Darius Milhaud: La Création du monde • Kaleidoscope Chamber Orchestra

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Live recording from performance on March 26, 2017
First Presbyterian Church in Santa Monica
Violin I
Benjamin Hoffman
Violin II
Chiai Tajima
Cello
Mia Barcia-Colombo
Bass
Levi Jones
Saxophone
Michael Couper
Flute I/piccolo
Alexandra Miller
Flute II
Catherine Baker
Oboe
Theodosia Roussos
Clarinet I
Benjamin Mitchell
Clarinet II
Frederik von Würden
Bassoon
Nick Akdag
Horn
David Cripps
Trumpet I
Sarah Viens
Trumpet II
Nicolas Bejarano
Trombone
Connor Rowe
Percussion
Kevin Schlossman
Timpani
Elizabeth Kosko
Piano
Irene Kim

[@DavidIancu]

I love this small, but complete orchestra. Wish I could see more small orchestras like this :)

[@lwskiner]

Kudos to the principal trumpet, very nice symphonic sound and great blending with the piccolo. That isn't done often!

[@drtmuir]

That beautiful sax solo at the beginning, like a great aria. ❤️

[@extrasalt4595]

We played in the winter of 1976, when I was in high school. I played contrabass, and the part required hours of practice on my part. This performance is as good as any I have heard. Hoomeyow!!

[@kaleidoscopechamberorchestra]

Thanks so much!

[@MegaCirse]

Darius Milhaud est une énigme... passionnante, flamboyante et romantique !

[@harrywhite2458]

Beautiful performance!

[@kaleidoscopechamberorchestra]

Thank you very much!

[@Rog5446]

TRIVIA Dave Brubeck named his son after the composer. Milhaud was Brubeck's music teacher.

[@concernedhuman4559]

Lovely. Thank-you!

[@SalamaSond]

Kudos all around!

[@marceloalmeida8640]

Great performace.

[@kaleidoscopechamberorchestra]

Thanks very much!

[@jdj830]

Excellent performance. There were a few moments where I think having a conductor could have helped with the ensemble, the balance, the rhythmic vitality and a sense of the piece’s architecture, and may paradoxically have given it a greater sense of freedom, since then the individual members wouldn’t have had to work so hard to keep it together themselves; perhaps then those taking solos could have stretched out more and made it more “jazzy.” Conductors actually aren’t the enemy of individual expression. This performance also made me think that maybe it wouldn’t be terrible to use multiple strings on a part. I know the winds are intended to be dominant in this piece, but with the exception of that one Stravinskian violin duet about halfway through you can barely hear them, and the cello and bass get lost in the texture even when they’re playing something important. This is of course not a criticism of the performance (though it might have something to do with the acoustics of the church) but of Milhaud’s orchestration. It also made me think that perhaps my favorite recordings of the piece cheated by boosting the strings in the mix, since I’m used to being able to hear them more clearly. Perhaps this is blasphemy but if this were an actual jazz band amplification would be used; maybe it would be interesting to do a performance in a club setting using microphones with a skilled sound engineer. Anyway…if I hadn’t been inspired by your performance I wouldn’t be rambling on like this. You don’t need me to tell you that you are an exemplary ensemble, but I will anyway. I will seek out more of your performances. Congratulations.

[@straussstrauss8242]

!!!!!😁👌

[@cristianbianchetti9310]

good

[@giancitton2604]

Ouverture Il Caos prima della Creazione Il dissolvimento dell'oscurità e la creazione di piante e animali La creazione di uomo e donna La passione fra l'uomo e la donna Coda con il bacio e la nascita della primavera

[@שרהאפלל]

MAGNIFIQUEֱ