Krypton from Metropolis Symphony From Metropolis Symphony by Michael Daugherty Orchestra - Sheet Music

SKU: PR.619348560

UPC: 680160431250. 9 x 12 inches.

I began composing my ''Metropolis Symphony in 1988, inspired by the celebration in Cleveland of the fiftieth anniversary of Superman's first appearance in the comics. When I completed the score in 1993, I dedicated it to the conductor David Zinman, who had encouraged me to compose the work, and to the Baltimore Symphony Orchestra. . The Metropolis Symphony evokes an American mythology that I discovered as an avid reader of comic books in the fifties and sixties. Each movement of the symphony—which may be performed separately—is a musical response to the myth of Superman. I have used Superman as a compositional metaphor in order to create an independent musical world that appeals to the imagination. The symphony is a rigorously structured, non-programmatic work, expressing the energies, ambiguities, paradoxes, and wit of American popular culture. Like Charles Ives, whose music recalls small-town America early in our century, I draw on my eclectic musical background to reflect on late-twentieth-century urban America. Through complex orchestration, timbral exploration, and rhythmic polyphony, I combine the idioms of jazz, rock, and funk with symphonic and avant-garde composition. . II. Krypton refers to the exploding planet from which the infant Superman escaped. A dark, microtonal soundworld is created by glissandi in the strings, trombone, and siren. Two percussionists play antiphonal fire bells throughout the movement, as it evolves from a recurring solo motive in the cellos into ominous calls from the brass section. Gradually the movement builds toward an apocalyptic conclusion.
I began composing my ''Metropolis Symphony in 1988, inspired by the celebration in Cleveland of the fiftieth anniversary of Superman's first appearance in the comics. When I completed the score in 1993, I dedicated it to the conductor David Zinman, who had encouraged me to compose the work, and to the Baltimore Symphony Orchestra. . The Metropolis Symphony evokes an American mythology that I discovered as an avid reader of comic books in the fifties and sixties. Each movement of the symphony—which may be performed separately—is a musical response to the myth of Superman. I have used Superman as a compositional metaphor in order to create an independent musical world that appeals to the imagination. The symphony is a rigorously structured, non-programmatic work, expressing the energies, ambiguities, paradoxes, and wit of American popular culture. Like Charles Ives, whose music recalls small-town America early in our century, I draw on my eclectic musical background to reflect on late-twentieth-century urban America. Through complex orchestration, timbral exploration, and rhythmic polyphony, I combine the idioms of jazz, rock, and funk with symphonic and avant-garde composition. . II. Krypton refers to the exploding planet from which the infant Superman escaped. A dark, microtonal soundworld is created by glissandi in the strings, trombone, and siren. Two percussionists play antiphonal fire bells throughout the movement, as it evolves from a recurring solo motive in the cellos into ominous calls from the brass section. Gradually the movement builds toward an apocalyptic conclusion.
I began composing my ''Metropolis Symphony in 1988, inspired by the celebration in Cleveland of the fiftieth anniversary of Superman's first appearance in the comics. When I completed the score in 1993, I dedicated it to the conductor David Zinman, who had encouraged me to compose the work, and to the Baltimore Symphony Orchestra. . The Metropolis Symphony evokes an American mythology that I discovered as an avid reader of comic books in the fifties and sixties. Each movement of the symphony—which may be performed separately—is a musical response to the myth of Superman. I have used Superman as a compositional metaphor in order to create an independent musical world that appeals to the imagination. The symphony is a rigorously structured, non-programmatic work, expressing the energies, ambiguities, paradoxes, and wit of American popular culture. Like Charles Ives, whose music recalls small-town America early in our century, I draw on my eclectic musical background to reflect on late-twentieth-century urban America. Through complex orchestration, timbral exploration, and rhythmic polyphony, I combine the idioms of jazz, rock, and funk with symphonic and avant-garde composition. . II. Krypton refers to the exploding planet from which the infant Superman escaped. A dark, microtonal soundworld is created by glissandi in the strings, trombone, and siren. Two percussionists play antiphonal fire bells throughout the movement, as it evolves from a recurring solo motive in the cellos into ominous calls from the brass section. Gradually the movement builds toward an apocalyptic conclusion.
