Word: nonets
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
Harris and his unconventional ensemble (a nonet including viola and cello) begin the album auspiciously with pieces from Ellington and Billy Strayhorn’s 1970 “New Orleans Suite.” Here, Harris’ playing is at its bright-edged, percussive best, and his relentlessly-swinging approach pervades the whole band’s sound. Drummer Terreon Gully and bassist Derrick Hodge play with a bluesy intensity that recalls the hard-charging rhythm section of Dannie Richmond and Charles Mingus, and Steve Turre’s forceful trombone backgrounds make the ensemble sound twice...
...late 1940s, Davis teamed up for the first of his epochal collaborations with arranger Gil Evans. They assembled an unusual nonet, including a tuba and French horn, and began experimenting with a new kind of writing. The goals: dense, rich sonorities, a "cool," vibrato-free style of playing and a tight meshing of the charts and soloists (among them baritone saxophonist Gerry Mulligan and trombonist J.J. Johnson). Result: a reshaping of the modern jazz aesthetic...
Brent L. Auerbach '97 wrote a 25-minute neo-romantic musical composition titled "Summer's End for Woodwind Nonet" for his music department thesis...
Copland: Appalachian Spring (original version, Columbia Chamber Orchestra, the composer conducting; Columbia, $5.98); Copland: Sonata for Violin and Piano, Duo for Flute and Piano, Nonet for Strings (Columbia, $5.98). Partnering Violinist Isaac Stern in the Sonata (1943), or the late Elaine Shaffer in the Duo (1971), Copland proves himself a splendid interpreter of two of his most wistfully introspective chamber works...
...sorts of categories. After arriving in London, he worked with twelve-tone Composer Elisabeth Lutyens, but soon found that discipline "stiff and disagreeable." Now his manner is basically tonal, which, he feels, actually affords the composer a wider horizon of dissonance. In another Williamson work produced at Newport, a nonet for five players and four dancers, long sequences of butter-would-melt tunefulness suddenly gave way to a perky hell-for-leather style reminiscent of Stravinsky's acidulous neoclassicism...