Re: Download Annie Full Orchestral Score Pdf
Riley Boylan
ANNIE GOSFIELD whom the BBC called A one woman Hadron collider is a composer based in New York City. She has written opera that eliminates the boundary between concert hall and the city streets, pieces for violin and jammed radio signals, a concert-length work for her band that recreates factory environments, and chamber music inspired by deteriorating 78 RPM records. Her music couples unorthodox sources with a personal approach to working with musicians. She strives to reveal the inherent beauty of found sounds, noise, and machines from both the past and present, while emphasizing the unique abilities of each performer. In recent years, her music has evolved from chamber work and performances by her own group to bigger projects in opera and orchestral music. In all of her work, she invites the listener to appreciate all sounds, without dividing the world into separate categories of music and noise.
Annie was dubbed a master of musical feedback by the New York Times, who wrote Ms. Gosfields choice of sounds which on this occasion included radio static, the signals transmitted by the Soviet satellite Sputnik I, and recordings of Hurricane Sandy are never a mere gimmick. Her extraordinary command of texture and timbre means that whether she is working with a solo cello or with the ensemble she calls her 21st-century avant noisy dream band, she is able to conjure up a palette of saturated and heady hues.
In a revealing, in-depth profile, the New York Times wrote about Gosfield's past in factories, punk clubs, and the influence of found sources, improvisation, coffee, whiskey, technology and mortality: "her high-energy, imaginative scores blend acoustic and electronic elements and have a propulsive, aggressive drive tempered by haunting, poetic and lyrical interludes."
Gosfield has been awarded fellowships by the American Academy of Arts and Letters (2021), the Guggenheim Foundation (2017), the American Academy in Berlin (2012), the American Academy in Rome (Fromm Composer in residence, 2015), The Siemens Foundation (to "combine art and industry" in factories). She was a Lecturer in Composition at Columbia University (2020/2021), UT Austin (2019), has taught at Princeton, CalArts, Univ. of Indiana, and held the Darius Milhaud Chair at Mills College.
Annies recent work includes "The Secret Life of Planets," a song cycle for the L.A. Phil (Best of 2022, L.A. Times); an opera performed by the L.A. Phil in Walt Disney Concert Hall and on the streets of L.A.; a portrait concert of music reflecting on immigrant experiences; an orchestral cello concerto; and a sextet inspired by, and performed under, Diego Riveras Detroit Industry murals.
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Gosfield's discography includes four ambitious portrait albums on the Tzadik label, featuring music that ranges from a chamber cello concerto to EWA7, an industrial-inspired concert-length piece for her band. They are NOW on Spotify, YouTube, and other streaming platforms, or can be purchased from Tzadik.
Here is a compilation of tracks from all 4 CD's.
In an article about Tzadik streaming, The NY TIMES wrote about Almost Truths and Open Deceptions"This composers 2012 set reflects her vast talent: Percussion, piano and cello take their at-bats during Wild Pitch; a sampling keyboard and Roger Kleiers electric guitar power an excerpt from Daughters of the Industrial Revolution; Phantom Shakedown offers Cagean meditation; and the title work is a thrilling cello concerto."
Annie Gosfield (born September 11, 1960, in Philadelphia) is a New-York-based composer who works on the boundaries between notated and improvised music, electronic and acoustic sounds, refined timbres and noise. She composes for others and performs with her own group, taking her music to festivals, factories, clubs, art spaces and concert halls. Much of her work combines acoustic instruments with electronic sounds, incorporating unusual sources such as satellite sounds, machine sounds, detuned or out-of-tune samples and industrial noises. Her work often contains improvisation and frequently uses extended techniques and/or altered musical instruments. She won a 2012 Berlin Prize.
Gosfield's work includes large-scale compositions, opera, orchestral work, chamber music, electronic music, video projects, and music for dance. She uses traditional notation, improvisation and extended techniques to explore relationships between music and noise. Her music is often inspired by non-musical sounds, such as machines, destroyed pianos, warped 78 rpm records, and detuned radios. She often collaborated with musicians to emphasize their unique qualities.