I began composing my ''Metropolis Symphony in 1988, inspired by the celebration in Cleveland of the fiftieth anniversary of Superman's first appearance in the comics. When I completed the score in 1993, I dedicated it to the conductor David Zinman, who had encouraged me to compose the work, and to the Baltimore Symphony Orchestra. . The Metropolis Symphony evokes an American mythology that I discovered as an avid reader of comic books in the fifties and sixties. Each movement of the symphony—which may be performed separately—is a musical response to the myth of Superman. I have used Superman as a compositional metaphor in order to create an independent musical world that appeals to the imagination. The symphony is a rigorously structured, non-programmatic work, expressing the energies, ambiguities, paradoxes, and wit of American popular culture. Like Charles Ives, whose music recalls small-town America early in our century, I draw on my eclectic musical background to reflect on late-twentieth-century urban America. Through complex orchestration, timbral exploration, and rhythmic polyphony, I combine the idioms of jazz, rock, and funk with symphonic and avant-garde composition. . II. Krypton refers to the exploding planet from which the infant Superman escaped. A dark, microtonal soundworld is created by glissandi in the strings, trombone, and siren. Two percussionists play antiphonal fire bells throughout the movement, as it evolves from a recurring solo motive in the cellos into ominous calls from the brass section. Gradually the movement builds toward an apocalyptic conclusion.
I began composing my ''Metropolis Symphony in 1988, inspired by the celebration in Cleveland of the fiftieth anniversary of Superman's first appearance in the comics. When I completed the score in 1993, I dedicated it to the conductor David Zinman, who had encouraged me to compose the work, and to the Baltimore Symphony Orchestra. . The Metropolis Symphony evokes an American mythology that I discovered as an avid reader of comic books in the fifties and sixties. Each movement of the symphony—which may be performed separately—is a musical response to the myth of Superman. I have used Superman as a compositional metaphor in order to create an independent musical world that appeals to the imagination. The symphony is a rigorously structured, non-programmatic work, expressing the energies, ambiguities, paradoxes, and wit of American popular culture. Like Charles Ives, whose music recalls small-town America early in our century, I draw on my eclectic musical background to reflect on late-twentieth-century urban America. Through complex orchestration, timbral exploration, and rhythmic polyphony, I combine the idioms of jazz, rock, and funk with symphonic and avant-garde composition. . II. Krypton refers to the exploding planet from which the infant Superman escaped. A dark, microtonal soundworld is created by glissandi in the strings, trombone, and siren. Two percussionists play antiphonal fire bells throughout the movement, as it evolves from a recurring solo motive in the cellos into ominous calls from the brass section. Gradually the movement builds toward an apocalyptic conclusion.
I began composing my ''Metropolis Symphony in 1988, inspired by the celebration in Cleveland of the fiftieth anniversary of Superman's first appearance in the comics. When I completed the score in 1993, I dedicated it to the conductor David Zinman, who had encouraged me to compose the work, and to the Baltimore Symphony Orchestra. . The Metropolis Symphony evokes an American mythology that I discovered as an avid reader of comic books in the fifties and sixties. Each movement of the symphony—which may be performed separately—is a musical response to the myth of Superman. I have used Superman as a compositional metaphor in order to create an independent musical world that appeals to the imagination. The symphony is a rigorously structured, non-programmatic work, expressing the energies, ambiguities, paradoxes, and wit of American popular culture. Like Charles Ives, whose music recalls small-town America early in our century, I draw on my eclectic musical background to reflect on late-twentieth-century urban America. Through complex orchestration, timbral exploration, and rhythmic polyphony, I combine the idioms of jazz, rock, and funk with symphonic and avant-garde composition. . II. Krypton refers to the exploding planet from which the infant Superman escaped. A dark, microtonal soundworld is created by glissandi in the strings, trombone, and siren. Two percussionists play antiphonal fire bells throughout the movement, as it evolves from a recurring solo motive in the cellos into ominous calls from the brass section. Gradually the movement builds toward an apocalyptic conclusion.
