ∙ Where the Bee Dances (1998)


1. Where the Bee Dances 16:46

Piano Concerto
2. The Beach 11:24
3. The Woods 06:21
4. The Hut 08:01		play
5. The Release 04:36

Simon Haram, saxophone
John Lenehan, piano
Ulster Orchestra
Takuo Yuasa – conductor

There is a long tradition of composers adapting stage works into concert works, from Mozart to Prokofiev (notably his 3rd and 4th symphonies). Nyman follows in this auspicious tradition in adapting his score from The Piano into The "Piano" Concerto, which is one of the most ravishing and beautifully scored concertos in modern memory--unashamedly romantic, yet with a sense of minimalism at its core. The work opens up with the shimmering of the sea itself, from which the piano gently emerges with a haunting motif. This is expanded into expansive Romantic gestures, which culminate in a folsky Scottish theme. The development is breathtaking in the manner of a Rachmaninov piano concerto, and I simply cannot listen to it enough. A dashing scherzo-ish movement follows, before the music gradually returns to the drama of the beginning, concluding with the scottish "snap." The work is performed with incredible commitment by both pianist and orchestra--I could not imagine a better version.

Equally brilliant in a less Romantic vein is Where the Bee Dances, this time adapted from his music from the film Prospero's Books (and quoting the line from Ariel in The Tempest). It's a marvelous work for saxophone and orchestra, lyrical and lighthearted, like Ariel freed from Prospero's magic and soaring gaily over the island. It's somewhat similar in tone to Glass's Concerto for Four Saxophones and Orchestra, but capturing a sense of fantasy and meditative calm where Glass's work is more gruff and darkly hypnotic. Great pieces and great perfomances. Can't recommend them enough. --- Micromegas, amazon.com

As one of Britain's most innovative and celebrated composers, Michael Nyman's work encompasses operas and string quartets, film soundtracks and orchestral concertos. Far more than merely a composer, he's also a performer, conductor, bandleader, pianist, author, musicologist and now a photographer and film-maker. Although he's far too modest to allow the description 'Renaissance Man', his restless creativity and multi-faceted art has made him one of the most fascinating and influential cultural icons of our times. At this stage of a long and notable career, he might forgivably have been content to rest on his considerable laurels. Yet instead of looking back on a lifetime of achievement that ranges from his award-winning score for the film The Piano to the acclaimed opera The Man Who Mistook His Wife For A Hat, via a string of high-profile collaborations with everyone from Sir Harrison Birtwistle to Damon Albarn, he's still looking forward - pushing the boundaries of his art with a diverse and prolific burst of creativity as energetic and challenging as any new and iconoclastic young kid on the block. Last year saw the premiere of a new documentary, Michael Nyman ‘Composer In Progress’, an intimate portrait of his artist life as a composer as well as his more recent work as a filmmaker and photographer.

Also in 2010, Nyman continued his association with works by pioneering Soviet filmmaker Dziga Vertov. In January, Nyman followed his previous score for ‘Man With A Movie Camera’ (2002) with scores for two films, ‘The Eleventh Year’ and ‘A Sixth Part of the World’, both made in the late 1920’s. MN Records has released music from both scores on a single CD, Vertov Sounds. In October, Nyman premiered his painstaking shot-for-shot reconstruction of Vertov's film, NYman With a Movie Camera, which uses footage from his personal film archive shot over the past two decades to create a modern-day take on experimental documentary filmmaking. Never one to sit around in an ivory tower, his diary bulges with a full international touring schedule with the Michael Nyman Band as well as a series of unique one-off performances with a variety of collaborators.

Nyman first made his mark on the musical world in the late 1960s, when he invented the term 'minimalism' and, still in his mid-twenties, earned one of his earliest commissions, to write the libretto for Birtwistle's 1969 opera ‘Down By The Greenwood Side’. In 1976 he formed his own ensemble, the Campiello Band (now the Michael Nyman Band) and over three decades and more, the group has been the laboratory for much of his inventive and experimental compositional work. For more than 30 years, he had also enjoyed a highly successful career as a film composer, the role in which - sometimes to his slightly rueful regret - he is probably best known by the general public.

