Matthew Hetz / Performances of Works
|
Here are some movies of my works. More shall be added.
|
"Elegy for the Victims and Survivors of School Shootings"/Parma Records MOTO VIRTUO II/Ovidiu Marinescu-Cello
Matthew Hetz
Elegy for the Victims and Survivors of School Shootings©2021 | For Cello, and Piano Transcription by the composer.
Cellist Maksim Velichkin requested of me an elegy for solo cello. In thinking about this Elegy, this mourning or praise of the dead, my thoughts were of the continuing tragedies of school shootings, and indeed, all mass shootings. The cello version is in the Parma Records MOTO VIRTUO II/Ovidiu Marinescu-Cello presentation. LINK
The piano work is an expansion of the Cello Elegy, but the piano opening contains new material: my portrayal of the typical energies of a school day, and then an alarm. The Elegy is my imagining of the terrors of the students trying to make sense of the shooting, huddled in classrooms- sometimes next to a bloodied body-and leaving the school and passing the dead.
This Elegy is for those dead, for those survivors who witnessed these horrors, and for the surviving family and friends of the dead whose souls are forever marked by these tragedies.
Matthew Hetz/Los Angeles/March 1, 2021
In the Parma Records MOTO VIRTUO II/Ovidiu Marinescu-Cello, my work is around the 24 minute mark, and I recommend you listen the entire concert, it is well worth your time. My thanks to Parma Records. LINK
Matthew Hetz
Elegy for the Victims and Survivors of School Shootings©2021 | For Cello, and Piano Transcription by the composer.
Cellist Maksim Velichkin requested of me an elegy for solo cello. In thinking about this Elegy, this mourning or praise of the dead, my thoughts were of the continuing tragedies of school shootings, and indeed, all mass shootings. The cello version is in the Parma Records MOTO VIRTUO II/Ovidiu Marinescu-Cello presentation. LINK
The piano work is an expansion of the Cello Elegy, but the piano opening contains new material: my portrayal of the typical energies of a school day, and then an alarm. The Elegy is my imagining of the terrors of the students trying to make sense of the shooting, huddled in classrooms- sometimes next to a bloodied body-and leaving the school and passing the dead.
This Elegy is for those dead, for those survivors who witnessed these horrors, and for the surviving family and friends of the dead whose souls are forever marked by these tragedies.
Matthew Hetz/Los Angeles/March 1, 2021
In the Parma Records MOTO VIRTUO II/Ovidiu Marinescu-Cello, my work is around the 24 minute mark, and I recommend you listen the entire concert, it is well worth your time. My thanks to Parma Records. LINK
Elegy for the Victims and Survivors of School Shootings. The composer performs his work.
❂
Partita No. 2, for Solo Violin
This Partita was composed 2005, and revised 2020. This movie was performed, recorded, filmed and edited by the very talented Annelle Gregory.
Thank you.
Matthew Hetz
To Composers: The very talented Annelle Gregory performed, recorded, filmed and edited the movie. I find her quite remarkable as a musician, and a very good partner to work with. For information on regarding your solo violin work, or violin with simple piano accompaniment, viola, and violin and viola, please contact her. Her other movies are on YouTube.
Annelle K. Gregory, annelle@annelleviolin.com, www.AnnelleViolin.com
This Partita was composed 2005, and revised 2020. This movie was performed, recorded, filmed and edited by the very talented Annelle Gregory.
Thank you.
Matthew Hetz
To Composers: The very talented Annelle Gregory performed, recorded, filmed and edited the movie. I find her quite remarkable as a musician, and a very good partner to work with. For information on regarding your solo violin work, or violin with simple piano accompaniment, viola, and violin and viola, please contact her. Her other movies are on YouTube.
Annelle K. Gregory, annelle@annelleviolin.com, www.AnnelleViolin.com
Movement 1: Electric Currents. I am honored that Annelle chose this movement for her Masters Recital at USC. The idea is the relentless movement of electricity on wires, with the double stops of eight notes and rests as moments of indecision on where to go next. (Similar to Life.) Longer double stops should be thought of as glowing lights.There is the repeating figure of double stops sixteen notes, which should be thought of as sparks thrown off by the electricity. The 2020 revisions were mainly for phrasing.
Mvt. 2. Isolation. A sadness, some loneliness, looking for relief. Within these emotions, one is always trying to maintain composure. There were no current revisions to this movement. While composed in 2005, I think the mood fits our COVID isolation. The title is a mixture of Annelle's and my thoughts.
Mvt. 3. Convergence. The Culver City and Marina del Rey Symphony Orchestras were playing works by Copland, and his rhythms wound their way into my ear, and into this movement. There are also some Stravinsky influences. Maybe glimpses of Rachmaninov. Stravinsky and Rachmaninov lived in Los Angeles for years, and Copland lived here when composing film scores. Copland meets Stravinsky meets Rachmaninov in L.A.? The title is Annelle's. This movement went through extensive revisions to tighten the themes, remove excesses, and with Annelle's recommendations, changes to the double stops which open the movement and reappear throughout.
❂
LVANB 31.3
Variations / Remix My composition teacher at Cal State Dominguez Hills, Marshall Bialosky, introduced me to the Beethoven Piano Sonata, Opus 31, No. 3 (1801-02). It took me a while to understand why. Marshall, a past president of NACUSA, was trying to teach me that even though I was at the time, and remain, a basically tonally based composer, not all works begin in the tonic, in root position. This sonata remains one of my favorites for the lesson, and it illustrates the greatness of Beethoven’s grasp of harmony, form and structure, and the beauties and tensions in the work. The variations are very free form. I used only the first eight measures, and concentrated on the first six, but did not use the standard variation form measure for measure. I did, however, use only the notes, or pitches, found in those eight measures. (Composer at the piano.)
Variations / Remix My composition teacher at Cal State Dominguez Hills, Marshall Bialosky, introduced me to the Beethoven Piano Sonata, Opus 31, No. 3 (1801-02). It took me a while to understand why. Marshall, a past president of NACUSA, was trying to teach me that even though I was at the time, and remain, a basically tonally based composer, not all works begin in the tonic, in root position. This sonata remains one of my favorites for the lesson, and it illustrates the greatness of Beethoven’s grasp of harmony, form and structure, and the beauties and tensions in the work. The variations are very free form. I used only the first eight measures, and concentrated on the first six, but did not use the standard variation form measure for measure. I did, however, use only the notes, or pitches, found in those eight measures. (Composer at the piano.)