Amplification/Electronics: 2011 Season

[chaddyt]

I checked with my source and from what they understand, this announcement is more to see if a vocalist would be a fit for what they have in mind musically for the beginning of the show. So, there's a chance it won't even happen. And even if it does, it seems like it would coincide with the singing in the beginning of the piece, and nothing more.

Time will tell.

[Galen]

"Barfing, concession-stand-visiting, hot-dog-eating to be major parts of fan reaction to Cadets' 2011 show."

[Michael Boo]

From an email:

Looks like they're taking a route more along the lines of 2006 when it comes to singing. Should be interesting.

"Amplified singing to be a major part of Cadets 2011 show"? Looks like George Hopkins really does take your fan mail to heart.

[luvs me sum mello!]

My guess would be similar to the original work. There is some singing at the beginning and at the end of Angels in the Architecture, but none in the middle. And unless they plan on going with a quieter ending like SCV '09 or Phantom '10, I doubt it would be used at the end of the piece. It also sounds like the singer would be used in encore and TOC extra material stuff according to cadets.org.

This

[Jeff Ream]

why not just use a patch on the synths?

[BozzlyB]

why not just use a patch on the synths?

Why not just make it a soprano solo, you know, transcribe the part to fit into the brassline?

[charlie1223]

The title of this thread was clearly made by a flame-baiter. I mean to mention aplification and singing in the same title thread says it all. And the OP has no idea how much singing is supposed to be in the show. And all we know is that the singing is going to be used in the beginning of the show (and maybe the end) just like that ACTUAL piece. It's WRITTEN for singing. We know singing won't be used anywhere else in Angels in the Architecture. So how can the OP say its going to be a "Major part" of teh cadets 2011? Seriously...

I would like to ask the ADMINS or MODS or please rename this thread to "Cadets Looking for a singer for 2011" because this thread is only likely to attract negative attention due to is flaim-baited false title. Thanks

Also, If any of you heard Angels in the Architecture there is a singer singing only in the beginning. Here is what Tichelli (the composer) says about it.

"Angels in the Architecture begins with a single voice singing a 19th-century Shaker song:

I am an angel of Light

I have soared from above

I am cloth’d with Mother’s love.

I have come, I have come,

To protect my chosen band

And lead them to the promised land.

This “angel” — represented by the singer — frames the work, surrounding it with a

protective wall of light and establishing the divine."

And for everyone else. here is what Frank Tichelli says Angels in the Architecture is all about:

Link

Re posted here...

Angels in the Architecture was commissioned by

Kingsway International, and received its premiere performance at the Sydney

Opera House on July 6, 2008 by a massed band of young musicians from

Australia and the United States, conducted by Matthew George. The work unfolds as a dramatic

conflict between the two extremes of human existence — one divine, the other evil.

The work’s title is inspired by the Sydney Opera House itself, with its halo-shaped acoustical

ornaments hanging directly above the performance stage.

Angels in the Architecture begins with a single voice singing a 19th-century Shaker song:

I am an angel of Light

I have soared from above

I am cloth’d with Mother’s love.

I have come, I have come,

To protect my chosen band

And lead them to the promised land.

This “angel” — represented by the singer — frames the work, surrounding it with a

protective wall of light and establishing the divine. Other representations of light — played

by instruments rather than sung — include a traditional Hebrew song of peace (“Hevenu

Shalom Aleichem”) and the well-known 16th-century Genevan Psalter, “Old Hundredth.”

These three borrowed songs, despite their varied religious origins, are meant to transcend

any one religion, representing the more universal human ideals of peace, hope, and love.

An original chorale, appearing twice in the work, represents my own personal expression of

these aspirations.

In opposition, turbulent, fast-paced music appears as a symbol of darkness, death, and spiritual

doubt. Twice during the musical drama, these shadows sneak in almost unnoticeably,

slowly obscuring, and eventually obliterating the light altogether. The darkness prevails for

long stretches of time, but the light always returns, inextinguishable, more powerful than

before. The alternation of these opposing forces creates, in effect, a kind of five-part rondo

form (light — darkness — light — darkness — light).