I began composing my ''Metropolis Symphony in 1988, inspired by the celebration in Cleveland of the fiftieth anniversary of Superman's first appearance in the comics. When I completed the score in 1993, I dedicated it to the conductor David Zinman, who had encouraged me to compose the work, and to the Baltimore Symphony Orchestra. . The Metropolis Symphony evokes an American mythology that I discovered as an avid reader of comic books in the fifties and sixties. Each movement of the symphony—which may be performed separately—is a musical response to the myth of Superman. I have used Superman as a compositional metaphor in order to create an independent musical world that appeals to the imagination. The symphony is a rigorously structured, non-programmatic work, expressing the energies, ambiguities, paradoxes, and wit of American popular culture. Like Charles Ives, whose music recalls small-town America early in our century, I draw on my eclectic musical background to reflect on late-twentieth-century urban America. Through complex orchestration, timbral exploration, and rhythmic polyphony, I combine the idioms of jazz, rock, and funk with symphonic and avant-garde composition. . II. Krypton refers to the exploding planet from which the infant Superman escaped. A dark, microtonal soundworld is created by glissandi in the strings, trombone, and siren. Two percussionists play antiphonal fire bells throughout the movement, as it evolves from a recurring solo motive in the cellos into ominous calls from the brass section. Gradually the movement builds toward an apocalyptic conclusion.
I began composing my ''Metropolis Symphony in 1988, inspired by the celebration in Cleveland of the fiftieth anniversary of Superman's first appearance in the comics. When I completed the score in 1993, I dedicated it to the conductor David Zinman, who had encouraged me to compose the work, and to the Baltimore Symphony Orchestra. . The Metropolis Symphony evokes an American mythology that I discovered as an avid reader of comic books in the fifties and sixties. Each movement of the symphony—which may be performed separately—is a musical response to the myth of Superman. I have used Superman as a compositional metaphor in order to create an independent musical world that appeals to the imagination. The symphony is a rigorously structured, non-programmatic work, expressing the energies, ambiguities, paradoxes, and wit of American popular culture. Like Charles Ives, whose music recalls small-town America early in our century, I draw on my eclectic musical background to reflect on late-twentieth-century urban America. Through complex orchestration, timbral exploration, and rhythmic polyphony, I combine the idioms of jazz, rock, and funk with symphonic and avant-garde composition. . II. Krypton refers to the exploding planet from which the infant Superman escaped. A dark, microtonal soundworld is created by glissandi in the strings, trombone, and siren. Two percussionists play antiphonal fire bells throughout the movement, as it evolves from a recurring solo motive in the cellos into ominous calls from the brass section. Gradually the movement builds toward an apocalyptic conclusion.
I began composing my ''Metropolis Symphony in 1988, inspired by the celebration in Cleveland of the fiftieth anniversary of Superman's first appearance in the comics. When I completed the score in 1993, I dedicated it to the conductor David Zinman, who had encouraged me to compose the work, and to the Baltimore Symphony Orchestra. . The Metropolis Symphony evokes an American mythology that I discovered as an avid reader of comic books in the fifties and sixties. Each movement of the symphony—which may be performed separately—is a musical response to the myth of Superman. I have used Superman as a compositional metaphor in order to create an independent musical world that appeals to the imagination. The symphony is a rigorously structured, non-programmatic work, expressing the energies, ambiguities, paradoxes, and wit of American popular culture. Like Charles Ives, whose music recalls small-town America early in our century, I draw on my eclectic musical background to reflect on late-twentieth-century urban America. Through complex orchestration, timbral exploration, and rhythmic polyphony, I combine the idioms of jazz, rock, and funk with symphonic and avant-garde composition. . II. Krypton refers to the exploding planet from which the infant Superman escaped. A dark, microtonal soundworld is created by glissandi in the strings, trombone, and siren. Two percussionists play antiphonal fire bells throughout the movement, as it evolves from a recurring solo motive in the cellos into ominous calls from the brass section. Gradually the movement builds toward an apocalyptic conclusion.
