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Amaryllis: Music for Recorders and Chalumeau with Frame Drums and Percussion from the 12th through 18th centuries [includes Greensleeves]
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About Amaryllis: Music For Recorders And Chalumeau With
This disc represents a musical landscape a personal collection of some of my favorite pieces of music. The range is wide, from the Medieval to the Baroque, from instrumental to vocal, from music originally written for recorder to arrangements and adaptations. The works Sirt im Sasani, Bloubli Hid, Aravod Luso, Diba u Yengidunia, and the theme of Amarilli mia bella were all originally written for voice. It was not uncommon for instrumentalists to perform their own versions of celebrated vocal works. The recorder, according to Silvestro Ganassi - a member of the official wind band of the Venetian state and author of the important treatise La Fontegara (1535) - is an instrument that can come close to the sound of the human voice. The instrumental works range from pieces written specifically for recorder (the four works by Jacob van Eyck and Greensleeves) to those written for an unspecified single melody instrument (Lamento di Tristano / La Rotta and Chominciamento di Gioia) to the Telemann Fantasia No.8, which was originally composed for flute. Nina Stern has carved a unique and diverse career for herself as a recorder player and classical clarinetist. A native New Yorker, Stern studied at the Schola Cantorum Basiliensis in Basel, Switzerland, where she received a Soloist s Degree. From Basel, she moved to Milan, where she was offered a teaching position at the Civica Scuola di Musica. Stern performs widely on recorders, chalumeaux and historical clarinets. She has appeared as a soloist or principal with notable orchestras, including the New York Philharmonic, New York City Opera, American Classical Orchestra, Philharmonia Baroque, Clarion Orchestra, Amsterdam Baroque Orchestra, Orchestra del Teatro alla Scala, I Solisti Veneti, Hesperion XX and Tafelmusik. Her numerous festival and concert series appearances have included performances under leading conductors, including Lorin Maazel, Kurt Masur, Christopher Hogwood, Trevor Pinnock, Claudio Scimone, Kent Tritle, Bruno Weil, Ton Koopman, Andrew Parrot and Jordi Savall. She has recorded for Erato, Harmonia Mundi, Sony Classical, Newport Classics, Telarc and Smithsonian labels. Four-time Grammy award winner and founding father of the modern frame drum movement, Glen Velez is a central figure among musicians and audiences worldwide. Velez brought a new genre of drumming to contemporary music by creating a unique performance style inspired by years of percussion and frame drumming studies of various cultures. Velez' virtuosic combinations of hand movements and finger techniques, along with his original compositional style, which incorporates stepping, drum language and Central Asian overtone singing, has opened new possibilities for musicians around the globe, resulting in a shift in modern percussion. The first to gain international recognition as a frame drum soloist, Velez has conducted research on the history of the instrument that has inspired a host of his proteges to continue the quest to uncover the mystery surrounding the frame drum s origins. In 1989, Velez' mastery caught the attention of John Cage, who composed Improvisation for One-Sided Drum with or without Jingles especially for Velez. His array of frame drum innovations and sounds has inspired collaborations with composers and artists including Steve Reich, Suzanne Vega, Tan Dun, Pat Metheny, David Darling, Eugene Friesen and Coleman Barks and Sonny Fortune.
