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Amy Dickson - Glass (2017)

Amy Dickson - Glass (2017)

BAND/ARTIST: Amy Dickson

  • Title: Glass
  • Year Of Release: 2017
  • Label: Sony Classical
  • Genre: Classical
  • Quality: FLAC (tracks+booklet)
  • Total Time: 56:33
  • Total Size: 244 MB
  • WebSite:
Tracklist:

1. Sonata for Violin and Piano (Arr. for Saxophone and Orchestra) – Movement I
2. Sonata for Violin and Piano (Arr. for Saxophone and Orchestra) – Movement II
3. Sonata for Violin and Piano (Arr. for Saxophone and Orchestra) – Movement III
4. Morning Passages (From “The Hours”)
5. Escape! (from “The Hours”)
6. Concerto for Violin and Orchestra, Arr. for Saxophone and Orchestra – I. Crotchet = 104
7. Concerto for Violin and Orchestra, Arr. for Saxophone and Orchestra – II. Crotchet = 108
8. Concerto for Violin and Orchestra, Arr. for Saxophone and Orchestra – III. Crotchet = 150

A ground-breaking recording of some of Philip Glass’s most iconic music, transcribed for saxophone by Classic BRIT Award-winning classical saxophonist, Amy Dickson, in celebration of Philip Glass’s 80th birthday. Amy Dickson’s love for Philip Glass started 10 years ago when she discovered his violin concerto, a work which features on this album. This expressive work is arranged for saxophone by Dickson herself, as is the violin sonata for which Dickson had to learn a new technique to master the work; circular breathing.
Two more works feature in the album, both taken from Glass’ soundtrack to the ‘The Hours’, which won the “Best Original Music” award at the British Academy Film Awards in 2003. ‘Escape’ and ‘Morning Passages’ are pieces of intimate chamber music, both arranged by Amy’s husband, composer Jamie Barclay.

BBC Music Magazine Review of the Glass Concerto:

“Amy Dickson’s arrangement for soprano saxophone actually works better than the original (which isn’t too surprising: Glass said he wrote the work for his own sound, not that of the violin). The fast passages sound crisper; the bubbling arpeggios and long slow notes have new varied textures thanks to the saxophone’s reedy depth; the insistent solo interjections in the finale now pierce the orchestra; and occasional violin-specific techniques, such as multiple stopping, are translated with no musical loss. It’s helped by a fine, clear recording (with the best percussion sound of any) with well-focussed wind lines, and the punchiest, best-driven brass power in the nicely-near-chaotic finale”.


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