SALVATORE MARTIRANO: O, O, O, O, THAT SHAKESPEHERIAN RAG, by Salvatore Martirano

SALVATORE MARTIRANO: O, O, O, O, THAT SHAKESPEHERIAN RAG

by Salvatore Martirano

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1.	Cocktail Music 06:21	buy track
2.	Octet 06:57	buy track
3.	Chansons Innocentes-I In Just Spring 02:41	buy track
4.	Chansons Innocentes-II. Hist Whist 01:42	buy track
5.	Chansons Innocentes-III. Tumbling Hair 02:02	buy track
6.	Ballad 11:37	buy track
7.	Stuck on Stella 13:05	buy track
8.	O, O, O, O, That Shakespeherian Rag: Winter 06:04	buy track
9.	O, O, O, O, That Shakespeherian Rag: Lullaby 07:26	buy track
10.	O, O, O, O, That Shakespeherian Rag: Warning 04:06	buy track
11.	O, O, O, O, That Shakespeherian Rag: Spring 05:07	buy track

about

Salvatore Martirano (1927-1995) was one of the key members of the circle of composers who, during the sixties and early seventies, were well-known for their wild eclecticism. Serialism, jazz, electronics, popular music, and theater were incorporated into their music in fresh and exciting combinations. O,O,O,O, That Shakespeherian Rag collects six of the most important compositions from his relatively small body of work.

By the late 50s Martirano had begun to freely incorporate elements of jazz and popular music. O,O,O,O, That Shakespeherian Rag (1959), one of his two magnum opuses, is a prime example of this musical synthesis－a serialist choral setting of passages from three Shakespeare plays, accompanied by a chamber orchestra that includes a jazz ensemble. Schoenberg meets bebop in a wild, intricate and richly allusive mix of words and music. Domenico Scarlatti + Art Tatum = Cocktail Music (1962)－a short virtuosic solo piano concoction. Octet (1963) is a delicately orchestrated canvas of pungent sonorities and airy textures. Chansons Innocentes (1957), are short settings for voice and piano of three e.e. cummings poems.

Ballad (1966), for voice and seven-piece ensemble including tenor sax, mixes snippets of a half-dozen standards into a heady cocktail of jazz, dodecaphony, and Broadway. Stuck on Stella (1979), for solo piano, takes its inspiration from, among others, Rachmaninov, Miles Davis, Weber's Konzertstück, and of course, the jazz standard, "Stella by Starlight." It's been described as "... a nocturnal fantasy with many shifts of mood and narrative incidents... Midnight is announced by tolling left-hand octaves, followed by a chordal passage reminiscent of Debussy. The piece ends with a whiff of Ravel's Gaspard de la Nuit."

credits

released January 1, 1998

University of Illinois Chamber Choir & Madrigal Singers, S. Martirano, conductor; Marilyn Nonken, J.B Floyd, Vicki Ray, piano; Jacqueline Bobak, Donald Smith, vocalist; Ronald Dewar, bass clarinet, tenor sax; Thomas Howell, flute; Howard Smith, contra-alto clarinet; Arthur Maddox, celeste; Dorothy Martirano, violin; Lee Duckles, cello; Thomas Frederickson, bass; Morgan Powell, trombone; Charles Brougham, Rick Kvistad, percussion

license

about

New World Records Brooklyn, New York

Anthology of Recorded Music, Inc., which records under the label New World Records, was founded in 1975.

We are dedicated to the documentation of American music that is largely ignored by the commercial recording companies.