GluckTV Music
Anna Emilova Sivova
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Mystic Flow: Dolmens in Andaluisa A musical and visual meditation by Violinist and Director Anna Emilova Sivova. Sivova's haunting and emotional soundtrack is inspired by Chris Rea's Nothing To Fear. The video is shot at various Dolmens or Ancient burial sites in Andalusia Spain. |
Magical Nature Magical Nature, is a musical and visual meditation, Violinist and director Anna Emilove Sivova on lockdown in spain can only think about shooting the ocean or nature (and some dolmens). |
| My Name is Anna Emilova Sivova and I was born in Sofia. Currently, I am a Ph.D. candidate at UCR, and I am a professional violinist. I started playing the violin at age 5 with my mother. I remember when I was young that sometimes, while practicing the violin, my mind suddenly went away, following the melodies of my violin. I was able to imagine interesting stories and see images that the music inspired me. My first video, “Meditation of Thaïs” represents those moments of inspiration, even meditation at times. I perform on my violin the music from the violin solo of the opera Thaïs composed by Jules Massenet in 1894. I recorded the piece and edited the sound to give the impression that I am performing in a big hall. I needed someone to help me with the video recordings and since I was in contact only with my family, due to the Covid-19 situation, I asked my mother to be my camera. She happily agreed and we both went to the site where the video was shot. We filmed in mid-July 2020 in Mazagon (Huelva), a small coast village in Southern Spain. I edited the material and finished the video. | My second video, “My Violin in Sofia” is very dear to me, since I shot it in the city where I was born and which I enjoy visiting very much. I love the nature of Bulgaria and remember very clearly the walks I used to take with my parents or with my grandparents in the parks of the city. Sofia is one of the oldest cities in Europe, but the decades of communistic dictatorship submerged the country in an illusory bubble that had its effect on every level of people’s lives. The arts were an important tool that was used as a carrier of ideology. I tried to represent in this video some of the absurdity of it and the hope that nature gives to all of us. The music I used for the video is my solo performance of Prelude and Allegro by Fritz Kreisler, composed in 1905. The first part of the video was shot in the city of Sofia in three different sites. The first one was the Borisova Gradina (Garden of Boris), and I had the help of my sister. We filmed on a stage in the Garden that is usually used for free evening performances of children’s dance groups, beginning rock or jazz groups, and many other. When no one is using it, it is actually a very beautiful place to play and record. The second filming site was the Theater Garden in Sofia, where I filmed some of the statues there. The second part of the film is featuring the nature that surrounds the city. I filmed some of the material in the Borisova Gradina, but most of it is from the mountain nearby Sofia: Vitosha Mountain. The filming and editing happened during my stay in Sofia in August 2020. |
| My third video was filmed in the city of Seville, where I moved with my family when I was 10 years old. Seville is overwhelmingly beautiful with many layers of history. However, there is a past that cannot be hidden. On the one side, the Inquisition that expelled the Jewish population from Spain in 1492 was very powerful here. On the other, the ships coming from the Americas full of gold and silver by exploiting these lands stored those materials in Seville. In my video “Seville”, I tried to picture the beauty of the city, but also its triviality, underlying the dark yesterday. The music I am performing here is the Playera by Pablo Sarasate, composed in 1880. In this video I do not appear performing the violin. I am also the camera and editor. I filmed the material in different sites in Seville: Parque de María Luisa, Plaza de España, Barrio de Santa Cruz or La Judería, and Jardines de Murillo. It can be seen how the very popular touristic destination that Seville is is almost empty due to the Covid-19 travelling restrictions. The video was filmed and edited at the end of August, 2020. |
FourteGuitar Quartet - Lemuel Lugo, Jehu Otero, Felix Del Valle, Jorge Calaf Vicario