His most notable scores number a dozen Peter Greenaway films, including such classics as ‘The Draughtsman's Contract’ and ‘The Cook, the Thief, His Wife & Her Lover’; Neil Jordan's ‘The End Of The Affair’; several Michael Winterbottom features including ‘Wonderland’, ‘A Cock And Bull Story’, and ‘The Trip’; the Hollywood blockbuster ‘Gattaca’ - and, of course, his unforgettable music for Jane Campion's 1993 film, ‘The Piano’, the soundtrack album of which has sold more than three million copies. He also co-wrote the score for the 1999 film ‘Ravenous’ with his friend and sometime protégé, Damon Albarn. More recently, his music was used in the 2009 BAFTA award winning and Oscar nominated film, ‘Man on Wire’. Also, his score for the film Erasing David earned praise and won an award for Best Original Soundtrack at London’s East End Film Festival in 2009.

His reputation among highbrow critics is built upon an enviable body of work written for a wide variety of ensembles, including not only his own band, but also symphony orchestra, choir and string quartet. He has also written widely for the stage. His operas include ‘The Man Who Mistook His Wife For a Hat’ (1986), ‘Facing Goya’ (2000), and the critically lauded ‘Man and Boy: Dada’ (2003). He has also provided ballet music for a number of the world's most distinguished choreographers.

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Michael Nyman - The Draughtman' s Contract (2005)

2014-01-22T16:57:38Z

Michael Nyman - The Draughtman' s Contract (2005)


1 Chasing Sheep Is Best Left To Shepherds 	2:33
2 The Disposition Of The Linen 	4:47
3 A Watery Death 	3:31
4 The Garden Is Becoming A Robe Room 	6:05
5 Queen Of The Night 	6:09
6 An Eye For Optical Theory 	5:09
7 Bravura In The Face Of Grief 	12:16

Michael Nyman Band
Michael Nyman – conductor

Mr Nyman is a truely peerless composer who brings together modern classical style and a Baroque period composer and displays much attention to detail - and is replete with infinite finesse and passion. No prizes for guessing which is the prize track on this soundtrack CD, but despite the paucity of it, it does the job well by selling this CD as a trip to the fantastical, brain wave enhancing environs of Baroque Territory. Within the confines of this territory one is compelled to take on the guise of a Sybarite music fan who simply cannot be satisfied. For me, the seller would have to be 'An Eye For Optical Theory' which is nothing less than the apogee of film soundtracks! I have produced modern electronica myself and I have to say I am very tempted to emulate this track in a 21st century style reworking. Baroque music is a force to be reckoned with and must be included in any modern day appreciation of the classical music tradition. --- GABRIEL C., amazon.com

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Michael Nyman - The Man Who Mistook His Wife For A Hat (1988)

2013-12-08T17:10:24Z

Michael Nyman - The Man Who Mistook His Wife For A Hat (1988)


01. Prologue: Neurology's favourite term
02. Traffic. Street sounds
03. [That's why] I'm here
04. Can I help?
05. And yet... and yet
06. You can see clearly
07. What do you see now?
08. Where was this hat?
09. ... [mistake his] wife for a hat?
10. Bosendorfer!
11. Ich grolle nicht
12. But what of the parietal regions?
13. What's the time?
14. What is this?... It's a square
15. What is this?... Six inches in length
16. Now, what is this?
17. Pawn to King 4
18. From our end, high up here
19. Your husband's a painter, I see
20. Ach! Tea from China, lovely fragrance
21. I cannot tell you what is wrong

Performers:
Dr. S, The Neurologist - Emile Belcourt, tenor
Mrs. P - Sarah Leonard, soprano
Dr. P - Frederick Westcott, baritone
Michael Nyman Band
Michael Nyman, piano & conducting

