Aaron Jay Kernis: Colored Field/Still Movement With Hymn

On this CD:

1. Colored Field, concerto for English horn and orchestra
Composed by Aaron Jay Kernis
Performed by San Francisco Symphony Orchestra with Julie Ann Giacobassi
Conducted by Alastair Neale

2. Still Movement with Hymn
Composed by Aaron Jay Kernis
Performed by San Francisco Symphony Orchestra with Carter Brey, Pamela Frank, Paul Neubauer, Christopher O'Riley
Conducted by Alastair Neale

Aaron Jay Kernis: Colored Field/Still Movement With Hymn, Music, Carter Brey, Aaron Jay Kernis, Alastair Neale, Julie Ann Giacobassi, San Francisco Symphony Orchestra, Christopher O'Riley, Paul Neubauer, Pamela Frank, Chamber, Classical, Classical Composers, Classical Music, Concerto, English Horn Concerto

Aaron Jay Kernis: Colored Field/Still Movement With Hymn
Average customer rating:

Abundantly easy on the ears.

You'll want to listen over and over again.

Aaron Jay Kernis: Colored Field/Still Movement With Hymn

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B000004CWI
Release Date: 1996-02-13

Tracks:

Colored Field: I. Colored Field
Colored Field: II. Pandora Dance
Colored Field: III. Hymns And Tablets
Still Movement With Hymn: I. (Still Movement)
Still Movement With Hymn: II. (Hymn)

Customer Reviews:

Abundantly easy on the ears........2005-04-04

The first movement begins quietly and gently, but with hints of tension, reminiscent of the first movement of Bartok's Music for Strings, Percussion, and Celesta. At 2 minutes, there starts a flittery, fluttery, looping, bounding, flute exercise. The natural vibrato of a piece of metal, struck at this time, is appealing. If you like Charles Ives' music, e.g., Decoration Day or Washington's Birthday, you'll like this part of the first movement. The period between 4-5 minutes sounds a bit like the saxophone compositions of Sam Rivers or Eric Dolphy. At 8 ½ minutes occurs a thunderstorm episode, comprising abundant use of drums which at 10 ½ minutes, suddenly becomes gentle. The first movement ends quietly. If you like Messian's Turangulila Symphony, you'll like Kernis' second movement. Here, the English horn plays the role of the ondes martinot of the Turangulila, that is, an underdog, young and naive, a protagonist, unwilling to be overwhelmed by the orchestra. At 2 minutes and again at 3 minutes, there occurs a brief playful, laughing, cartoonish episode, reminiscent of composer Carl Stalling. (Orchestral "laughing" occurs only rarely in music. One can also find a laughing episode in Bartok's string quartet no.1, where the laughing occurs at 6-7 minutes into the 3rd movement (allegro vivace)). Again, at 4 minutes and thereafter, occurs a busy section sounding like Turangulila. Kernis' third movement begins with a step-wise music, featuring bold, dignified, Coplandesque chords. This contrasts nicely with the cartoons of the second movement. At 4 minutes and 40 seconds into the 3rd movement, there occurs a stuttering horn, briefly evoking Lutoslawski's Cello Concerto (see 3 min and 50 seconds in the Cello Concerto). The stuttering horn never appears again in Kernis' piece. From 9 minutes to 11 minutes, there is a warm and cozy sounding section. Then, 11 minutes into the third movement, the step-wise music returns, with its craggy mountains and Copland-chords, but this time supplemented with clanging metal and galloping wooden blocks. Finally, at 14 minutes, occurs another gentle section, where the English horn provides a solo in absence of accompaniment. At 16 ½ minutes, there occurs a reassuring, optimistic, quiet section, reminiscent of the concluding moments of Ives' Unanswered Question, perhaps implying that the hurdles imposed by the craggy mountains and thunderstorms are overcome. At 22 minutes and 40 seconds, the 3rd movement ends with a creative yelp. Kernis' concerto is not lengthy. It contains enough ideas for a 90 minute symphony.

You'll want to listen over and over again........2003-01-01

The first movement begins quietly and gently, but with hints of tension, reminiscent of the first movement of Bartok's Music for Strings, Percussion, and Celesta. At 2 minutes, there starts a flittery, fluttery, looping, bounding, flute exercise. Multiple and simultaneous moods are set forth. The natural vibrato of a struck piece of metal is appealing. If you like Charles Ives' music, e.g., Decoration Day or Washington's Birthday, you'll like this part of the first movement. The period between 4-5 minutes sounds a bit like the saxophone compositions of Sam Rivers or Eric Dolphy. At 8 ½ minutes occurs a thunderstorm episode, comprising abundant use of drums which at 10 ½ minutes, suddenly becomes gentle. The first movement ends quietly.
If you like Messian's Turangulila Symphony, you'll like Kernis' second movement. Here, the English horn plays the role of the ondes martinot of the Turangulila, that is, an underdog, young and naive, a protagonist, unwilling to be overwhelmed by the orchestra. At 2 minutes and again at 3 minutes, there occurs a brief playful, laughing, cartoonish episode, reminiscent of composer Carl Stalling. Orchestral "laughing" occurs only rarely in music. One can also find a laughing episode in Bartok's string quartet no.1, where the laughing occurs at 6-7 minutes into the 3rd movement (allegro vivace). Again, at 4 minutes and thereafter, occurs a busy section sounding like Turangulila.
Kernis' third movement begins with a step-wise music, featuring bold, dignified, Coplandesque chords. This contrasts nicely with the cartoons of the second movement. At 4 minutes and 40 seconds into the 3rd movement, there occurs a stuttering horn, briefly evoking Lutoslawski's Cello Concerto (see 3 min and 50 seconds in the Cello Concerto). The stuttering horn never appears again in Kernis' piece. From 9 minutes to 11 minutes, there is a warm and cozy sounding section. Then, 11 minutes into the third movement, the step-wise music returns, with its craggy mountains and Copland-chords, but this time supplemented with clanging metal and galloping wooden blocks. Finally, at 14 minutes, occurs another gentle section, where the English horn provides a solo in absence of accompaniment. At 16 ½ minutes, there occurs a reassuring, optimistic, quiet section, reminiscent of the concluding moments of Ives' Unanswered Question, perhaps implying that the hurdles imposed by the craggy mountains and thunderstorms are overcome. At 22 minutes and 40 seconds, the 3rd movement ends with a creative yelp.
Kernis' piece is a good candidate for your permanent, repeat-listening repertoire. Kernis' concerto is not lengthy. It contains enough ideas for a 90 minute symphony.

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