I began composing my ''Metropolis Symphony in 1988, inspired by the celebration in Cleveland of the fiftieth anniversary of Superman's first appearance in the comics. When I completed the score in 1993, I dedicated it to the conductor David Zinman, who had encouraged me to compose the work, and to the Baltimore Symphony Orchestra. . The Metropolis Symphony evokes an American mythology that I discovered as an avid reader of comic books in the fifties and sixties. Each movement of the symphony—which may be performed separately—is a musical response to the myth of Superman. I have used Superman as a compositional metaphor in order to create an independent musical world that appeals to the imagination. The symphony is a rigorously structured, non-programmatic work, expressing the energies, ambiguities, paradoxes, and wit of American popular culture. Like Charles Ives, whose music recalls small-town America early in our century, I draw on my eclectic musical background to reflect on late-twentieth-century urban America. Through complex orchestration, timbral exploration, and rhythmic polyphony, I combine the idioms of jazz, rock, and funk with symphonic and avant-garde composition. . II. Krypton refers to the exploding planet from which the infant Superman escaped. A dark, microtonal soundworld is created by glissandi in the strings, trombone, and siren. Two percussionists play antiphonal fire bells throughout the movement, as it evolves from a recurring solo motive in the cellos into ominous calls from the brass section. Gradually the movement builds toward an apocalyptic conclusion.
I began composing my ''Metropolis Symphony in 1988, inspired by the celebration in Cleveland of the fiftieth anniversary of Superman's first appearance in the comics. When I completed the score in 1993, I dedicated it to the conductor David Zinman, who had encouraged me to compose the work, and to the Baltimore Symphony Orchestra. . The Metropolis Symphony evokes an American mythology that I discovered as an avid reader of comic books in the fifties and sixties. Each movement of the symphony—which may be performed separately—is a musical response to the myth of Superman. I have used Superman as a compositional metaphor in order to create an independent musical world that appeals to the imagination. The symphony is a rigorously structured, non-programmatic work, expressing the energies, ambiguities, paradoxes, and wit of American popular culture. Like Charles Ives, whose music recalls small-town America early in our century, I draw on my eclectic musical background to reflect on late-twentieth-century urban America. Through complex orchestration, timbral exploration, and rhythmic polyphony, I combine the idioms of jazz, rock, and funk with symphonic and avant-garde composition. . II. Krypton refers to the exploding planet from which the infant Superman escaped. A dark, microtonal soundworld is created by glissandi in the strings, trombone, and siren. Two percussionists play antiphonal fire bells throughout the movement, as it evolves from a recurring solo motive in the cellos into ominous calls from the brass section. Gradually the movement builds toward an apocalyptic conclusion.
I began composing my ''Metropolis Symphony in 1988, inspired by the celebration in Cleveland of the fiftieth anniversary of Superman's first appearance in the comics. When I completed the score in 1993, I dedicated it to the conductor David Zinman, who had encouraged me to compose the work, and to the Baltimore Symphony Orchestra. . The Metropolis Symphony evokes an American mythology that I discovered as an avid reader of comic books in the fifties and sixties. Each movement of the symphony—which may be performed separately—is a musical response to the myth of Superman. I have used Superman as a compositional metaphor in order to create an independent musical world that appeals to the imagination. The symphony is a rigorously structured, non-programmatic work, expressing the energies, ambiguities, paradoxes, and wit of American popular culture. Like Charles Ives, whose music recalls small-town America early in our century, I draw on my eclectic musical background to reflect on late-twentieth-century urban America. Through complex orchestration, timbral exploration, and rhythmic polyphony, I combine the idioms of jazz, rock, and funk with symphonic and avant-garde composition. . II. Krypton refers to the exploding planet from which the infant Superman escaped. A dark, microtonal soundworld is created by glissandi in the strings, trombone, and siren. Two percussionists play antiphonal fire bells throughout the movement, as it evolves from a recurring solo motive in the cellos into ominous calls from the brass section. Gradually the movement builds toward an apocalyptic conclusion.