My first reading of the title text of The Man who Mistook his Wife for a Hat, soon after the book was published in Britain in November 1985, curiously mirrored the way its central character, Dr. P, viewed the world: I scanned it, skipped from page to page, incident to incident, fascinated by the details, but seeing the whole. These details, however, inescapably formed themselves into a new picture: an opera. Compositional challenges and solutions instantly emerged -as much from Sack’s layout of the case study as from ist subject. (My initial enthusiasm was not allowed to wane through the normal delays of opera funding and scheduling: the project was immediately accepted for production by Michael Morris at the Institute of Contemporary Arts (ICA) in London, and Channel 4 TV soon became involved with a film version directed by Christopher Rawlence and produced by Debra Hauer for the newly formed ICA TV. Rawlence, Morris and I began a treatment of Sack’s text, and Jock Scott’s designs had a formative influence on the shape of the work. Rawlence’s libretto explored areas only hinted at by Sacks, much to the enrichment of the work and to Dr. Sack’s satisfaction. From conception to first performance in October 1986 was less than a year.) What primarily interested me was that Sacks does not describe Dr. P’s neurological problem, but rather takes the reader through his own step by step discovery of the patient’s condition: narrative as process, demanding a parallel musical process. The text contains very little dierct portrayal of Dr. P’s daily experience of visual agnosia but instead reveals his affliction through a series of diagnostic tests conducted in two sessions -the first in Dr. Sack’s consulting room, the second at the home of Dr. and Mrs. P. Each test presents a new piece of diagnostic evidence and, in the opera, would be treated as an individual narrative event: each of these self-contained musical events would then be linked together into a large-scale sequential narrative -a number opera with a difference. My first preparatory step had been to carve up the case study into the Greeting Event, Shoe Event, Rose Event, etc., rather like Fluxus Events. ---Michael Nyman, michaelnyman.com

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Michael Nyman - Three concertos (1997)

2011-08-14T14:03:40Z

Michael Nyman - Three concertos (1997)


1. Concerto for saxophone, cello & orchestra: No. 1
2. Concerto for saxophone, cello & orchestra: No. 2
3. Concerto for saxophone, cello & orchestra: No. 3		play
4. Concerto for saxophone, cello & orchestra: No. 4
5. Concerto for saxophone, cello & orchestra: No. 5
6. Concerto for harpsichord & strings: No. 1
7. Concerto for harpsichord & strings: No. 2
8. Concerto for harpsichord & strings: No. 3
9. Concerto for harpsichord & strings: No. 4
10. Concerto for harpsichord & strings: No. 5
11. Concerto for harpsichord & strings: No. 6
12. Concerto for trombone & orchestra: No. 1
13. Concerto for trombone & orchestra: No. 2
14. Concerto for trombone & orchestra: No. 3			play
15. Concerto for trombone & orchestra: No. 4
16. Concerto for trombone & orchestra: No. 5
17. Concerto for trombone & orchestra: No. 6
18. Concerto for trombone & orchestra: No. 7
19. Concerto for trombone & orchestra: No. 8
20. Concerto for trombone & orchestra: No. 9

Double Concerto for Saxophone, Cello and Orchestra
John Harle: soprano and alto saxophones
Julian Lloyd Webber: Cello
Philharmonia Orchestra

Concerto for Harpsichord and Strings
Elisabeth Chojnacka: harpsichord
Michael Nyman String Orchestra

Concerto for Trombone and Orchestra
Christian Lindberg: trombone
BBC Symphony Orchestra

conducted by Michael Nyman

Double Concerto for Saxophone, Cello and Orchestra. Commissioned by Mazda Cars (UK) Limited for John Harle, Julian Lloyd Webber and the Philharmonia, this Concerto was written in late 1996 and early 1997 and first performed at the Ropyal Festival Hall, London under James Judd on 8 March 1997. Though the individuality of each of the solo instruments is respected, there is a sanse in which a new combined single solo instrument is being created (at least for the first two thirds of the piece). Saxophone and cello constantly double each other in different octaves, play in each other’s characteristic registers, exchange material, shadow and decorate each other. Harmonically, the Concerto toys with the duality of the open (almost folk-like) and the sensual, the cleanly diatonic and the more muddily chromatic. It is only at that point in the work where a bitonal ‘sandwich’ is taken apart that the two soloistst briefly take on marginally separate identities.

