This renowned American composer and performer exposed another spectrum of music to the world over his year career. Mackey talked to me about Hegel and Schopenhauer and had strong leftist sympathies. Stanley Sadie.
Rzewski: DeProfundis; Piano Piece No.4; Piano Sonata; Winnsboro Cotton Mill Blues Album Information
The Orchard Records The Orchard Records. His better-known works include The People United Will Never Be Defeated!
Winnsboro Cotton Mill Blues) (); Night Crossing with Fisherman; Fougues; Fantasia and Sonata; The Price of Oil, and Le Silence des Espaces Infinis, both of which use graphical notation; Les Moutons de Panurge; and the Antigone-Legend, which features a principled opposition to the policies of the State, and which was premiered on the night the United States bombed Libya in April
WINNSBORO COTTON MILL BLUES. In the duet Winnsboro Cotton Mill Blues, based on the eponymous composition by Frederic Rzewski, the dance springs from one idea: a liberating movement which mounts through the body starting from the feet, which are fixed to the floor, travelling to the hips, where it makes its home.The energy of the movement holds a sort of silent revolt, a challenge …
Frederic Rzewski, Composer, 1938-2021: In Remembrance ...
Jul 03, 2021 · Frederic Rzewski: Winnsboro Cotton Mill Blues (version for 2 pianos) (Nina Schumann, piano; Luis Magalhães, piano) Frederic Rzewski: De Profundis (1991-1992) (Michael Kirkendoll) De Profundis is a melodramatic oratorio for solo pianist. The work requires the pianist to recite the letters written by Oscar Wilde to Lord Alfred Douglas.
Winnsboro Cotton Mill Blues Alt ernative. Title Composer Rzewski, Frederic: I-Catalogue Number I-Cat. No. IFR Year/Date of Composition Y/D of Comp. Composer Time Period Comp. Period: Modern: Piece Style Modern: Instrumentation 2 PianosComposer: Rzewski, Frederic.
Frederic Rzewski Winnsboro Cotton Mill Blues. Rzewski: DeProfundis; Piano Piece No.4; Piano Sonata; Winnsboro Cotton Mill Blues Review
The music of American composer Frederick Rzewski Frederic Rzewski Winnsboro Cotton Mill Blues. Unapologetic about using his musical voice in service of social activism, Rzewski pronounced SHEF-ski has dealt with themes from The Price of Oil to the Attica prison riots to unionization and middle-class rights among Chilean workers.
In musical terms, Rzewski is a virtuoso pianist whose understanding of the keyboard goes far beyond technical brilliance. By definition, a modern piano is a percussion instrument in which felt-covered hammers hit metal strings. Whatever lyricism and sustaining qualities it can project are illusory or produced by means of pedal affects. Consider his motoric Winnsboro Cotton Mill Bluesthe last of his four North American Ballads. All of the Ballads take inspiration from protest movements; Winnsboro Nacktes Leben Vimeo Mill Blues refers to Crystal Lee Sutton, depicted in the Academy-Award-winning film Norma Rae, and her push to unionize a cotton Frederic Rzewski Winnsboro Cotton Mill Blues in North Carolina.
The opening crescendo builds to an unsettling highpoint before changing moods. Rounding off the work, Rzewski brings together elements of the blues theme with the percussive frenzy heard at the beginning. This site was designed with the. Winnsboro Cotton Mill Blues. Rzewski, Frederic. Stimmungsring Erwachsene Permission to Use. Program Note:.
The first movement is based upon six popular songs of various times and places, including "Ring Around the Rosy," "Santa Claus Is Coming to Town," "Three Blind Mice," and "Give Peace a Chance. The first movement is constructed of 64 periods of 12 seconds each, which are then played in condensed reverse order and boiled into 32, which are restated and recapitulated into 16, then eight, and finally distilled completely into four. Songs and their transformations then overlap, creating timelessness within time frames, constructing a dizzying polyphonic web that is available readily to any listener who cares to engage them.