I began composing my ''Metropolis Symphony in 1988, inspired by the celebration in Cleveland of the fiftieth anniversary of Superman's first appearance in the comics. When I completed the score in 1993, I dedicated it to the conductor David Zinman, who had encouraged me to compose the work, and to the Baltimore Symphony Orchestra. . The Metropolis Symphony evokes an American mythology that I discovered as an avid reader of comic books in the fifties and sixties. Each movement of the symphony—which may be performed separately—is a musical response to the myth of Superman. I have used Superman as a compositional metaphor in order to create an independent musical world that appeals to the imagination. The symphony is a rigorously structured, non-programmatic work, expressing the energies, ambiguities, paradoxes, and wit of American popular culture. Like Charles Ives, whose music recalls small-town America early in our century, I draw on my eclectic musical background to reflect on late-twentieth-century urban America. Through complex orchestration, timbral exploration, and rhythmic polyphony, I combine the idioms of jazz, rock, and funk with symphonic and avant-garde composition. . II. Krypton refers to the exploding planet from which the infant Superman escaped. A dark, microtonal soundworld is created by glissandi in the strings, trombone, and siren. Two percussionists play antiphonal fire bells throughout the movement, as it evolves from a recurring solo motive in the cellos into ominous calls from the brass section. Gradually the movement builds toward an apocalyptic conclusion.
I began composing my ''Metropolis Symphony in 1988, inspired by the celebration in Cleveland of the fiftieth anniversary of Superman's first appearance in the comics. When I completed the score in 1993, I dedicated it to the conductor David Zinman, who had encouraged me to compose the work, and to the Baltimore Symphony Orchestra. . The Metropolis Symphony evokes an American mythology that I discovered as an avid reader of comic books in the fifties and sixties. Each movement of the symphony—which may be performed separately—is a musical response to the myth of Superman. I have used Superman as a compositional metaphor in order to create an independent musical world that appeals to the imagination. The symphony is a rigorously structured, non-programmatic work, expressing the energies, ambiguities, paradoxes, and wit of American popular culture. Like Charles Ives, whose music recalls small-town America early in our century, I draw on my eclectic musical background to reflect on late-twentieth-century urban America. Through complex orchestration, timbral exploration, and rhythmic polyphony, I combine the idioms of jazz, rock, and funk with symphonic and avant-garde composition. . II. Krypton refers to the exploding planet from which the infant Superman escaped. A dark, microtonal soundworld is created by glissandi in the strings, trombone, and siren. Two percussionists play antiphonal fire bells throughout the movement, as it evolves from a recurring solo motive in the cellos into ominous calls from the brass section. Gradually the movement builds toward an apocalyptic conclusion.
I began composing my ''Metropolis Symphony in 1988, inspired by the celebration in Cleveland of the fiftieth anniversary of Superman's first appearance in the comics. When I completed the score in 1993, I dedicated it to the conductor David Zinman, who had encouraged me to compose the work, and to the Baltimore Symphony Orchestra. . The Metropolis Symphony evokes an American mythology that I discovered as an avid reader of comic books in the fifties and sixties. Each movement of the symphony—which may be performed separately—is a musical response to the myth of Superman. I have used Superman as a compositional metaphor in order to create an independent musical world that appeals to the imagination. The symphony is a rigorously structured, non-programmatic work, expressing the energies, ambiguities, paradoxes, and wit of American popular culture. Like Charles Ives, whose music recalls small-town America early in our century, I draw on my eclectic musical background to reflect on late-twentieth-century urban America. Through complex orchestration, timbral exploration, and rhythmic polyphony, I combine the idioms of jazz, rock, and funk with symphonic and avant-garde composition. . II. Krypton refers to the exploding planet from which the infant Superman escaped. A dark, microtonal soundworld is created by glissandi in the strings, trombone, and siren. Two percussionists play antiphonal fire bells throughout the movement, as it evolves from a recurring solo motive in the cellos into ominous calls from the brass section. Gradually the movement builds toward an apocalyptic conclusion.