The five connected sections of the Concerto are clearly defined but are sometmes broken up into subsections; some themes wander from section to section while others are ‘re-presented’ as (from quite early on) they recapitulate themselves and recombine with each other. The first three sections are each introduced by the soloists playing in unison or octaves. Sometimes the border between one section and another is marked by a lyrical, four-square waltz (presented in standard Q&A fashion).

Section 1: in two parts, both over a pedal D. The cello drags itself out of, and decorates, the sustained soprano sax line. The roles are the reversed before the violin section presents jagged rhythmic figures in a faster tempo. Section 2: led by the soloists with a decorated/diminutive version of what is subsequently discovered to be a slow C-minor (fake) waltz. Like Section 1, the second part is faster as the saxophone recomposes the jagged violin figure. Section 3: C-major, rustic irregular quaver theme first with soloists, later orchestrally. Section 4: slow, sustained music underpinned by a more ‘evolved’ harmonic lagnuage. Stretched chords, first decorated by alto sax, then cello (the reverse of Section 1). In a faster tempo the jagged violin figure from Section 1 is heard over a series of triads underpinned bitonally by an unrelated G-A-C chord. With a reminuscence on alto sax of the waltz diminution of Section 2 the soloists split apart—the alto plays in its lowest register with the upper part of the harmonic sandwich, while the cello plays in its lowest register a sustained melody with the lower part of the sandwich. A B-minor-ish sequence presents the only genuine solo, for cello, in the whole Concerto. Section 5, amongst other things, returns to the tempo and some of the material of the opening three sections and ends with a combination platter now featuring (for both doubling soloists) a more elaborate version of the high sustained cello tune of Section 4.

Concerto for Harpsichord and Strings. This Concerto was composed during the winter of 1994/95 for Elisabeth Chojnack, who gave the first performance with the Michael Nyman String Orchestra on 29 April 1995 in the Queen Elizabeth Hall, London. Its history is eccentric and cumulative. I had met Elisabeth in Paris about a year earlier while I was working on the soundtrack for Diane Kury’s film A la folie (Six Days, Six Nights). I was attempting to persuade her to play my solo piece The Convertibility of Lute Strings (1992) but she expressed a passion only for tangos. As luck would have it, one of the cues for the Kurys score was what I fondly called a tango. Elisabeth showed interest in this and I subsequently turned it into a harpsichord solo. Sadly, during the writing of the piece my friend the composer Tim Souster died tragically. Elisabeth’s enthusiasm for Tango for Tim encouraged me to write the Concerto for her.

The Concerto is shaped as a very simple ABA form—the outer sections, derived from The Convertibility of Lute Strings, enfold an elaborated version of Tango for Tim. After the first performance, Elisabeth decreed that thez true potential of the Concerto could only be fulfilled by the addition of a cadenza. This was duly composed in the summer of 1995—a toccata derived from harmonies first heard in the immediate post-Tango for Tim, Convertibility material. (Elisabeth subsequently ordained that the cadenza could also have a life outside the Concerto as a concert piece if it had a few extensions added. Hence—inevitably, the title of the piece—Elisabeth Gets Her Way.)

Concerto for Trombone and Orchestra Though the Trombone Concerto, which .I wrote for Christian Lindberg and the BBC Symphone Orchestra between February and September 1995, is the fourth in my Concerto Series—it follows Where the Bee Dances (for soprano saxophone, 1191), The Piano Concerto (1993) and Concerto for Harpsichord and Strings (1995)—it is the first where the releationship between soloist and orchestra is conceived as a dramatic narrative, even though it telles no specific story.

