DOCSLIB.ORG

MCT 15 Nov 2020 Concert E-Programme

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MCT 15 Nov 2020 Concert E-Programme presents THE HERMES EXPERIMENT FILMED AT THE GREAT HALL BLACKHEATH HALLS, LONDON ONLINE PREMIERE SUNDAY 22ND NOVEMBER 2020, 5PM bit.ly/MCTYoutube WELCOME Te Michael Cuddigan Trust was set up in 2014 to support the composition and performance of new vocal chamber music. We are delighted to welcome you to a pre-recorded concert at the Great Hall in London’s Blackheath Halls. Following the success of our July concert which was streamed online, we are streaming this concert on 22 November 2020 from our Michael Cuddigan Trust YouTube channel (bit.ly/MCTYoutube). Te concert features a mixed programme performed by the Hermes Experiment, featuring three new Michael Cuddigan Trust Award commissions from Eleanor Alberga, Ayanna Witter-Johnson and Raymond Yiu. Each of the new commissions is a duo for Héloïse Werner, soprano, and one other member of the Hermes Experiment. Tese are unprecedented and challenging times, with live performance venues closed across the nation, and we are incredibly lucky to be able to share new music with you online. Our donors and patrons are an invaluable part of the work we do. Your support is crucial in ensuring we can continue to champion the unique role of music in these exceptional times, as well as sharing the best and brightest new works with the world. Tank you so much for your continued support. Stay safe and take care. HOW TO WATCH ONLINE Te online concert will be streamed on 22nd November 2020 at 5pm You can watch it by going to the Michael Cuddigan Trust YouTube channel via this link bit.ly/MCTYoutube. You can also subscribe to our channel in advance to receive a notifcation and direct link to the stream. Join our live-chat to discuss the production with viewers from around the world. Te video will be available for one month at bit.ly/MCTYoutube and michaelcuddigantrust.com alongside our archive of performances from previous concerts around the UK. Occasionally, slow connection speeds locally may cause buffering. If this happens, reduce the picture quality to suit your connection by clicking on the gear icon, and then selecting an alternate option under ‘quality’. HOW TO SUPPORT US If you are able, we ask you to consider becoming a Friend or Donor by making a donation to help sustain the work we do, supporting the musicians in the Michael Cuddigan Trust community www.michaelcuddigantrust.com/support-us PROGRAMME Brief introduction Clara Schumann (arr. Pashley) Liebst du um Schönheit Lily Boulanger (arr. Schofeld) Attente & Refets Eleanor Alberga Deep Blue Sea (2020 Michael Cuddigan Trust Award) Sergei Prokofev (arr. Schofeld) Visions Fugitives Nos. 1, 7, 8 & 16 Raymond Yiu Written at Sunset (2020 Michael Cuddigan Trust Award) Ewan Campbell London, he felt fairly certain, had always been London Ayanna Witter-Johnson Draw the Line (2020 Michael Cuddigan Trust Award) Kerry Andrew (arr. Denholm) Fruit Songs Te Hermes Experiment PERFORMERS Te Hermes Experiment Anne Denholm – Harp Oliver Pashley – Clarinet* Marianne Schofeld – Double Bass Héloïse Werner – Soprano / Co-Director Hanna Grzeskiewicz – Co-Director *Sacha Rattle replaces Oliver Pashley as guest clarinet in this performance Clara Schumann (arr. Pashley) Liebst du um Schönheit words by Friedrich Rückert translation © Richard Stokes, author of Te Book of Lieder, published by Faber, provided courtesy of Oxford Lieder (www.oxfordlieder.co.uk) Liebst du um Schönheit Liebst du um Schönheit, O nicht mich liebe! Liebe die Sonne, Sie trägt ein gold’nes Haar! Liebst du um Jugend, O nicht mich liebe! Liebe den Frühling, Der jung ist jedes Jahr! Liebst du um Schätze, O nicht mich liebe! Liebe die Meerfrau, Sie hat viel Perlen klar! Liebst du um Liebe, O ja, mich liebe! Liebe mich immer, Dich lieb’ ich immerdar! If you love for beauty If you love for beauty, O love not me! Love the sun, She has golden hair! If you love for youth, O love not me! Love the spring Who is young each year! If you love for riches, O love not me! Love the mermaid Who has many shining pearls! If you love for love, Oh yes, love me! Love me always; I shall love you forever! Lily Boulanger (arr. Schofeld) Attente & Refets words by Maurice Maeterlinck translation © Richard Stokes, author of Te Book of Lieder, published by Faber, provided courtesy of Oxford Lieder (www.oxfordlieder.co.uk) Attente Mon âme a joint ses mains étranges À l'horizon de mes regards ; Exaucez mes rêves épars Entre les lèvres de vos anges! En attendant sous mes yeux las, Et sa bouche ouverte aux prières Éteintes entre mes paupières Et dont les lys n'éclosent pas ; Elle apaise au fond de mes songes, Ses seins effeuillés sous mes cils, Et ses yeux clignent aux périls Éveillés au fl des