For the entire article, click - asianjournal/aj-magazines/illustrious-maestro-andrea-morricone-joins-fil-am-artists-for-a-musical-gathering/ Listening to “Hymn for Faith” (L’Inno Alla Fede) performed by the 23-member ASO with flutist Salpy Kerkonian, was akin to hearing the sounds of the Maestro’s new CD. “L’Inno Alla Fede for Oboe and Strings” was recently recorded at the Village RECORDING STUDIO in Los Angeles with a 30-piece orchestra composed of LA’s finest string players, including oboist Tom Boyd and First Violin Katia Popov, and presented to the Official Press Conference for Fondazione Pro Musica e Arte Sacra in Rome, Italy on Oct. 14, 2014. Just a night before the concert on Dec. 20, the maestro ARRANGED “Canzona Filipina,” which he said, “is deceptively simple, but complex and clearly done by a person who is well versed in music,” referring to our very own Felipe de Leon, who composed “Payapang Daigdig” “the morning he woke up to the destruction of Manila during World War II.” Wars of destruction somehow become incubators for great classical compositions. As Andrea conducted ASO at rehearsal, he grew more in love with the sounds. He said, “la ta ti” as if easier to sound off his passions. He encouraged all to play their best sounds, almost catapulting them to reach their highest levels of performance. Extracting their depths, their innermost abilities, and musical capacities to be with the audience, Andrea pointed to the bass player, “Crescendo, fortissimo.” With gentleness, he articulated encouragement to Anna, his concertmaster, and urged the orchestra to come forth with their sounds, demonstrating it by his example. Nothing was withheld; everything was given to one’s music. Composing music comes easy to him. Even for harp, flute and strings, uncommonly done by other composers, Maestro Morricone has many COMPLETED originals. When asked who commissions his compositions, he simply answers, “I make music every day.” With the use of dissonant sounds, a la Bartók, he highlights seamless, ascending harmonies, and blends, that at the end of a score, one is either on the verge of tears or crying or rejoicing in prayer. Maestro Andrea was clearly spent—forehead in SWEAT, disheveled hair from moving—as if swimming with his hands while alternating in tiptoeing his right to left foot. At times, both his hands flailing in the air or his fingers mimicking the keyboard with the tempo he wanted. - See more at: asianjournal/aj-magazines/illustrious-maestro-andrea-morricone-joins-fil-am-artists-for-a-musical-gathering/#sthash.uWaPIL7U.dpuf
Posted on: Wed, 07 Jan 2015 18:41:54 +0000
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