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FourteGuitar Quartet performs "La Gran Bomba" by Alberto Rodiguez Ortiz La Gran Bomba was written by Puertorrican composer and classical guitarist Alberto Rodiguez Ortiz for the FourteGuitar Quartet. It has an introduction, theme and variations on elements of Puerto Rican Bomba. It combines the techniques of modern classical music composition with elements from the native Afro-Puertorrican Bomba to create a new language for guitar quartet. Read more about La Gran Bomba, FourteGuitar Quartet and Alberto Rodiguez Ortiz by clicking below: |
OPERAPERTA DUO-Elisa Ramon, soprano | Alessio Olivieri, guitar
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Operaperta Duo performs “An Epitaph” by John Duarte "An Epitaph" is a song for voice and guitar by British composer John Duarte (1919-2004) on the homonymous poem by Walter de la Mare (1873-1956). The story of the beautiful girl from the West Country, whom nobody remembers after her death, is a romantic metaphor of the transitoriness of life. What stays, what is carried on, is not the mere physicality ("Beauty vanishes, beauty passes"). Instead, it is the inner beauty of one's soul. The video photography includes British and Scottish landscapes, evoking the countryside that was undoubtedly a source of inspiration for both de la Mare and Duarte. This song is part of Duarte's work titled Five Quiet Songs Op. 37 (1968). Operaperta Duo Elisa Ramon, soprano Alessio Olivieri, guitar |
Operaperta Duo performs "Omar's Lament" by John Duarte "Omar's Lament" is a song for voice and guitar by British composer John Duarte (1919-2004), and it is part of his work titled Five Quiet Songs Op. 37 (1968). The lyrics come from The Rubáyiát of Omar Khayyám (1859), a translation work by Edward FitzGerald (1809-1883). FitzGerald engaged in Oriental studies and published his translation of a set of quatrains - discovered in those years in Calcutta – attributed to the Persian "astronomer-poet" Omar Khayám (1048-1131). Operaperta Duo Elisa Ramon, soprano Alessio Olivieri, guitar |
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Operaperta Duo performs “La maja dolorosa n.1" by Enrique Granados La maja dolorosa is a set of three songs for voice and piano written by the Spanish composer Enrique Granados (1867-1916). It is based on lyrics by Fernando Periquet (1873-1940), and it is part of a collection of compositions called Tonadillas en estilo antiguo (1910). We here perform the first of three (¡Oh muerte cruel! / Oh cruel death!). The video includes artworks (paints and tapestry cartoons) by the illustrious Spanish painter Francisco Goya (1746-1928), who was Granados' preferred and inspired several of his composition, including an opera titled Goyescas. In a time when Spain was struggling to re-establish a sense of self-identity (following the disastrous 1898 war with the U.S.A.), Granados saw in Goya the ideal artistic reference of a glorious Spanish era, one populated by majos and majas. Often called manolos and manolas, they were usually low-class people who distinguished themself for their elaborated outfits, manners, and behavior. Granados identified majos and majas as the quintessential expression of Castillanism (a sense of "Spanishness" specifically identified with the Castille region). The artworks presented in the video are all Goya's representations of majos and majas. This video clip is our homages to the intertwined aesthetics of Goya and Granados. La maja dolorosa n. 1 expresses the pain of the maja for the death of her beloved ("Come back my love, because to live a life this way [ without you] is like dying"). The original score for voice and piano was arranged for voice and guitar by Alessio Olivieri. Operaperta Duo Elisa Ramon, soprano Alessio Olivieri, guitar |
Operaperta Duo performs “Ombre amene” by Mauro Giuliani This romance was composed by Mauro Giuliani (1781-1829) on a notorious poem by Pietro Metastasio (1689-1782). The video includes a selection of works by such renowned French painters as Jean-Antoine Watteau (1684-1721) and Jean-Honoré Fragonard (1732-1806). Watteau has been defined as "the guitarists' painter" because of the numerous guitars and guitarist representations in his works. We selected pictures that evoke the atmosphere and subject of the lyrics. "Ombre amene" (lovely shades) and "amiche piante" ("friendly plants") suggest the human relationship with nature, a pastoral world that is environment and expression of love. The imaginary character also asks the wind ("zeffiretto lusinghiero") to travel and tell the beloved to come back and "give peace" to the love struggle. This romance is part of Giuliani’s Sei ariette Op. 95 (1816) Operaperta Duo Elisa Ramon, soprano Alessio Olivieri, guitar |
