Sea Drift
Clarion Wind Symphony, Max Plank (conductor)
Anthony Iannaccone was born in New York City and studied at the Manhattan School of Music and the Eastman School of Music. His principal teachers were Vittorio Giannini, Aaron Copland, and David Diamond. During the 1960's, he supported himself as a part-time teacher at the Manhattan School and Orchestral violinist. His catalogue of approximately fifty published works includes three symphonies, as well as smaller works for Orchestra, several large works for chorus and Orchestra, numerous Chamber pieces, and a variety of works for wind ensemble. Since 1971, he has taught at Eastern Michigan University, where he conducts the Collegium Musicum. Some sense of character and range of Iannaccone's music can be gleaned from a sampling of various descriptions given by authors and critics over the past three decades: "dark but never despairing.. intense lyricism with a distinct personality..." (Stereo Review); "...verdant, and always beautifully Orchestrated..." (The New York Times); "...the music's sonic diversity and ensembling of colors are masterful...(the reviewer) never failing to be enthralled by the insights of its argument and development..." (Fanfare). American music for wind band has been very popular recently and this disc should find a wide audience.
Track Listing
| Title | Composer | Performer |
|---|---|---|
| Sea Drift | Anthony Iannaccone | Clarion Wind Symphony, Max Plank, conductor |
| Apparitions | Anthony Iannaccone | Clarion Wind Symphony, Max Plank, conductor |
| Toccata Fanfares | Anthony Iannaccone | Clarion Wind Symphony, Max Plank, conductor |
| After A Gentle Rain | Anthony Iannaccone | Clarion Wind Symphony, Max Plank, conductor |
| Antiphonies | Anthony Iannaccone | Clarion Wind Symphony, Max Plank, conductor |
| Images of Song & Dance, No. 2: Terpsichore | Anthony Iannaccone | Clarion Wind Symphony, Max Plank, conductor |
Reviews
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"Anthony Iannaccone belongs to that ever increasing body of composers who have largely disregarded the Second Viennese School, and are building a bridge that will take us from the Late Romantics to the present era. It is a difficult feat to achieve without falling into the trap of writing music in pastiche of all that has gone before. Iannaccone has not quite avoided the pitfall, and, as the perceptive notes that accompany the disc comment, his music often embraces the idioms of Debussy, Bartok, Stravinsky, Barber, and Copland. As one would expect from the titles, this is programmatic music that would grace the finest scores emerging from Hollywood. The scoring is imaginative, the melodic content immediately arresting, and the shape of each work so skillfully constructed that you are left in that state of musical appetite that asks for more....Even if the performances had been half as good, I would still have welcomed such interesting music to the catalog."
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