OUR FIRST LOOK AT “Daphnis and Chloe Suite II”
This month we are returning to our roots, and will begin our study of Maurice Ravel’s “DAPHNIS AND CHLOE SUITE II”. Considered a masterpiece, not only of composition, but of orchestration, this work is an encyclopedia of orchestration techniques that are applicable in any style or genre of music.
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This Month’s Guests
“RAVEL’S BRAIN” is one of two documentaries that filmmaker Larry Weinstein has made about Maurice Ravel. This film centres on the disease that eventually robbed Ravel of his ability to compose music. In desperation, Ravel underwent surgery to try and repair his damaged brain, to no avail. As is the case with virtually every project that Larry undertakes, this film is a delightful work of art that is highly entertaining. For those who are interested, a link to watch the film privately will be provided.
Primarily a composer of concert music, Alexina Louie is a double Juno winner and an Order of Canada recipient. Her works are regulary performed internationally by some of the world’s best performers and ensembles. Alex Pauk, also an Order of Canada recipient, founded the Esprit Orchestra in 1983. His composition has also been largely in the concert realm, although he has made a significant contribution in music for film adn TV. Together, Alex and Alexina were awarded the Louis Applebaum Composition Award for excellence in composing for Film and TV in 2002.
After the screening, Larry, Alexina and Alex will talk briefly about the film (they have said it was the hardest filmscore they have ever worked on…) and take questions.
IF YOU WOULD LIKE TO BE A GUEST STUDY LEADER, please contact John firstname.lastname@example.org.
NEW ADVENTURES IN LISTENING – Film clips from “On The Waterfront” and “Ryan” are posted on the “Study Materials” page for download. With the sound removed, they can be scored as an exercise, and brough in to “Adventures in Listening” for feedback and analysis. Adventures in Listening is a unique opportunity to get unbiased and honest feedback on your ‘in-progress’ or experimental work from a community of your professional peers. Because it is anonymous, it is a risk-free environment. Whether you are an emerging composer or an experienced one, and whether your work is for concert or screen, I encourage you to take advantage of this invaluable resource.