Joann Falletta - Elfman:Percussion Concerto / Wunderkammer - Import CD

Credits:

Joann Falletta

Description:

A unique collection of works by up-and-coming American composer Danny Elfman. The percussion soloist is Colin Currie! Born in Los Angeles in 1953, Danny Elfman formed the new wave music group "Oingo Boingo" with his brother Richard Elfman in the early 1970s, and composed music for the film "Forbidden Zone" (1980) produced by Richard. While continuing his musical activities based in Los Angeles, he met a young Tim Burton and composed music for his first full-fledged film score, "Pee-wee's Big Adventure" (1985), Burton's feature film directorial debut, and has since composed music for many of Tim Burton's films. Since then, he has composed music for a variety of films and has been nominated for the Academy Award for Best Original Score four times. In addition to film music, he also composes classical works such as violin concertos. Joanne Falletta, one of America's leading female conductors, is currently the music director of the Buffalo Philharmonic and the Virginia Symphony Orchestra, and specializes in modern and contemporary music. And percussionist Colin Currie, one of the finest performers of contemporary music, plays solo in this impressive and innovative work.Danny Elfman describes each piece as follows Percussion has always been an important part of my life, beginning with a trip to West Africa at the age of 18 where I collected "balafon" (a sort of African version of the marimba) and learned to play them, and continuing into my 20s with a metal-based Indonesian In my twenties, percussion was always close to me, as I played in a metal-based Indonesian gamelan ensemble and built my own strange metal and wood percussion ensemble during my early theatrical career. Shortly after the premiere of my first violin concerto, I met percussionist Colin Currie by chance in London. We hit it off and agreed that it would be a lot of fun to work together, and we were both excited to return to our roots of wood and metal, mallets and sticks, and hands, and to take on the challenge of writing a new concerto. I knew that concertos written for solo percussion were far less common than concertos for piano, violin, or cello.This meant that there were far fewer "molds" for me to be influenced by, and my idea for the percussion concerto was more original. (1/2) Sony Music