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Operaperta Duo performs “Le dimore amor non ama” by Mauro Giuliani This romance was composed by the Italian composer Mauro Giuliani (1781-1829) on a notorious poem by Pietro Metastasio (1689-1782). It describes the nature of love, which cannot be held since it does not love the dwelling places ("Le dimore amor non ama"). The main character needs to see his lover as the time away from her seems like a long exile for his soul. This romance is part of Giuliani’s Sei ariette Op. 95 (1816). Operaperta Duo Elisa Ramon, soprano Alessio Olivieri, guitar |
Alessio Olivieri performs “Dervish” by Phillip Houghton DERVISH In 1989, the Australian composer Phillip Houghton (1954-2017) composed the piece "Stélé," a guitar composition in four movements (1. Stélé, 2. Dervish, 3. Bronze Apollo, 4. Web). The work was inspired by —and it is an homage to— the Greek art and mythology, as well as, as well as the Grecian landscape and culture. The word Stélé, which gives title to both the composition and its first movement, means "headstone" (or monument). "Dervish" has two sources of inspiration. The first one is a Hellenistic statue, dated 140-150 B.C., called The Jokey of Artemision (Artemision is the place in Greece where the parts of the bronze statue were retrieved at the beginning of the 20th century), representing a boy riding a galloping horse. In the piece, Houghton constantly creates the horse's image through the relentless repetition of notes. In the final section, the composer employs the so-called Bartók pizzicato technique. This technique— which the Hungarian composer Béla Bartók first started using on the violin— entails slapping the guitar strings against the fretboard, creating a percussive “snapping” effect. In the piece, this generates the imagery of the mad galloping horse making quick and nervous turns. The second source of inspiration, which also provides the title to the piece, comes from the Turkish culture of the Dervish. Specifically, Houghton's music is an aesthetic response to the practice of the "whirling dervishes." This is an ecstatic dance ritual practice of the Sufi Muslim groups in Turkey dating back to the 12th century. By listening to the music and spinning their body for hours, while concurrently moving in a circle, the Sufi whirlers sought to transcend themselves, cathartically aiming to God. This practice is also a symbolic imitation of the Solar system, with its planets (represented by circulars shape taken by the whirling Sufi's dresses) orbiting around the Sun. Operaperta Duo Elisa Ramon, soprano Alessio Olivieri, guitar |
Bob Bonzonelos
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Excursions In Derivate Art: Reimagining The Silent Films of Segundo de Chomón With Sound. This program/project offers viewers the opportunity to engage with past forms of media through Download |
Wordless Bliss Wordless Bliss Mixed Media Composition by Bob Bozonelos Wordless Bliss is a derivate composition based on a melodic segment from an anonymous 13th century English minstrel. The piece was written specifically for a lecture course on minimalism lead by Dr. Ian Dicke, Professor of Composition at UC Riverside. As part of this course, we created musical devices to explore patterns within our compositions' structure. Of the numerous devices, I selected to use concepts based on Terry Riley's 1964 composition In C. Riley's music is notable for its use of repetition, tape music techniques, and delay systems. In C incorporates the use of 53 short melodic patterns that vary in length. Riley instructs players to begin on a melodic pattern and cycle through all the cells at the player's discretion. The players can choose how long to stay on a pattern before moving to the next, thus creating unique patterns that are aleatoric rather than fixed. Downloads |
G. Bautista
Channel 19 - a music video by Adam Marash - features the music of Gabriel E. Bautista Smith. Channel 19 tells the story of a young man's grief, bereavement and ultimate triumph in the face of adversity. The accompanying lyric sheet is available on www.gluckprogram.ucr.edu Classroom Online Teaching Resources and is suitable for all ages. The Gluck Fellows Program of the Arts awarded Channel 19 the Gluck Spirit award at the 2018 UCR MCS Film and Media Festival. Channel 19, Director Adam Marash, Composer/Producer Gabriel E. Bautista Smith, 2017, featuring G. Bautista |