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Thomas A. Giles
United States
Приєднався 6 сер 2013
Described as “breathtaking” (New York Music Daily), “insanely clever” (ClassicFM, United Kingdom), and “full of crystalline clarity” (Südkurier, Germany), Thomas Giles performs the music of our time with tireless curiosity, imagination, and unwavering conviction. To date Giles has premiered more than 200 new works-many of which are dedicated to him. He has enjoyed working closely with many leading composers e.g., Meredith Monk, David Lang, Charles Wuorinen, and the American indie-rock duo Wye Oak. Recent premieres include works by Augusta Read Thomas, Marc Mellits, and Nicola LeFanu. His growing body of solo repertoire hones a fascination with simultaneity and the multilimbic capacities of a single wind performer.
www.thomasgilessax.com/about
www.thomasgilessax.com/about
Fabric of Sorrows by Golnaz Shariatzadeh
Fabric of Sorrows by Golnaz Shariatzadeh
National Sawdust, Brooklyn NY
December 11, 2023
A few words from the composer:
"Inspired by the current revolution in Iran, this work takes the audience to a journey of imaginary spaces that exist somewhere between the real and the imaginary. These spaces, which I call other places, inspired by the concept of heterotopia by Foucalt, are spaces that arise from people’s memories, sufferings and pain. “… built from junks of memories, the rooms are built of pipes that carry the pain and mirrors that don’t reflect."
Neither utopia nor a dystopia, this architecture is a crude reality and at the same time a place to escape from the brutalities of authoritarian society. Each room in the building, with its own peculiarity, takes part in keeping the building alive. The building with “an engine room at its core and the grieving mothers in the attic who perpetually weave a colorful fabric that feeds the building, turns the pain into ethereal spaces."
The music is an unstable sound world evoking sonorities between an industrial landscape and microtonal music influenced by Persian traditional music. Similar to the architecture of the animation, the sound is a futuristic landscape that evokes themes of nostalgic patterns, imbued with memories and sensation of Iranian culture.
These sonorities at first quite lyrical with an uneasy instability, develop until they are defamiliarized with sudden entrance of the electronics (recorded percussion and prepared strings). The layers continue to multiply until they create a dense wall of sound which coincide with the scene in which the narrator tells her first memory of a space from her childhood.
“...When the windmill started, they ran as far as they could. The windmill in my dream was so loud that I blocked my ears. Dead silence. What could it sound like? We always wondered. Persistent. Not necessarily to fulfill a task but to excite. I would look at the windmill for hours. It dampened the sound of pain.”
Fabric of Sorrows is dedicated to all Iranian people who sacrificed and will keep sacrificing.
National Sawdust, Brooklyn NY
December 11, 2023
A few words from the composer:
"Inspired by the current revolution in Iran, this work takes the audience to a journey of imaginary spaces that exist somewhere between the real and the imaginary. These spaces, which I call other places, inspired by the concept of heterotopia by Foucalt, are spaces that arise from people’s memories, sufferings and pain. “… built from junks of memories, the rooms are built of pipes that carry the pain and mirrors that don’t reflect."
Neither utopia nor a dystopia, this architecture is a crude reality and at the same time a place to escape from the brutalities of authoritarian society. Each room in the building, with its own peculiarity, takes part in keeping the building alive. The building with “an engine room at its core and the grieving mothers in the attic who perpetually weave a colorful fabric that feeds the building, turns the pain into ethereal spaces."
The music is an unstable sound world evoking sonorities between an industrial landscape and microtonal music influenced by Persian traditional music. Similar to the architecture of the animation, the sound is a futuristic landscape that evokes themes of nostalgic patterns, imbued with memories and sensation of Iranian culture.
These sonorities at first quite lyrical with an uneasy instability, develop until they are defamiliarized with sudden entrance of the electronics (recorded percussion and prepared strings). The layers continue to multiply until they create a dense wall of sound which coincide with the scene in which the narrator tells her first memory of a space from her childhood.
“...When the windmill started, they ran as far as they could. The windmill in my dream was so loud that I blocked my ears. Dead silence. What could it sound like? We always wondered. Persistent. Not necessarily to fulfill a task but to excite. I would look at the windmill for hours. It dampened the sound of pain.”
