Performances and recordings

What a treat this was. I got to record (as a live performance on a very hot summer evening, the week before the occasion,) this world premiere, commissioned by All Classical Portland for the express purpose of accompanying the solar eclipse of August, 2017. You remember it, I’m sure, the Great American Eclipse? All Classical had special eclipse programming all day, which attracted people all over the world, and I got to hear the broadcast during the totality, and I have to say, it truly added to the experience! Just wonderful.

https://www.allclassical.org/spotlights/eclipse-world-premiere/

The Body of the Moon
Commissioned by All Classical Portland
(c) Desmond Earley 2017
(p) RMR Publishing 2017
Rod Evenson (Recording Engineer)
Leb Borgerson (Session Plotting)
Justin Phelps (Sound Mastering)
Master use with thanks to All Classical Portland

Performers:

Resonance Ensemble
Nancy Ives (violoncello)
Chris Whyte (percussion)
Erick Vallé (vocals)
Katherine Fitzgibbon (conductor)

Desmond Earley (composer)

 

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The ringtone on my iPhone is unique. It’s an excerpt from “jerk-driver” by Gabriel Prokofiev, which I recorded just before his residency with FearNoMusic in March 2011. “Jerk-driver” is one of a Suite of multi-track cello pieces Gabriel (who is the grandson of Sergei) was still in the process of getting ready for publication.  I spent a couple of days in Randy Porter’s studio recording all of the 11 tracks. When Gabriel got here, he and I collaborated on creating a performance mix, in which the parts I play live are muted so I can play along with the recording of my many selves. Very cool.

Gabriel was enthusiastic about the results, and mentions it in his blog:

Particularly exciting for me was to hear the first live performance of Jerk Driver, a piece I composed 1 year ago for multi-track Cellos. Nancy Ives, had recorded all the mulitrack cello parts a week earlier in a friend’s studio & I was blown-away by the accuracy and understanding of her interpretation… The piece is based on a very jerky, stuttery, crunchy double-stopped bass groove, which she got totally spot-on, as well as all the extended-technique cello percussion stuff. I had assumed the piece would need quite a bit of work-shopping, but she understood, really enjoyed & pulled it off; so our rehearsal session together was just to fine-tune a few details.

Someday I hope to have my own personal recordings of the whole Suite to perform with! Future Kickstarter campaign, perhaps; it would be ideal to go to London to do it with the composer. A girl can dream, can’t she?

 

At the time of this concert with FearNoMusic, Gabriel had started recording the pieces with UK cellist Peter Gregson and I was able to use the one he had ready,  “Float Dance,” for the performance, which meant that I was playing along with this other cellist I had never met. Since then, the composer and cellist Peter Gregson have done quite a bit more. This YouTube video shows what they’ve been up to. It is a shortened version of the piece, I notice, with other differences as well. No surprise; Gabriel is a master of remixes.

 

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