Just as Charles Ives did more than a century ago, Angels in the Architecture poses the unanswered

question of existence. It ends as it began: the angel reappears singing the same

comforting words. But deep below, a final shadow reappears — distantly, ominously.

Edited December 21, 2010 by charlie1223

[brassEXPERT]

Why not just make it a soprano solo, you know, transcribe the part to fit into the brassline?

Honestly, after listening to the introduction over and over again, I could not see this line in the brass. Even as a solo, there would have to be a lot more underlying parts going on in the rest of the brass section for it to work, and I don't see this happening, especially with the recording that I have heard. Although I detested the vocals in 2006, I think that this is a unique situation in which the quality of the voice could not be replaced by a synth or other instrument, especially because the lyrics have relevance to the show theme as well. I am not saying that the vocalist in integral to the show itself, but it lends itself to the quality they are looking for in the opening theme. If used correctly and sparingly, as indicated in the original music, this could be a very positive thing for the Cadets.

[brassEXPERT]

The title of this thread was clearly made by a flame-baiter. I mean to mention aplification and singing in the same title thread says it all. And the OP has no idea how much singing is supposed to be in the show.

I would like to ask the ADMINS or MODS or please rename this thread to "Cadets Looking for a singing for 2011" because this thread is only likely to attract negative attention due to is flaim-baited false title. Thanks

Also, If any of you heard Angels in the Architecture there is a singer singing only in the beginning. Here is what Tichelli (the composer) says about it.

"Angels in the Architecture begins with a single voice singing a 19th-century Shaker song:

I am an angel of Light

I have soared from above

I am cloth’d with Mother’s love.

I have come, I have come,

To protect my chosen band

And lead them to the promised land.

This “angel” — represented by the singer — frames the work, surrounding it with a

protective wall of light and establishing the divine."

And for everyone else. here is what Frank Tichelli says Angels in the Architecture is all about:

Link

Re posted here...

Angels in the Architecture was commissioned by

Kingsway International, and received its premiere performance at the Sydney

Opera House on July 6, 2008 by a massed band of young musicians from

Australia and the United States, conducted by Matthew George. The work unfolds as a dramatic

conflict between the two extremes of human existence — one divine, the other evil.

The work’s title is inspired by the Sydney Opera House itself, with its halo-shaped acoustical

ornaments hanging directly above the performance stage.

Angels in the Architecture begins with a single voice singing a 19th-century Shaker song:

I am an angel of Light

I have soared from above

I am cloth’d with Mother’s love.

I have come, I have come,

To protect my chosen band

And lead them to the promised land.

This “angel” — represented by the singer — frames the work, surrounding it with a

protective wall of light and establishing the divine. Other representations of light — played

by instruments rather than sung — include a traditional Hebrew song of peace (“Hevenu

Shalom Aleichem”) and the well-known 16th-century Genevan Psalter, “Old Hundredth.”

These three borrowed songs, despite their varied religious origins, are meant to transcend

any one religion, representing the more universal human ideals of peace, hope, and love.

An original chorale, appearing twice in the work, represents my own personal expression of

these aspirations.

In opposition, turbulent, fast-paced music appears as a symbol of darkness, death, and spiritual

doubt. Twice during the musical drama, these shadows sneak in almost unnoticeably,

slowly obscuring, and eventually obliterating the light altogether. The darkness prevails for

long stretches of time, but the light always returns, inextinguishable, more powerful than

before. The alternation of these opposing forces creates, in effect, a kind of five-part rondo

form (light — darkness — light — darkness — light).

Just as Charles Ives did more than a century ago, Angels in the Architecture poses the unanswered

question of existence. It ends as it began: the angel reappears singing the same

comforting words. But deep below, a final shadow reappears — distantly, ominously.

This. Thank you

[charlie1223]

From an email:

Looks like they're taking a route more along the lines of 2006 when it comes to singing. Should be interesting.

Don't lie. Your quote that sparked this said "Cadets seek Synth and vocalist" and you extrapolated that to be "Amplified Singing to be Major Part of Cadets 2011 Show"? Really?! Oh my god... seriously, man. haters gonna hate.