Fabric of Sorrows is dedicated to all Iranian people who sacrificed and will keep sacrificing.
Переглядів: 185
Відео
An Unopened Seashell by Yi-Ting Lu
Переглядів 2008 місяців тому
Excerpted from Thomas Giles' performance on the Frequency Series 11/05/23 Constellation, Chicago, IL An Unopened Seashell was commissioned by and dedicated to Thomas Giles. A few words from the composer: "The title of An Unopened Seashell echoes resonating sounds produced within a seashell as air vibrates. By metaphorically “opening” an “unopened seashell”, this piece uncovers the possibilities...
Melted memories of past me:: Signature, by Bahar Royaee
Переглядів 779 місяців тому
Melted Memories of Past:: Signature, by Bahar Royaee National Sawdust, Brooklyn NY December 11, 2023 A few words from the composer: “Melted Memories of Past Me: Signature” is inspired by the book “Past Me: Signature” by Yadollah Royaee, a prominent contemporary Iranian poet and writer. The piece is written for alto saxophone and tactile objects. A signature in Farsi is written as امضآ, and its ...
A Shared Solitary by Niloufar Nourbakhsh
Переглядів 1079 місяців тому
A Shared Solitary by Niloufar Nourbakhsh National Sawdust, Brooklyn NY December 11, 2023 A few words from the composer: "Over the course of the piece, a delay line becomes less and less distant as the texture becomes fuller, culminating into a collective sound. "A Shared Solitary" attempts to resurface the fact that during the pandemic, we all went through a shared experience together all over ...
(R)emote by Chris Dench
Переглядів 13210 місяців тому
Excerpted from Thomas Giles' performance on the Frequency Series 11/05/23 Constellation, Chicago, IL (R)emote was commissioned by and dedicated to Thomas Giles, and in memory of Larry Berryman. A few words from the composer: "The character of this work is predicated entirely by its title, an alternation between remote, aloof and distant, and richly emotive musics. Nearly four decades ago my lat...
Cycle, Broken by Euna Joh
Переглядів 8111 місяців тому
Excerpted from Thomas Giles' performance on the Frequency Series 11/05/23 Constellation, Chicago, IL Cycle, Broken was commissioned by and dedicated to Thomas Giles. A few words from the composer: "In the last couple of years, "trauma" has been one of the most interesting concepts to me because it tends to be passed down as if it were genetic. According to the expigenetic researchers, trauma ca...
Mirages by Vincent David
Переглядів 627Рік тому
Mirages, by Vincent David Excerpted from 'Pardon Our French' Tenri Cultural Institute, NYC June 17, 2023 Thomas A. Giles, soprano saxophone Jae Kyo Han, piano For more on the artist, visit www.thomasgilessax.com
Oraison by Olivier Messiaen
Переглядів 447Рік тому
Oraison, by Olivier Messiaen Excerpted from 'Pardon Our French' Tenri Cultural Institute, NYC June 17, 2023 Thomas A. Giles, alto saxophone Jae Kyo Han, piano For more on the artist, visit www.thomasgilessax.com
Sonatine by Maurice Ravel
Переглядів 259Рік тому
Sonatine, by Maurice Ravel Excerpted from 'Pardon Our French' Tenri Cultural Institute, NYC June 17, 2023 Thomas A. Giles, soprano saxophone Jae Kyo Han, piano For more on the artist, visit www.thomasgilessax.com
Switchboard by Jasmine Thomasian
Переглядів 3262 роки тому
Excerpted from Thomas Giles' performance on the Frequency Series 10/02/22 Constellation, Chicago, IL Switchboard was commissioned by and dedicated to Thomas Giles. A few words from the composer: "Switchboard is about streams of things-breath, fingerings, voicing, tonguing-and about how these streams of things can cooperate, or compete, how they contribute to the production of sound, and how the...