These are not merely intellectual exercises. The second movement is stark and moving, full of long spaces that emanate from its simple theme of "Taps," and sorrow, pain, and loneliness emanate from the keys of Rzewski 's virtuosi hands. Elemental moments from the first movement appear here, but in altered, "variation" form.
The final movement, which is based entirely on "L'Homme Arme," plays in 27 variations. In all it is a work of striking profundity, a mediation on freedom, tradition, and responsibility. It is an oratorio that musically becomes a manifesto, and there are few -- none comes to mind in this form -- representative works to which it can be aligned. It is powerful, political in the sense that all Rzewski 's work is, and somewhat didactic but not in any offensive way as if meditations on freedom ever could be.
The end result of the triplets, harmonic extensions, and repeated thematic extrapolations serve the text well and give listeners a picture of Wilde they've perhaps never heard before either. These two works serve only to deepen what is already a widely held opinion, that Frederic Rzewski is, since Ives and Copland , a terribly important American composer whose work best reflects the land it comes from; indeed, his music seems to emanate from the land itself -- no matter how critical and searing his view of its social, political, and religious conventions.
Rzewski started playing the piano aged four, and was already trying to compose. His first music teacher, Charles Mackey, was a crucial influence. Mackey talked to me about Hegel and Schopenhauer and had strong leftist sympathies. Reality is both rational and irrational. The universe has a structure with elements that can be predicted, but there are things that have no structure and that cannot be predicted. Rzewski found this attitude severely lacking in his subsequent studies at Harvard and Princeton, and he gravitated instead towards fellow radicals like David Behrman and Christian Wolff who introduced him to Cage and Tudor.
Yet he does remain grateful for his early grounding in traditional counterpoint, and finds that many younger composers lack this skill. Moving to Europe, Rzewski claims, helped him to stake out his identity. A Fulbright scholarship allowed him to study in Florence with Dallapiccola; at the same time, he established his reputation as a dynamic, incisive new-music pianist, collaborating with Gazzelloni, Maderna and Stockhausen, among others. When MEV was formed in Rome during the mids, the city was a hotbed of artistic innovation.
Aspects of what would later emerge as minimalism are present in Coming Together and Attica both , and also in the additive melodic formulas throughout Les moutons de Panurge Rzewski developed these ideas in No Place to Go but Around , a short set of variations.
In retrospect, its harmonic and pianistic characteristics seem to be a prototype of the longer The People United. Political and social issues similarly inform other piano variation sets such as Mayn Yingele , as well as The Price of Oil for mixed ensemble, and two choral pieces, Stop the War!
The North American Ballads for piano are four fantasies based on traditional folk songs addressing social issues. Its central movement is a murky, haunting fantasy on the military bugle call Taps. Although Rzewski makes no great claims as an orchestral composer, his A Long Time Man for piano and orchestra and his Piano Concerto commissioned for the BBC Proms, are inventive and skilfully wrought.
His extensive chamber music output tends to embrace unconventional instrumental combinations and open scoring.
Rzewski: Winnsboro Cotton Mill Blues (page 1 of 1) Presto Music
This page lists all recordings of Winnsboro Cotton Mill Blues by Frederic Rzewski (b.1938).
26/06/ · The Triumph of Death (Rzewski, Frederic) The Turtle and the Crane (Rzewski, Frederic) U. Una breve storia d'estate (Rzewski, Frederic) W. Wails (Rzewski, Frederic) 10 War Songs for Piano (Rzewski, Frederic) The Waves (Rzewski, Frederic) Whangdoodles (Rzewski, Frederic) When the Wind Blows (Rzewski, Frederic) Winnsboro Cotton Mill Blues (Rzewski. 26/06/ · Originally written for Paul Jacobs, they count among Rzewski’s frequently performed piano works, particularly ‘Winnsboro Cotton Mill Blues’. It begins with relentless, motoric rhythmic patterns in the piano’s deep bass. According to Rzewski, Winnsboro Cotton Mill Blues dates from the s, but is of unknown origin. Its text reflects the exploitive working conditions in the textile mills of North Carolina. The rapid bass register clusters which open the work mirror the relentless hammering noise made by rivets in a textile machine to frightening effect.