William Anderson | Grüne Heinrich

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Grüne Heinrich

by William Anderson

Grüne Heinrich is a lullaby for my son, Henry. The title also refers to Gottfried Keller's Bildungsroman, *Der grüne Heinrich*, but more broadly, the title refers to all Heinrichs and their spiritual and emotional development. (Stifter's Nachsommer)
Genre: Classical: Chamber Music
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ABOUT THIS ALBUM


Album Notes
This is a lullaby for the composer/guitarist's son, Henry. The title refers not only to Gottfried Keller's novel, *Der grüne Heinrich*, but to all the Heinrichs in the Bildungsroman tradition, especially the Heinrich in Adalbert Stifter's *Nachsommer*.

William Anderson began playing chamber music at the Tanglewood Festival at age 19. He now plays solo recitals at guitar festivals and new music festivals in the US and abroad.

Anderson is dedicated to the work of living composers, and is working hard to shape the tone of 21st C. American music.

--Anderson has performed with many of New York City's finest ensembles, including the New York Philharmonic, the Chamber Music Society of Lincoln Center, the Metropolitan Opera Chamber Players, Sequitur, the Group for Contemporary Music, the Da Capo Chamber Players.

--He founded the Cygnus Ensemble in 1985. Cygnus has built a substantial repertoire of chamber music with plucked strings.

--As a composer and arranger Anderson was the first to use a multiply-partitioned array as an accompaniment to a 3-chord pop song (My Morphine--Welch/Anderson), This and other experiments in adapting modernist techniques to subversive, even populous ends, led Paul Griffiths, in the NY Times, to say:

“The mindful voice of Ives, of Stravinsky and of Mr. Wuorinen’s music would not seem to be implied much by such a song as “Night and Day,” but Mr. Anderson’s extraordinary arrangements of this and other numbers by Jerome Kern and Richard Rogers set them squarely and astonishingly in the same tradition...”

--Anderson is now working on the first in-depth critical study of Western plucked string music, entitled Einegezupfteweltanschauung (A Plucked Worldview). Portions of this work evolve gradually in connection with specific performances.

At age 19 he began playing chamber music at the Tanglewood Music Festival, where he performed from 1981 through 1988. In 1982 he began studying with America's premiere guitar pioneer David Starobin, who introduced him to the music community in New York City. His first solo recital was presented by the League of Composers/ISCM at Weill Hall, New York City (1990). He was also presented in recital by Music From Japan at the Asia Society (1993). He regularly appeared in Washinton D.C.with the Theater Chamber Players at the Kennedy Center, performing both solo guitar and chamber music repertoire. Mr. Anderson has been a soloist in festivals and ensembles such as the Bang on a Can Festival, the Brooklyn Philharmonic, and Modern Works! He has been heard on radio broadcasts on WNYC, WKCR, WGBH, and National Public Radio, Polish National Radio, Radio Bremen, and others.

Mr. Anderson appears on numerous recordings, and has given recitals and radio broadcasts in Europe, Mexico, Japan and the U.S. With Cygnus, he has performed in Denmark, Holland, Poland, Russia, Mexico and California. Cygnus also offers a series of three concerts each season at Merkin Concert Hall in New York City, presenting important new works by America’s best composers. In the New Music Connoisseur, Leo Kraft wrote a review of a Cygnus performance in New York, saying, “If Mr. Anderson’s aim was to show how the guitar can play a significant role in chamber music, he certainly succeeded.” Anderson teaches guitar at Sarah Lawrence College and Queens College.

"--astonishing....astounding arrangements" The New York Times

"--virtuosos in their own right, and together produce chamber music proper...close observance of each other's actions...a very tight performance." Fanfare Magazine, referring to Wm. Anderson & pianist Joan Forsyth

"--the alert guitarist" The New York Times

"--The mirror-paneled recital room provided an apt visual metaphor for how such seemingly modest dimensions can trick the ear into an impression of vaster scale. Guitarist William Anderson brought both technical and expressive virtuosity to his accounts...a quasi-orchestral pallete of coloristic effects...deftly realized by Anderson as he shaped each entry with epigrammatic concentration." Thomas May, The Washington Post

"--Electrifying" New York Times


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