Geoffrey Gordon Composer

Geoffrey Gordon Composer

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Geoffrey Gordon Composer episodes

  • FATHOMS V Prospero Drowns His Book
    This is the fifth movement of Geoffrey Gordon's FATHOMS, Five Impressions of Shakespeare's The Tempest (with Prelude) for cello and piano, in a performance by cellist Toke Moldrup and pianist Steven Beck, from Carnegie Hall, 17 December 2015.
    "But this rough magic
    I here abjure, and when I have required
    Some heavenly music, which even now I do,
    To work mine end upon their senses that
    This airy charm is for, I’ll break my staff,
    Bury it certain fathoms in the earth,
    And deeper than did ever plummet sound
    I’ll drown my book."
    7 min
  • GORDON Winterleben I
    This is the premiere performance of Geoffrey Gordon's song cycle, Winterleben, a setting of five texts by poet Friedrich Rückert, for mezzo, horn and piano, commissioned for Los Angeles Philharmonic principal horn, Andrew Bain, through the gracious support of Elizabeth and Justus Schlichting.
    Friday, August 7, 2015
    Zipper Hall, Los Angeles
    Andrew Bain, horn
    Renee Rapier, mezzo
    Nic Gerpe, piano
    PROGRAM NOTE:
    Friedrich Rückert, (1788-1866) – German poet, philologist, orientalist – was a profound source of inspiration for Gustav Mahler. The composer identified deeply with the directness and refined sensibility of his verses, declaring that ‘after Des Knaben Wunderhorn I could not compose anything but Rückert – this is lyric poetry from the source, all else is lyric poetry of a derivative kind’. Mahler set many of Rückert’s texts—Rückert-Lieder, Kindertotenlieder—but of course there are many Rückert texts which he did not set, including the five poem collection known as Winterleben (Winter Life). What follows is a new work, for mezzo soprano, French horn soloist (sharing equal prominence throughout the work) and piano, based on these beautiful and evocative Rückert poems.
    -Geoffrey Gordon
    TEXT:
    I. Die Winternachtigall
    So laut im Winterzimmer schmettert
    Die Nachtigall,
    Daß sich ein Frühlingshain beblättert
    An ihrem Schall:
    Zum blauen Himmel wird die Decke
    Und jede Wand zur grünen Hecke,
    Zur Schattengrotte jede Dunkelecke,
    Des Vorhangs Weh'n zu Bäche-Rieselfall.
    Nur wenn der Himmel oft so schaurig
    Durchs Fenster schaut,
    Dann klagt die Nachtigall so traurig
    Den Klagelaut,
    Als wollte sie ihr Los verklagen,
    Daß sie in Winterhaft muß schlagen
    Und schweigen einst, wann in beglücktern Tagen
    Der freie Frühling seinen Tempel baut.
    Doch laß dich das nur nicht verdrießen
    Und singe zu!
    Ein Lenz muß auch im Winter sprießen,
    Den wirkest du.
    O Himmelskehl' im Zeitenfroste,
    Du bist gegeben uns zum Troste;
    Sing' nur, und ob es dir die Seele koste,
    In jede Seele Sehnsucht, Schmerz und Ruh'.
    6 min
  • GORDON Winterleben II
    This is the premiere performance of Geoffrey Gordon's song cycle, Winterleben, a setting of five texts by poet Friedrich Rückert, for mezzo, horn and piano, commissioned for Los Angeles Philharmonic principal horn, Andrew Bain, through the gracious support of Elizabeth and Justus Schlichting.
    Friday, August 7, 2015
    Zipper Hall, Los Angeles
    Andrew Bain, horn
    Renee Rapier, mezzo
    Nic Gerpe, piano
    PROGRAM NOTE:
    Friedrich Rückert, (1788-1866) – German poet, philologist, orientalist – was a profound source of inspiration for Gustav Mahler. The composer identified deeply with the directness and refined sensibility of his verses, declaring that ‘after Des Knaben Wunderhorn I could not compose anything but Rückert – this is lyric poetry from the source, all else is lyric poetry of a derivative kind’. Mahler set many of Rückert’s texts—Rückert-Lieder, Kindertotenlieder—but of course there are many Rückert texts which he did not set, including the five poem collection known as Winterleben (Winter Life). What follows is a new work, for mezzo soprano, French horn soloist (sharing equal prominence throughout the work) and piano, based on these beautiful and evocative Rückert poems.
    -Geoffrey Gordon
    TEXT:
    II.Winter-Lerchenton
    In Lüften hängt ein Lerchenton,
    Mein Ohr hat staunend ihn vernommen.
    Ist's eine, die noch nicht entflohn?
    Ist's eine, die zurückgekommen,
    Gelockt von Frühling schon,
    Da rings die Schöpfung noch von Winter ist beklommen?
    Durch meine Seele zieht ein Schwung,
    Den jener Ton hat angeschlagen.
    Ist's Ahnung, ist's Erinnerung
    Von künftigen, von vor'gen Tagen?
    Ich fühle nur mich jung,
    Ob wie ich's war, ob wie ich sein werd'? ist zu fragen.
    Verklungen ist die Melodie,
    Verschlungen von Schneewolkenherden;
    Und Winter ist's im Herzen, wie
    Am Himmel Winter und auf Erden,
    So Winter, als ob nie
    Gewesen Frühling sei und nimmer sollte werden.
    5 min
  • GORDON Winterleben III
    This is the premiere performance of Geoffrey Gordon's song cycle, Winterleben, a setting of five texts by poet Friedrich Rückert, for mezzo, horn and piano, commissioned for Los Angeles Philharmonic principal horn, Andrew Bain, through the gracious support of Elizabeth and Justus Schlichting.
    Friday, August 7, 2015
    Zipper Hall, Los Angeles
    Andrew Bain, horn
    Renee Rapier, mezzo
    Nic Gerpe, piano
    PROGRAM NOTE:
    Friedrich Rückert, (1788-1866) – German poet, philologist, orientalist – was a profound source of inspiration for Gustav Mahler. The composer identified deeply with the directness and refined sensibility of his verses, declaring that ‘after Des Knaben Wunderhorn I could not compose anything but Rückert – this is lyric poetry from the source, all else is lyric poetry of a derivative kind’. Mahler set many of Rückert’s texts—Rückert-Lieder, Kindertotenlieder—but of course there are many Rückert texts which he did not set, including the five poem collection known as Winterleben (Winter Life). What follows is a new work, for mezzo soprano, French horn soloist (sharing equal prominence throughout the work) and piano, based on these beautiful and evocative Rückert poems.
    -Geoffrey Gordon
    TEXT:
    III. Der Abglanz der Rose
    Wenn der Rose Liebesrot
    Ist im kurzen Lenz verglüht,
    Bleibt in Erdenwinternot
    Dir kein Trost, o mein Gemüt;
    Blick' hinauf! am Himmel sprüht
    Ew'ges Abend-Morgenrot:
    Deine Ros' ist hier nicht tot,
    Die dort oben doppelt blüht.
    5 min
  • GORDON Winterleben IV
    This is the premiere performance of Geoffrey Gordon's song cycle, Winterleben, a setting of five texts by poet Friedrich Rückert, for mezzo, horn and piano, commissioned for Los Angeles Philharmonic principal horn, Andrew Bain, through the gracious support of Elizabeth and Justus Schlichting.
    Friday, August 7, 2015
    Zipper Hall, Los Angeles
    Andrew Bain, horn
    Renee Rapier, mezzo
    Nic Gerpe, piano
    PROGRAM NOTE:
    Friedrich Rückert, (1788-1866) – German poet, philologist, orientalist – was a profound source of inspiration for Gustav Mahler. The composer identified deeply with the directness and refined sensibility of his verses, declaring that ‘after Des Knaben Wunderhorn I could not compose anything but Rückert – this is lyric poetry from the source, all else is lyric poetry of a derivative kind’. Mahler set many of Rückert’s texts—Rückert-Lieder, Kindertotenlieder—but of course there are many Rückert texts which he did not set, including the five poem collection known as Winterleben (Winter Life). What follows is a new work, for mezzo soprano, French horn soloist (sharing equal prominence throughout the work) and piano, based on these beautiful and evocative Rückert poems.
    -Geoffrey Gordon
    TEXT:
    IV. Erwartung
    Wenn ich gegen Tages Mitte
    Setz' ins Zimmer meine Schritte,
    Die auf Schnee und Eis geweilt;
    Denk' ich, auf dem Wust des Tisches
    Liegen müss' ein Blatt, ein frisches
    Das vom Freunde Kund' erteilt,
    Wie die rötlich angeglühte
    Mandelblüte,
    Die voraus dem Frühling eilt.
    Oder wann ich lange träumte,
    Wie er nun so lange säumte,
    Sich zu melden; kommt mir's vor,
    Selber müss' er aus den Ecken
    Treten, froh mich zu erschrecken,
    Ohne Meldebrief zuvor,
    Überraschend, wie die Feige
    Aus dem Zweige
    Ohne Blüte tritt hervor.
    5 min
  • GORDON Winterleben V
    This is the premiere performance of Geoffrey Gordon's song cycle, Winterleben, a setting of five texts by poet Friedrich Rückert, for mezzo, horn and piano, commissioned for Los Angeles Philharmonic principal horn, Andrew Bain, through the gracious support of Elizabeth and Justus Schlichting.
    Friday, August 7, 2015
    Zipper Hall, Los Angeles
    Andrew Bain, horn
    Renee Rapier, mezzo
    Nic Gerpe, piano
    PROGRAM NOTE:
    Friedrich Rückert, (1788-1866) – German poet, philologist, orientalist – was a profound source of inspiration for Gustav Mahler. The composer identified deeply with the directness and refined sensibility of his verses, declaring that ‘after Des Knaben Wunderhorn I could not compose anything but Rückert – this is lyric poetry from the source, all else is lyric poetry of a derivative kind’. Mahler set many of Rückert’s texts—Rückert-Lieder, Kindertotenlieder—but of course there are many Rückert texts which he did not set, including the five poem collection known as Winterleben (Winter Life). What follows is a new work, for mezzo soprano, French horn soloist (sharing equal prominence throughout the work) and piano, based on these beautiful and evocative Rückert poems.
    -Geoffrey Gordon
    TEXT:
    V. Wintersonne
    Mond und Sonne scheint so schön,
    Wie im Frühling immer;
    Öder nur die Winterhöh'n
    Macht der kalte Schimmer.
    Ach vom Himmel kann die Lust
    Nicht hernieder steigen,
    Wenn der Erde, wenn der Brust
    Sie nicht schon ist eigen.
    7 min

About Geoffrey Gordon Composer

From the publisher's feed

US/UK composer Geoffrey Gordon’s contributions to the contemporary music repertoire have been and continue to be exceptional. Intense and luxuriant harmony, passionate melody and superb handling of instrumentation and sonic textures define his music. His works include orchestral, chamber and vocal works, recognised and performed by the world's top musicians and ensembles. His music has been called "darkly seductive" (The New York Times), "complex, richly-satisfying " (BBC Music Magazine), “stunning” (Philadelphia Inquirer), “iridescent and glowing” (Chicago Tribune), “taut and exhilarating” (Classical Ear), “haunting” (Strings Magazine), "gripping" (Bachtrack), "fierce and uncompromising" (MusicWeb International) and “magnificent” (Fanfare). The Philharmonia identifies “his infectious style" and “an ear for melody”; the New York Times his “zest for sonic experimentation”.