I began composing my ''Metropolis Symphony in 1988, inspired by the celebration in Cleveland of the fiftieth anniversary of Superman's first appearance in the comics. When I completed the score in 1993, I dedicated it to the conductor David Zinman, who had encouraged me to compose the work, and to the Baltimore Symphony Orchestra. . The Metropolis Symphony evokes an American mythology that I discovered as an avid reader of comic books in the fifties and sixties. Each movement of the symphony—which may be performed separately—is a musical response to the myth of Superman. I have used Superman as a compositional metaphor in order to create an independent musical world that appeals to the imagination. The symphony is a rigorously structured, non-programmatic work, expressing the energies, ambiguities, paradoxes, and wit of American popular culture. Like Charles Ives, whose music recalls small-town America early in our century, I draw on my eclectic musical background to reflect on late-twentieth-century urban America. Through complex orchestration, timbral exploration, and rhythmic polyphony, I combine the idioms of jazz, rock, and funk with symphonic and avant-garde composition. . II. Krypton refers to the exploding planet from which the infant Superman escaped. A dark, microtonal soundworld is created by glissandi in the strings, trombone, and siren. Two percussionists play antiphonal fire bells throughout the movement, as it evolves from a recurring solo motive in the cellos into ominous calls from the brass section. Gradually the movement builds toward an apocalyptic conclusion.
I began composing my ''Metropolis Symphony in 1988, inspired by the celebration in Cleveland of the fiftieth anniversary of Superman's first appearance in the comics. When I completed the score in 1993, I dedicated it to the conductor David Zinman, who had encouraged me to compose the work, and to the Baltimore Symphony Orchestra. . The Metropolis Symphony evokes an American mythology that I discovered as an avid reader of comic books in the fifties and sixties. Each movement of the symphony—which may be performed separately—is a musical response to the myth of Superman. I have used Superman as a compositional metaphor in order to create an independent musical world that appeals to the imagination. The symphony is a rigorously structured, non-programmatic work, expressing the energies, ambiguities, paradoxes, and wit of American popular culture. Like Charles Ives, whose music recalls small-town America early in our century, I draw on my eclectic musical background to reflect on late-twentieth-century urban America. Through complex orchestration, timbral exploration, and rhythmic polyphony, I combine the idioms of jazz, rock, and funk with symphonic and avant-garde composition. . II. Krypton refers to the exploding planet from which the infant Superman escaped. A dark, microtonal soundworld is created by glissandi in the strings, trombone, and siren. Two percussionists play antiphonal fire bells throughout the movement, as it evolves from a recurring solo motive in the cellos into ominous calls from the brass section. Gradually the movement builds toward an apocalyptic conclusion.
I began composing my ''Metropolis Symphony in 1988, inspired by the celebration in Cleveland of the fiftieth anniversary of Superman's first appearance in the comics. When I completed the score in 1993, I dedicated it to the conductor David Zinman, who had encouraged me to compose the work, and to the Baltimore Symphony Orchestra. . The Metropolis Symphony evokes an American mythology that I discovered as an avid reader of comic books in the fifties and sixties. Each movement of the symphony—which may be performed separately—is a musical response to the myth of Superman. I have used Superman as a compositional metaphor in order to create an independent musical world that appeals to the imagination. The symphony is a rigorously structured, non-programmatic work, expressing the energies, ambiguities, paradoxes, and wit of American popular culture. Like Charles Ives, whose music recalls small-town America early in our century, I draw on my eclectic musical background to reflect on late-twentieth-century urban America. Through complex orchestration, timbral exploration, and rhythmic polyphony, I combine the idioms of jazz, rock, and funk with symphonic and avant-garde composition. . II. Krypton refers to the exploding planet from which the infant Superman escaped. A dark, microtonal soundworld is created by glissandi in the strings, trombone, and siren. Two percussionists play antiphonal fire bells throughout the movement, as it evolves from a recurring solo motive in the cellos into ominous calls from the brass section. Gradually the movement builds toward an apocalyptic conclusion.