Spindrift by Colin Stetson
Переглядів 1,2 тис.2 роки тому
Spindrift, by Colin Stetson Performed at the Texas A&M Corpus Christi Performing Arts Center on February 17, 2022. For more on the artist, see: www.thomasgilessax.com
Thème et Variations by Olivier Messiaen - Thomas Giles, saxophone & Liana Pailodze Harron, piano
Переглядів 1,1 тис.2 роки тому
Thème et variations, by Olivier Messiaen Recorded at Skillman Music by Wei-xiong Wang. Video edited by Wei-xiong Wang. Mixed & Mastered by Tommy Harron Produced by Thomas Giles & Liana Pailodze Harron Photography & Cover Design by Jennifer Clay This recording excerpted from the Giles-Harron debut album, Mysteries of the Macabre, released on Armazi Productions on March 19, 2022. For more on the ...
Canzone by Tristan Keuris
Переглядів 7944 роки тому
Canzone, by Tristan Keuris Recorded on November 23, 2020 at the Opera House Lofts, Bushwick, NY Thomas A. Giles, alto saxophone William Fowler Davis, sound engineer For more on the artist, visit www.thomasgilessax.com
Wicker Park by Marcos Balter
Переглядів 5634 роки тому
Recorded on November 23, 2020, in New York City. Thomas A. Giles, soprano saxophone For more on the artist, see: www.thomasgilessax.com
Concerto for Alto Saxophone and Orchestra by Henry Brant
Переглядів 2,2 тис.6 років тому
Concerto for Alto Saxophone and Orchestra by Henry Brant
this is incredible man!!! doing MB justice. i’ve played this piece on saxophone but i could never imagine playing it on flute!!!
is this flutter toungeing? what key? how do you even play something like this? please help teach to even try to attempt
So... colin stetson definitely wasn't alive in 1937 so I dont know who wrote that lol
Primus in orbe Deos fecit timor....
Oh Golnaz... ❤
did you learn this piece entirely by ear? sounds amazing
@@elijahBD1 Thanks, yes just bit of transcription
sodelicious............................
bro.... dang!
Exhibiting excellent control. Amazing techniques and such delicacy. Really quite something to experience - thanks for sharing!
Thank you so much @octothedog! So glad you enjoyed it. The studio recording comes out May 10 (this is the title track!)
Fifth movement from Messiaen's _Quatuor pour la fin du temps [Quartet for the End of Time],_ originally for cello.
Sort of… This movement was actually composed as a stand-alone work for Ondes Martinot in… I believe 1933? 35? Somewhere in there - long preceding the quartet. I went with the original title as the tone concept is a bit more fitting for alto ;)
@@ThomasAGiles Ah, that's right; I had forgotten about that. _Mea culpa..._
sodelicious...............................
so stunning Thomas!
Thanks Josh! Really happy to get a piece from him :) he’s gonna write an hour-length piece next 👀🤞🏻
Super cool!! loved the vocalizing section!!
Thanks so much David, the score itself is also really beautiful. One of the more creative I’ve seen. It has the same kind of forest/floral graphics of the electronics. You should play it!
Awesome performance
Can someone join me to celebrate this amazing performer... The circular Breathing technique is so exceptional
Waoooo this is so Amazing...
🤩
The color change at 4:53-4:54 is absolutely stunning! Love this!
Beautiful!
Simply breathtaking.
Great!
Can i use this as cover for my video? I'll give credits to you. Thank you.
This is so awesome! Do you have an arrangement of this? I’d love to learn this and share it with my peers at a forum
I’ve seen your performance of wicker park, which is one of my favorite pieces. Awesome work! Beautiful as always
This sounds amazing, Thom! So virtuosic and so soothing at the same time. Thank you for such an inspiring performance.
Thank you Vicente!! Hope you’ve been well and to cross paths again soon. 🙏
😱
wow, very impressed by this complicated performance - also when do you breathe ?!
Howintheworldisthispossible 😮
Tremendous version and very well chosen the place to do it! Congrats
Please I’m trying to play this did you transcribe it yourself? I don’t have the time to break it all down, otherwise I will have to wait for years to do this.
Why does it say Colin Stetson wrote the song in 1937?