The background to the Concerto—apart from Christian Lindberg’s virtuosity and remarkable showmanship—is a text by the Marxist historian E.P. Thompson on ‘Rough Music’ which has been haunting me for years and which the Trombone Concerto has helped to exorcise. Thompson defined Rough Music as “the term which has been generally used in England since the end of the 17th century to denote a rude cacophony, with or without more elaborate ritual, which usually directed mockery against induviduals who offended against certain community norms”. This cacophony was usually produced by a “band of motley musicians, beating a fearsome tattoo on old buvkets, frying pans, kettles and tin cans”.

The Concerto draws on the imagery of such practices by confronting metal and wood with metal and wood: the trombone/offender has is constant support system of the brass and string sections which are persistently and vigorously opposed by metal percussions and woodwind, who always hunt in packs (apart from the rare occasions when the bassoons attempt to invade the trombonist’s space). Initially the metal percussion instruments are tuned and benign, but during the course of the piece become increasingly hostile. The percussion instruments constantly crowd out the soloist by means of noise, whereas the woodwind deny the trombonist space and contradict him harminically.

The Trombone Concerto proceeds though a series of short musical cul-de-sacs down which the soloist may get trapped or from which he may escape (and which lay down thematic, rhythmic or harmonic ‘trails’ that are followed erratically throughout the work) until the trombonist asserst his authority with a longer jig-like sequence (more in keeping with the ‘country’ rather than ‘city’ context of Rough Music).

This Concerto was commissioned by the BBC for the 300th anniversary of the death of Purcell. In homage to the composer whose music first found its way into my scores with the Draughtman’s Contract in 1983, it seemed appropriate in a concerto for trombone to quote from Purcell’s brass music. Accordingly, the five cadences from the Funeral Music for Queen Mary appear three times: first, backed by gongs and tamtams on pulsing woodwind ‘attacking’ a trombone solo; second, on trumpets and trombones whcih the pulsing woodwind attempt to (chromatically) annihilate, and finally as the backing to potent string scales over which the soloist is melodically triumphant. This mood of triumphalism is immediately broken by the three percussionists beating out a football-derived chant (QPR v Newcastle, 1994-95 season—“COME-ON-YOU-Rs”) on metal filing cabinets. This pulse (usually at odds rhythmically from the rest of the orchestra) drives the final minutes of the Concerto till the trombonist finds himself in the same sentimental corner he was in at the beginning—a brief moment of respite beofre another session of pursuit perhaps… but the woordwind are still stalking, and the steel drums have infiltrated his tune….--- michaelnyman.com

This CD contains three concerti written by Nyman in the late 1990s: his Double Concerto for Saxophone and Cello, his Concerto for Harpsichord and Orchestra, and his Concerto for Trombone and Orchestra. Of these, the outer two works are fine pieces, full of excitement, lyricism and interest; well worth repeated listening. The Harpsichord Concerto, however, is not nearly as successful a composition. The liner notes imply a certain friction between composer and the soloist he was writing for, Elizabeth Chojnacka. Phrases like "Elizabeth decreed that the true potential of the Concerto could only be fulfilled by the addition of a cadenza," "I was attempting to pursuade her to play my solo piece" and "Elizabeth subsequently ordained that the cadenza could also have a life oustide the Concerto as a concert piece." indicate to me a certain difficulty in the process of composition, perhaps even to the extent that the composer was not entirely convinced of the quality of the final product. I'm certainly not--there are good moments, particularly the final section, but overall the piece is annoyingly repetitious--and yes, I'm fully aware of the influence of minimalism on Nyman's style. The harpsichord contributes little melodically, being limited to the most part to tinny repeated chordal patterns and ostinati. My teenage daughter was driven to distraction by this, and while our tastes diverge on the Backstreet Boys, I had to agree when she said it sounded like a musicbox gone mad. In fact, Nyman's done that sort of effect before successfully, but for me this attempt is a failure.

