Two World Concerto
Just finished listening to "Two World Concerto - The Music of James DeMars" by R. Carlos Nakai, Black Lodge Singers, and Canyon Symphony Orchestra.
A professor at Arizona State University's Herberger Institute, James DeMars has been composing classical works that look to African, Native American, and other cultures. This album features three orchestral pieces and two encores for the soloists, famous Native American flutist R. Carlos Nakai and the Black Lodge Singers and drummers. DeMars himself conducts the Canyon Symphony Orchestra. Far from merely an album of flute plus strings, Two World Concerto has been carefully crafted to accommodate the limitations of the Native American flute and Nakai's sensitive, smoothly flowing sound. DeMars uses orchestral Arabic scales to add to the exciting exotica and blend with the flute's pitch. Changes in tempo, atmospheric strings, majestic crescendos of sonorous horns, driving drums, gongs, rainstick, bell shaker, and other unusual percussion, and oboe, clarinet, and bassoon solos offer a rich tapestry of orchestral color and mood. Beauty, movement, and fire mark this bright concerto. The second piece is a simple, 5-minute aria for flute and orchestra; it is a gentle, peaceful song. Next, is a lively concerto for pow-wow drumming and singers. As in the traditional pow-wow, the proceedings begin with the entry of the dancers behind American (and often Canadian) flags; hence Native Drumming has Flag Song in its first part. It is based on a Blackfeet tune, put to 6/8 meter, and has a duet of horns at its conclusion. The second part, Destiny Song and Mask Dance, is passionate and powerful. We can almost see the 'fancy dancers' twisting and stomping. Shakers supplement the big pow-wow bass drum. The Sacred Mask Dance section, from the Keres Pueblo of New Mexico, is a departure from the pow-wow format. Algin Scabby Robe is the soloist against syncopated orchestral drums, shakers, and pizzicato strings. The conclusion brings back the pow-wow drumming and harmonic singers and the full brass section; all giving a final flourish. The first encore is Seasons by Robe and the Black Lodge Singers with pow-wow drum, without orchestra, as the song would be heard in gatherings. The last encore is with Nakai alone, playing a Zuni corn grinding song. The album thus is a tour de force fusion of classical orchestra and traditional Native American music.
https://www.amazon.com/TWO-WORLD-CONC...
A professor at Arizona State University's Herberger Institute, James DeMars has been composing classical works that look to African, Native American, and other cultures. This album features three orchestral pieces and two encores for the soloists, famous Native American flutist R. Carlos Nakai and the Black Lodge Singers and drummers. DeMars himself conducts the Canyon Symphony Orchestra. Far from merely an album of flute plus strings, Two World Concerto has been carefully crafted to accommodate the limitations of the Native American flute and Nakai's sensitive, smoothly flowing sound. DeMars uses orchestral Arabic scales to add to the exciting exotica and blend with the flute's pitch. Changes in tempo, atmospheric strings, majestic crescendos of sonorous horns, driving drums, gongs, rainstick, bell shaker, and other unusual percussion, and oboe, clarinet, and bassoon solos offer a rich tapestry of orchestral color and mood. Beauty, movement, and fire mark this bright concerto. The second piece is a simple, 5-minute aria for flute and orchestra; it is a gentle, peaceful song. Next, is a lively concerto for pow-wow drumming and singers. As in the traditional pow-wow, the proceedings begin with the entry of the dancers behind American (and often Canadian) flags; hence Native Drumming has Flag Song in its first part. It is based on a Blackfeet tune, put to 6/8 meter, and has a duet of horns at its conclusion. The second part, Destiny Song and Mask Dance, is passionate and powerful. We can almost see the 'fancy dancers' twisting and stomping. Shakers supplement the big pow-wow bass drum. The Sacred Mask Dance section, from the Keres Pueblo of New Mexico, is a departure from the pow-wow format. Algin Scabby Robe is the soloist against syncopated orchestral drums, shakers, and pizzicato strings. The conclusion brings back the pow-wow drumming and harmonic singers and the full brass section; all giving a final flourish. The first encore is Seasons by Robe and the Black Lodge Singers with pow-wow drum, without orchestra, as the song would be heard in gatherings. The last encore is with Nakai alone, playing a Zuni corn grinding song. The album thus is a tour de force fusion of classical orchestra and traditional Native American music.
https://www.amazon.com/TWO-WORLD-CONC...
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