Celestial Dance (Additional Full Score)
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SKU: EC.5062
Composed by Henry Mollicone. Orchestra: Short Work. Secular, 20th Century. Full score. E.C. Schirmer Publishing #5062. Published by E.C. Schirmer Publishing (EC.5062).UPC: 600313450624.
Duration: 7:00
Reviews:
Mollicone's Celestial Dance revealed yet another facet to the Bay Area composer's protean imagination and often-astonishing craft. Its exoticism took me by surprise. The dance was really two contrasting dances, representing Shiva and Brahma from the Hindu pantheon, respectively destruction and creation. Western classical music that takes such inspiration is fairly rare. (One may turn to Gustav Holst, Alan Hovhaness and Lou Harrison for some fine examples.) This piece, in its contrasting delicacy and brawn sounded good enough to eat.
-Performing Arts Monterey Bay, Scott MacClelland (2016)
...A glittering array of orchestral colors were present in "Celestial Dance," and local composer, Henry Mollicone, was on hand for both the rehearsal on Friday evening and the performance. Chattering woodwinds interlaced with contributions from glockenspiel and xylophone gave way to soaring strings in a lyrical melody underscored by horns. The celesta and harps added cosmic sounds and the constantly changing meter was handled with ease.
-Santa Cruz Sentinel, Heather J. Morris (2016)
As stated in the program, this performance of Henry Mollicone's Celestial Dance is a celebration of his 70th birthday. Celestial Dance was first performed in 1995, under the baton of JoAnn Falletta, a former Santa Cruz Symphony conductor. The work began with a compelling balance between the strings, brass and percussion that as the work developed were all nicely coordinated with gentle, repetitive, ascending harp figures. The orchestral attacks, especially in the impressive melodic string writing were clean and crisp. The overall phrasing was finely polished and thoroughly unified with evident care given to proportion and textural color. The slow, accelerated dynamic intensity Mollicone designed into the last moments of the work were perfectly realized and as pointed out in the program notes, in a musical sense, sang of the ongoing miracle of creation and change. The audience showed its appreciation with a standing ovation.
-Peninsula Review, Joe Sekon (2016)