MP3 Andrew Gleibman - Music for Intellectuals
Classical-contemporary atonal compositions with elements of impressionism and expressionism. Philosophical, ironic, tragic, calm, very emotional, excited, observational, playful.
19 MP3 Songs
AVANT GARDE: Free Improvisation, CLASSICAL: Contemporary
Compositions for a Mixed Orchestra, Vibraphone, Piano and Voice
DISK 1: ATONAL MEDITATIONS (duration: 56 min)
1. Starry Sky. Virtuous Etude-Introduction for Piano Played by Constellations and Nebulas.
2. Morning in a Paris Suburb. Symphonic Fantasy. Adagio Moderato with Bells and Reflections.
3. Spring Prelude to the Impossible Scherzo.
4. Impossible Scherzo. Super-Virtuous Prestissimo for Piano, Impossible for a Human Performer.
5. April Etudes, Part 1. Largo Espressivo.
6. April Etudes, Part 2. Prestissimo Prestissimo.
7. Waves are Dancing. Symphonic Fantasy with Sea Waves Playing Super-Virtuous Party.
8. Jerusalem. Andante Molto Appassionato.
9. Magic Garden. Andante Cantabile with Sirens and Heartbeat.
10. Strange Little Animal. Virtuous Etude-Dance for Tail, Paws and Piano.
11. Sirens and Mockingbirds. Etude-Miniature for Voices, Orchestra and Piano.
12. Two Jazzmen. Virtuous Allegro Agitato for Two Pianos (well, Pianists) Teasing Each Other
DISK 2: AUGUST SYMPHONY (duration: 45 min)
2. Intermezzo with Bells Solo.
4. Slow Meditation in Atonal Colors.
6. Meditation with Harpsichord Solo.
STYLE: Classical-contemporary atonal compositions with elements of impressionism and expressionism.
MOOD: Philosophical, ironic, tragic, calm, very emotional, excited, observational, playful.
INSTRUMENTS, applied using a computerized music studio: Mainly traditional for a symphonic orchestra. The piano party sometimes involves sonoric and super-virtuous elements.
INFLUENCES: Scriabin, Shostakovitch, Rachmaninoff, Prokofiev, Debussy, Ravel. Meditations and Esoterica.
COMPOSER AND PERFORMER: Andrew Gleibman. Pianist-improviser and composer. PhD in Computer Science
An explanation foreword:
THE ART OF IMPROVISATION AND MODERN MUSIC
Many great improvisers are known in music history. Bach, Mozart, Beethoven, Paganini, Liszt, Rachmaninoff... It is hard to know whether a small or a large part of their improvisation activity was published in the form of music notes. A musical performance is playing ON an instrument, according to a previously composed plan, while an improvisation is playing WITH an instrument, just like a small child plays with its voice. The child tries and admires the sounds without any plan, sometimes discovering their features which only this child can conceive.
The art of improvisation is more ancient than the art of composition. The most perfect instrument in the world -- human voice, and many artificial instruments have appeared long before the invention of music writing. Paradoxically, the epoch of Renaissance caused a decline of the improvisation culture, which was developed during millenniums. Musical writing has ousted the improvisation just like a manufacture has ousted a creative trade of an artisan. In order to understand what was lost in this ousting; imagine, for a moment, that the art of oil-painting would be entirely ousted by the art of gravure!
Today the art of improvisation retained in a few music genres including jazz. The interest towards a musical improvisation is growing. Computerized instruments are used for storing, encoding and editing the performance of the improvisers.
All presented compositions are extracted from the original author’s improvisations on a Rolland piano instrument, connected to a computer. This is similar to tape-recording. Some new expressive elements are obtained from the stored improvisations by re-timing, re-orchestration, re-articulation, re-arrangement etc. The computer performs the music according to so created and stored scripts. Some pieces contain super-virtuous elements that a human musician cannot perform. Other pieces retain unchanged the original mood of the improviser, related to his philosophy and reflection of the reality.
Fractal Art images: Courtesy of Junpei Sekino,
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