MP3 Karel Suchy with Choral Arts Society of SE Wisconsin - Sound Poem Inspired by Nosferatu

This avant garde tone poem, inspired by the classic German silent film, draws on a wide variety of musical styles, including early modal music, modern classical, Appalachian hymnody, rock ballad, and musique concrète.

6 MP3 Songs in this album (103:26) !
Related styles: AVANT GARDE: Classical Avant-Garde, CLASSICAL: Modernist

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Details:
Composer Karel Suchy was born in the Czech Republic (then Czechoslovakia) in 1953. He studied piano, organ and composition at the Conservatory of Jaroslav Ježek in Prague, as well as earning his M.S. in Engineering from the Czech Technical University. He led, and composed for, several avant-garde ensembles. âTlönâ gained notoriety for innovation as well as virtuosity, and performed in major venues, on radio, television and studio recordings. Because jazz was considered a subversive musical form by the communist authorities, the group attracted scrutiny from the government as a counterpoint to their popularity. Prior to escaping from communism in 1979, Karel won awards for composition, including the Prague Jazz Festival. In the 1980âs, he presented recitals of his electronic and computer-aided classical music at ISU and U of I-Champaign. He facilitated a Wisconsin performance of the Czech Christmas Mass. The Choral Arts Society of SE Wisconsin, under the direction of James K. Schatzman, performed his arrangement of âSweet Mary sings her Babe to Sleepâ in 2004, and commissioned âSound Poem, inspired by Nosferatuâ in 2008. He sings with CAS, is founder and director of vocal and instrumental group, âVoices and Versesâ and serves as Director of Music for Emmanuel Lutheran Church in Racine, WI.

Rather than a write a typical film score, Suchy intended this work to complement the film, yet stand alone as a tone poem. The score draws on a wide variety of musical styles, including early modal music, modern classical, Appalachian hymnody and rock ballad A sense of foreboding is achieved through the use of an âaltered gypsy scaleâ to represent the evil Nosferatu. Ellenâs leitmotiv employs chant-like phrases in Dorian mode. These appear several times separately and in tandem throughout the score. Hutter, in his âgung-hoâ mood, is represented by the use of E flat major, but when he is running from Nosferatu, by the whole-step scale. The emotional, dramatic and philosophical elements of the film are further articulated through techniques such as the using âDies Iraeâ lyrics in the âaltered gypsyâ scale, and the combination of live music with concrete music (a montage of recorded natural sounds). The choral writing achieves a pulsating harmonic texture by rapidly shifting from thin unison to rich eight-part harmonization. Lyrics are interspersed with âaahsâ in portions of the choral arrangements, and are not used at all in other sections. âFlowersâ is a love theme that alludes to the concept of death and rebirth, the gift of flowers for Ellen, and her self-sacrifice. âThe Day Before Easter,â in the style of a Gaelic/Appalachian hymn tune, reflects the ambivalence many of us feel when called upon to make a difficult sacrifice. âPsalm 23 Love Songâ is in the form of a rock ballad, and expresses comfort and hope.