You should try playing the lure of the mine
I have spent time with it! It is my favorite Stetson solo, incredible… but his vocal range definitely exceeds mine. Maybe someday ;)
@@ThomasAGiles yes it's my favorite too! I can definitely understand the struggle of trying to play a song like that as even he admits it's one of his most difficult ones.
How can you practice something like this? By ear? I find it unfathomable. Spindrift is my favorite song. Incredible rendition. I wonder why there are not more views on this.
🤘🤘
Amazing! ♥
Wow. The Maître didn't care for saxophone, because he associated it with jazz, which he didn't like because it's based on a regular pulse. (The only music he disliked more was marches.) [Source: a former Messiaen student] I would like to think that, had he been able to hear you play, his mind might well have been changed. I'm guessing that the reason you chose to do this on alto rather than soprano is the top concert D-flat and E-flat?
Yes, yes, and yes… I have heard similar things. Truly one of my favorite composers of all time-so unfortunate he never wrote for our instrument. I’ve always found the absolute highest range easiest on alto. Somehow there’s more control with a bigger reed/mouthpiece. I can play with less tension than on a tiny soprano mpc and the sound is rounder, more resonant/operatic.
@@ThomasAGiles _Truly one of my favorite composers of all time_ Mine as well. I've been fortunate enough to hear _Turangalîla_ live three times; Simon Rattle conducting _Et exspecto_ in Boston (unforgettable); former Messiaen student Jon Gillock playing _Le livre du sacrement_ in New York's St. John the Divine, shortly after Messiaen's passing (beyond words); and great performances of _Visions de l'amen,_ the _Quatuor,_ etc. And, luckiest of all, I heard the Maître himself play mass at Sainte Trinité, about a year-and-a-half before he passed. _so unfortunate he never wrote for our instrument_ Indeed. I've always found it puzzling that, while the French were the first to embrace the saxophone as an instrument for classical/concert music, almost none of the top-tier French composers wrote for it - no Messiaen, no Poulenc (who clearly loved winds), no Ravel outside of orchestral settings, no Dutilleux... Re: top register on alto - That makes sense, for the same reason that harmonics are easier on a double bass than on a violin. Still, that sound you get - and *in tune* !!! With the right mouthpiece, I've been able to eke out a (written) top C, and even (rarely) a D-flat, but with a very thin and quiet tone. Fortunately, I've never been required to play anything higher than... F-sharp? Maybe G? On that subject, though - can you recommend a fingering for the second G#/A-flat? I've wanted to play the Eliasson _Poem_ for the longest time, but can't find a stable, reliable fingering.
@@rloomis3 some incredible experience-hearing him at mass, WOW. Did he improvise??? If I’m not mistaken, the Poem only has a G! Nevertheless, G# is a very squirrely note, but this works excellently for me: 2 | 5 tc C5
@@ThomasAGiles _Did he improvise???_ Yes. I actually stayed through the shorter, early mass, and the high mass. I think the church staff must have been accustomed to visitors coming to hear him: When I arrived, and heard the organ music already playing, I turned to the priest who was welcoming people at the entrance, pointed into the sanctuary, and said, _"Monsieur Messiaen?"_ He smiled and said, _"Oui,"_ and I was in heaven. _If I’m not mistaken, the Poem only has a G!_ I admit I don't have the score - was waiting to purchase it until I had a G# I could count on. Wouldn't that just beat all... Thanks for the fingering; I'll give it a try.
@@ThomasAGiles By the way, it occurs to me that Kelly et al. wouldn't be able to use that fingering, as they don't have a c5! ;-)
You're one of those players who make many of us wonder why we bother. Amazing.
You are too kind :) Thank you so much for your support over the years! Btw, my new album Mysteries of the Macabre just came out today!!!
@@ThomasAGiles Thanks for the heads-up!
Shoutout to everyone who has to do this for a transcription assigment.
WHERE DO YOU BREATH
Wow, stunning performance! Thank you so much for sharing - inspiring as always :)
INCREDIBLE!!!
Bravo!
You are BY FAR (like galaxies) the most talented saxophonist in the world! I can't wait for the next time you venture back through the mid west...
すげえ!(sugee,excellent)from japan.
Beautiful!!!!