Why then do I give the CD 5 stars? The trombone concerto is a fabulous thrill ride that does Christian Lindberg, arguably the greatest living trombone soloist, proud. Nyman has cast the piece as an arguement between two antagonists, and the BBC Orchestra gives Lindberg a run for his money. Nyman's orchestrations are both imaginative and delightful. The percussion, missing entirely from the Harpsichord Concerto, has an especially rich palate--at one point the players play metal filing cabinets! Wind writing too is thrilling, and the whole is a fun romp that ducks into some very unexpected corners. Lindberg's done a great job for trombone literature, and this is one of his best contributions.

The Double Concerto for Saxophone and Cello that opens the disc is also a winner. It's much more lyric overall than the trombone concerto, but almost equally fascinating. Nyman has orchestrated the piece for the most part so that the two soloists act as a single role, a sort of new super-instrument. The instrumentation puzzled me when I first heard the title and I couldn't really imagine how such a piece would work; but clearly Nyman didn't have the same difficulty. Saxophonist John Harle and cellist Julian Webber do a fine job with this lovely piece, and the Philharmonia Orchestra back them superbly. ---Dr. Christopher Coleman

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Michael Nyman - Wonderland (2000)

2014-01-30T17:14:00Z

Michael Nyman - Wonderland (2000)


1. Molly	2:52	
2. Eddie	3:58
3. Nadia	2:55
4. Dan	2:19	
5. Debbie	8:16	
6. Bill	2:14	
7. Eileen	3:42
8. Jack	6:00
9. Darren	2:32	
10. Unnamed	3:40	
11. Franklyn	3:08

Beverley Davison, Johnathan Rees, Jackie Shave, Katherine Shave – violin
William Hawkes, Kate Musker, Andrew Parker – viola
Sophie Harris, Tony Hinnigan – cello
Paul Morgan – double bass
Martin Elliott - 	guitar (bass)
Andy Findon - flute, saxophones (baritone, tenor)
Dave Lee – french horn
Steve Sidwell – trumpet
Nigel Barr - trombone

Michael Nyman - conductor, piano

Hailed as one of the most prolific and solid composers of the 20th century, Michael Nyman certainly made a name for himself with the elegant film score to the Academy Award winning drama The Piano. With various compositions under his belt, Nyman added the original score to the Peter Berg-directed film Wonderland in mid-2000. --- MacKenzie Wilson, Rovi

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Michael Nyman – Michael Nyman (1981)

2012-11-22T17:27:46Z

Michael Nyman – Michael Nyman (1981)


1.   Bird Anthem (from Act of God) 2:37
2.   Initial Treat (from Tree) 2:50
3.    Secondary Treat (from Tree) 1:27
4.    In Re Don Giovanni 2:48
5.    Waltz in F 5:55
6.    Bird List Song (from The Falls) 4:19
7.    M-Work 21:09

Michael Nyman Band:

    Rory Allam - clarinet
    Alexander Balanescu - violin
    Anne Barnard - french horn
    Ben Grove - guitar, bass guitar
    John Harle - saxophone
    Nick Hayley - rebec, violin
    Ian Mitchell - clarinet
    Michael Nyman - piano
    Elisabeth Perry - violin
    Steve Saunders - trombone
    Roderick Skeaping - rebec, violin
    Keith Thompson - flute, piccolo, recorder, saxophone
    Doug Wootton – banjo
+
    Peter Brötzmann - bass clarinet, tenor saxophone
    Evan Parker - soprano saxophone
    Lucie Skeaping – soprano

This reissue of Michael Nyman's second album from 1981 – effectively his first with a Michael Nyman Band that included Alexander Balanescu and Roderick Skeaping – has aged well.

