This is an astounding masterpiece of orchestration, brilliantly capturing everything from absolute horror to the highest serenity. This is definitely worthy of a full listen through, but to provide some highlights: 36:05 The harrowing orchestration here is an absolute must-hear: agonizing groans of cellos and double reeds, chilling choral clusters, and creepy murmuring glossalalia 1:41:28 and 2:08:41 are just so stunningly beautiful with the tight harmony of the countertenors and soothingly warm orchestra underneath The immense power of 53:02 and 1:36:55 especially the manic energy from aleatoric woodwinds at 53:09 and the roaring crowd at 1:37:31 The tense, ominous mood built up at 1:09:18 by swelling biting dissonances over a clockwork ostinato The simultaneously bright yet dark colors at 13:15 cast by furtive clarinet runs over a bed of string harmonics

@averageclassicalmusicenjoyer

7 ай бұрын

Would you consider uploading Macmillan’s Seven Last Words from the Cross?

However much John Adams calls out the “tyranny of the modernists” in every single interview he gives, those very modernists have left their mark on his music. Especially in the orchestration.

Act One 00:00 Scene 1 - Howling chorus and orchestra as Mary hears a woman suffering from drug withdrawal (4:12) The scene calms down as Martha invites Jesus into their house 06:55 Scene 2 - Alluring cimbalom and male ensemble as Martha complains to Jesus that Mary is distracted from work (8:37) Mary struggles to pray, over mysterious Ives-ian tone colors 12:02 Chorus: En un día de amor - A gently radiant chorus tinged with a sense of menace (13:15) 16:19 Scene 3 - Lazarus is sick: a lamentation (20:19) A murky wash of sound slowly clarifies as Lazarus dies 22:24 Martha grieves, under piquant orchestral touches (24:10) Jesus returns after 4 days 24:50 Mary's grief is acute; a frantic deep ostinato (27:42) She has tried to kill herself; a wild, manic bass clarinet solo as she desperately tries to hide her wound (30:35) Jesus, graceful, weeps 33:16 Haunting orchestration as Jesus goes to the cave where Lazarus is buried 36:05 [MUST HEAR!] Terrifying orchestration: agonizing groans of cellos and double reeds, chilling choral clusters, and creepy murmuring glossalalia. Jesus resurrects Lazarus. 39:27 Chrous: Drop down, ye heavens - "a delicate and iridescent spring shower" 42:34 Scene 4: Supper at Bethany (43:17) Lazarus gives a vigorous praise of Jesus 49:56 Mary anoints Jesus; ethereal, fleeting orchestral colors (53:02) Spiritus Sanctus: epic, powerful chorus and tutti orchestra cleanses all 54:43 Scene 5 - Complaints that the anointment was a waste (56:23) Bitter music as Martha laments poverty and her incapacity to love 1:00:32 (1:01:33) A tender solo by Lazarus sings about Passover, under luminous piccolo and string harmonics, before a tense end to the act (1:09:18) Act Two 1:11:22 Chorus: Who Rips His Flesh - a harrowing rock-like drive powered by bass guitar and brass as Jesus tears himself from his cross in a vision 1:15:11 Scene 1: The Arrest of Jesus - violent pounds on the door from the orchestra (police) [Andriessen-y] (1:18:55) Soothing chorus as Jesus heals an injured police officer 1:20:52 Scene 2: The Arrest of the Women - the music is suddenly violent again (1:23:19) Martha recounts the day, picketing for their rights (1:27:40) A prayer with severe brass interjections 1:30:43 Scene 3: Golgotha - Dark and portentous, eerie bowed cymbals and chorus murmuring (1:33:47 Male ensemble) (1:34:08 Wild klezmer solo) 1:36:55 A sudden explosion of music "Daughters of Jerusalem. Weep not for me." (1:40:00) Mary Magdalene stands before Jesus on the Cross 1:41:28 Stunning, poignantly beautiful writing here: the tight harmony of the countertenors with the soothingly warm orchestra underneath 1:43:39 Scene 4: Night - Dark music opens to expressive solos by the oboes and Mary, but shivering strings continuously penetrate the sound (1:48:15) Calm music as they stay by Jesus 1:51:16 Jesus suddenly rails at the Father who abandoned him (1:52:13) 1:52:47 Scene 5: The Sepulchre - uncanny music as the women take Jesus' body to be buried (1:54:48) Rautavaara-esque chorales (1:57:21) Mary awakes to the sound of frogs 1:59:30 Chorus: It is spring - a bright chorus in Adams' most recognizable minimalist style (2:01:51) Mary goes out to see the frogs 2:03:32 Scene 6: Earthquake and Recognition - a heavy drive pushed by the drums and ostinato arpeggios (2:06:26) Heavy, mysterious music as Mary returns to Jesus's tomb 2:08:41 Jesus has been resurrected. He comforts the weeping Mary. Incredible luminous tone colors infused with a deep sadness. The cimbalom here especially is astounding Score available from Boosey and Hawkes: www.boosey.com/cr/music/John-Adams-The-Gospel-According-to-the-Other-Mary/51759 Some description adapted from: www.earbox.com/the-gospel-according-to-the-other-mary/ (which has a more complete summary) Composer: Composer: John Coolidge Adams (February 15, 1947 - ) Libretto: Peter Sellars Orchestra: Los Angeles Philharmonic conducted by Gustavo Dudamel Chorus: Los Angeles Master Chorale directed by Grant Gershon Mary: Kelley O'Connor Martha: Tamara Mumford Lazarus: Russell Thomas Male Ensemble (countertenors): Daniel Bubeck, Nathan Medley, Brian Cummings (Sorry there's no proper description but having it causes the video to be blocked)

I'm a big Adams fan and for some reason this one had eluded me until now. Great to listen along with the score (in 1440p!). You're one of the best classical music score channels, keep up the good work.

huzzah it has returned!

Неизгладимое впечатление! Ярко, образно, кристально чисто и прозрачно, потрясающий баланс во всем, вещь красоты неописуемой, хочется ещё, и ещё, и ещё раз погрузиться в это изумляющее своей простотой и глубиной звёздное небо которое так удивительно отразил John ADAMS...

this is crazy awesome. there's a lot of characteristic john adams (it is spring, earthquake and recognition, as examples) but there's so much really cool modern soundscapes, especially near the middle/beginning. the orchestration is spectacular, especially around the 35 minute mark and golgotha. super cool piece, thanks for sharing

Yes, I made it through in one listening. It was riveting! Especially liked the "3 countertenors" as a substitute for "narrator." With all of the "sub contra octave" use in this piece, I'm surprised he didn't include Tuba! I mean, technically, the Contrabassoon has the lowest notes (sub contra Bb), but Adams asks for that same note in the Bass Guitar and Contrabasses as well! That note (and below) are readily available on the Tuba! Oh, and that ridiculous Bass Clarinet solo...my lord! It'll show up on all future auditions! One criticism: I don't like how some of the vocal solo lines came out sounding like "Sprechstimme" when the notes are clearly marked, and expected to be sung in tune. Yeah, it's very difficult....that's why ya get paid the big bucks...sing the music as intended.

I've always respected Adams but I wouldn't have necessarily called myself a fan. Pun entirely intended: I am converted

Quite an epic work which plays out like an opera, maybe.

Which part of the score is in Cmaj? Love it! First time hearing this score. I'm listening to it now.

@signodeinterrogacion8361

7 ай бұрын

It's all in Cmaj-The KZread channel, I mean

Cute