Gosfield's compositions have been performed internationally by The Bang on a Can Allstars, Agon Orchestra, Joan Jeanrenaud, Fred Frith, Felix Fan, Roger Kleier, Blair McMillen, William Winant, the FLUX Quartet, the Miami String Quartet, The Silesian String Quartet, So Percussion, Talujon Percussion, Newband (on the Harry Partch instruments) and many others, at festivals including Warsaw Autumn, ISCM World Music Days, Bang on a Can Marathon, Huddersfield Contemporary Music Festival, Santa Fe Chamber Music Festival, Festival Musique Actuelle, Wien Modern, OtherMinds, Spoleto Festival USA, Company Week, Taktlos, and three "Radical New Jewish Culture" festivals curated by John Zorn.
In November, 2017, The Los Angeles Philharmonic presented Gosfield's first opera, an original setting of Orson Welles's The War of the Worlds, adapted and directed by Yuval Sharon, simultaneously performed inside Walt Disney Concert Hall and on the streets of Los Angeles, using three repurposed air raid sirens to broadcast the music to the public in satellite performances in parking lots in Downtown Los Angeles.[1]
Gosfield has composed a site-specific work for a factory in Germany, collaborated on installations with artist Manuel Ocampo, and created a video for an imaginary orchestra of destroyed instruments. She has worked with many choreographers, including Karole Armitage, Pam Tanowitz, and Susan Marshall. Her music for dance has been featured at the Venice Biennale, the Next Wave Festival at the Brooklyn Academy of Music (BAM), Teatro Olimpico (Rome), The Joyce Theater, Jacob's Pillow, and the Duke Theater on 42nd Street.Her uncle was actor Maurice Gosfield.
Her music is featured on four solo CDs on Tzadik Records. Her 2012 release, Almost Truths and Open Deceptions, features a chamber cello concerto, a piece for piano and broken shortwave radio, and compositions inspired by warped 78 rpm records, baseball, and the industrial revolution, performed by the Annie Gosfield Ensemble, Felix Fan, the Flux Quartet, Real Quiet, Blair McMillen, David Cossin, and the Pearls Before Swine Experience. Her third release, Lost Signals and Drifting Satellites, features work scored for solo violin accompanied by satellite transmissions, and solo and chamber works performed by Joan Jeanrenaud and the Flux Quartet. Her previous Tzadik CD, Flying Sparks and Heavy Machinery, features two pieces inspired by her 1999 residency in the factories of Nuremberg, Germany. Burnt Ivory and Loose Wires, her first solo release for Tzadik, focuses on her work for detuned piano.
Gosfield taught composition as a visiting lecturer at Columbia University from 2019 to 2021. She was the Milhaud Professor of composition at Mills College in 2003 and 2005, visiting lecturer at Princeton University in 2007, and a visiting artist at Cal Arts in 1999. She also taught composition at the University of Texas Austin in 2019 and Indiana University in 2022.
Gosfield's writing on music has been featured in four essays published by The New York Times' "TimeSelect", and her essay "Fiddling with Sputnik" was published in Arcana II, edited by John Zorn. She is a periodic contributor to "The Score", The New York Times blog where composers discuss their work and the issues involved in creating music in the 21st century.[5]
Gosfield received a 2021 Music Award from the Academy of Arts and Letters, and a 2017 Guggenheim Fellowship in music composition. She received the Berlin Prize in music composition, and was made a Fellow at the American Academy in Berlin in spring 2012. She was the Paul Fromm Composer-in-Residence at the American Academy in Rome in 2015 [1], and was a 2008 Civitella Ranieri Fellow.[6]
As a young composer and musician, Smith always counted these legends among his influences. But he also recognized the unique opportunity afforded to him to expand the sound of Gotham via Batman: The Doom That Came to Gotham.
Awards Focus: There are many unique challenges that come with the privilege of scoring the Dark Knight in Batman: The Doom that Came to Gotham. How do you establish the musical identity of this world of Gotham that has been established with so many scores previously, while making it unique and personal to your vision?
AF: The action sequences in this film are spectacular, and really tap into the period setting of the film. With the sound design that comes with action scenes, how do you balance that with score and find harmony?
I think the key to writing good action music is establishing the overall tone, mapping out the major beats, and figuring out the best tempo for using sustains and rhythm to chase the picture to provide tension and release.
Much of this project was scoring the film as if the music carried the story, as I primarily wrote from edits without sound design. This is why the score is active in general, as the director (Sam Liu) is very musically driven. So in a sense, I had to imagine the sound design being there using verbal cues of where it would be within the film, but much of it was on me to establish the tone of the scene. I had to create my own sound design within the score to enhance the major hits and once the additional sound design was added, we then tweaked the music to support the scenes as needed.
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