Its industriously cycling Anglo-minimalism, couched in strings and reeds, is redolent of early Peter Greenaway films: "Bird List Song" is lovely, silly and serious the same time, like the film for which it was written, The Falls. The serio-comic tone helps sustain the music's appeal, compared to the joylessness of much American minimalism: this is music full of affirmative bustle, aware of its lurking pomposity, and not afraid to embrace the free-jazz squawks of Evan Parker and Peter Brötzmann on "Waltz". ---Andy Gill, independent.co.uk

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Michael Nyman: Symphonies - Symphony No. 5, Symphony No. 2 (2017)

2017-12-17T15:24:50Z

Michael Nyman: Symphonies - Symphony No. 5, Symphony No. 2 (2017)


1 	Symphony No. 5: Movement 1		6:55 	
2 	Symphony No. 5: Movement 2		3:24 	
3 	Symphony No. 5: Movement 3		6:19 	
4 	Symphony No. 5: Movement 4		4:27 	
5 	Symphony No. 2: Movement 1		6:09 	
6 	Symphony No. 2: Movement 2		8:18 	
7 	Symphony No. 2: Movement 3		7:20 	
8 	Symphony No. 2: Movement 4		6:37 

Michael Nyman - piano
World Orchestra 
World Orchestra of Jeunesses Musicales
Josep Vicent - Conductor

Michael Nyman: The Symphonies At the end of 2014 I decided to write a series of 17 or more symphonies, of which around 12 are already completed, being worked on and recorded. Since around 1979 the Michael Nyman Band has always been my 'travelling symphony orchestra': the instrumentation is somewhat classical (strings, woodwind, brass - with a piano/bass guitar 'rhythm section'), volume is given through amplification. Equally important was the fact that the Band gave me the opportunity to continue being a performer/music director and to develop a wider audience that might never knowingly be familiar with the sound of an orchestra. When I have written large-scale compositions for soloists, I did of course use the orchestra, rather than the Band - there are concertos for Gidon Kremer, Elisabeth Chojnacka, Kathryn Stott, the Labeque Sisters, John Harle, Julian Lloyd Webber, Christian Lindberg, and Colin Currie, amongst others, and Musique à Grande Vitesse (MGV) is essentially a large-scale Concerto Grosso for the amplified Michael Nyman Band and unamplified orchestra. However now, the symphony series dispenses with amplification and a soloist and allows me to create a greater textural diversity, more sophisticated structures for an audience that is familiar with the concert stage, filled with a large number of acoustic instruments. 'Symphony No.11: Hillsborough Memorial' (a kind of transcription of 'Memorial' that I wrote for Sarah Leonard and the Michael Nyman Band in the wake of the Heysel Stadium disaster in 1985), has already been released on MN Records and now Symphonies Nos. 5 and 2 are presented as the next in the series of the Symphonies. Symphonies Nos. 3, 4 and 8 have also been recorded and are to be released in 2017. ---Product Description, amazon.com

Much of British composer Michael Nyman's output has been in the genres of opera and film score; the music for Gattaca is his. He has fused a minimalist language with essentially cinematic gestures in a way that's both approachable and quite compact. As he approached his eighth decade, Nyman announced plans for a series of 17 (or more) abstract symphonies; the movements of the pair here are labeled only with metronome indications. In this he follows Philip Glass, whose music his own somewhat resembles. You may be puzzled by the fact that the Symphony No. 5 here was completed a year before the lower-numbered Symphony No. 2, but Nyman seems to have worked on groups of the symphonies at more or less the same time. In these two works, Nyman's intention seems to be to explore systematically the collection of gestures he has used in more referential music, working out the implications of each in terms of a movement structure of moderate length. There is an overall mood (the Symphony No. 5 is the darker of the pair), but the main interest is in the individual movements. Nyman's thematic material retains its stickiness, and even in the intrinsically ambitious symphony genre he remains something of a crossover minimalist, one whose tunes remain in your head even if you can't quite whistle them for the most part. His decision to write symphonies may have seemed surprising, but these could well enter the repertory. The ambitiously named World Orchestra under Josep Vicent delivers the crisp yet not remote performances that are needed here. --James Manheim, allmusic.com

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