mensonges. Expectation My soul has folded its strange hands On the horizon of my gaze; Satisfy my scattered dreams Between the lips of your angels! Waiting beneath my weary eyes, Mouth open in prayers Extinguished behind my eyelids Whose lilies never open; My soul brings peace to the depths of my dreams, Its breasts bared beneath my lashes And its eyes blink at the perils Awoken through the thread of lies. Refets Sous l'eau du songe qui s'élève Mon âme a peur, mon âme a peur. Et la lune luit dans mon coeur Plongé dans les sources du rêve! Sous l'ennui morne des roseaux. Seul le refets profonds des choses, Des lys, des palmes et des roses Pleurent encore au fond des eaux. Les feurs s'effeuillent une à une Sur le refet du frmament. Pour descendre, éternellement Sous l'eau du songe et dans la lune. Refections Beneath the water of the dream that rises, My soul is afraid, my soul is afraid. And the moon shines into my heart Tat is bathed in the dream’s source! Beneath the sad tedium of the reeds, Only the deep refection of things, Of lilies, palms and roses, Still weep on the water’s bed. One by one the fowers shed their leaves Upon the frmament’s refection To descend, eternally, Beneath the dream’s water and into the moon. Eleanor Alberga Deep Blue Sea words by Eleanor Alberga (2020) with excerpts from the shipping forecast Low Northwest Malin one thousand and two Losing its identity by one eight double-o Tuesday. Viking North Utsire, timeless, drifting aggregate Tundery showers, good, occasionally moderate Why am I and not another? Forties, Cromerty, Forth, Tyne, Dogger Who sees? Who closes eyes at rest? Fisher, German Bight, South West. Deep blue sea beyond azure Humber, Dover, distract, allure Northwest Trafalgar, Southeast Iceland Becoming fair later, Tames, Portland Sole, speck of mind among myriads Veering southerly, abstruse, obscure Southeast Fitzroy, gale 8 later Plymouth, Wight, am I God’s door? Who knows? Lundy, Fastnet, Irish Sea Shannon, westerly 2 or 3 Wide cerulean, recent rain Cromerty, Dogger, Tyne, again Rockall, South Hebrides, cyclonic Indigo Fairisle, variable, plutonic Tundery showers, fog patches, cloudburst Bailey, fair, very poor at frst Tiree Automatic, Stornaway, rain twelve miles, one thousand and seven Lerwick, Leuchers, Boulmer, Bridlington, rising slowly one thousand eleven St. Catherine’s Point Automatic, Jersey Channel Light Vessel, rising more slowly Earth-orb, foating, quivering, squalling Ronaldsway, Machrihanish Automatic falling Timeless gravity trawl, Cape Wrath to Rattray Head Lough Foyle to Carlingford Lough, warning of gales ahead Speck of mind among myriads Distract, obscure the question Why am I? Deep blue sea Timeless falling indigo mystery Halo shimmering air Rising moon-sun Floating gravity sphere Deep blue sea Wide cerulean paradox Been, being, be. Sergei Prokofev (arr. Schofeld) Visions Fugitives, Nos. 1, 7, 8 & 16 Te Visions fugitives date from the years 1915-1917. Tese twenty miniatures (average length about a minute) take their cue from Schumann’s Carnaval and Chopin’s Op. 28 Preludes, their title and inspiration from these lines by the Russian Symbolist poet Konstantin Balmont: “In every fugitive vision I see worlds, / Full of the changing play of rainbows.” While overall the expressive range is oriented more toward the restrained end of the emotional spectrum, they nevertheless serve as a workshop for a great variety of colorful, experimental epigrams. Moods range from the lyrical to the whimsical, from the spirited to the serene, from the sedate to the seductive. – Jason Missal Raymond Yiu Written at Sunset movements I, II and IV: words by Hsiung Hung (translated by the composer) movement III: words by Emily Dickinson I. 圓葉浮起，光陰刻在青蒼的臉上 。 我們的⼼是海，是湖， 最後是⼩⼩的池 游絲交錯，圓葉之上，圓葉之下 盼望如⼀滴⽔珠 。 Time, engraved on the pale green faces Of the foating lotus leaves. Our hearts are a sea, a lake, And a little pond, where Spiderwebs interlocking over the round foliage, And below them, our longing Is a single drop of dew. II. 有時我們會突然的愛著陳舊的故事 時間便勝利了 它披著⾧髮 ⽽且很陰暗 像那曳了⼀地的，那垂柳 。 Every so often, old stories would suddenly seize us. As time triumphs And lets down its hair, Dark shadow Trailing all over, like drooping willow. III. To fee from memory Had we the Wings Many would fy Inured to slower things Birds with surprise Would scan the cowering Van Of men escaping From the mind of man IV. 那些古⽼的傷感，總要從盼望以外來 。 暮⾊加濃，影⼦貼在⽔⾯ 撕也撕不開... 寫在⿈昏 - 夐虹 Immemorial melancholy Comes from the land of longing. Te colours of the sunset thicken, And the silhouettes cling on the water. You can tear them, But not to tear them away… V. vocalise Ewan Campbell London, he felt fairly certain, had always been London Te Hermes Experiment will introduce this piece. Ayanna Witter-Johnson Draw the Line Tis song explores the tension between two friends from different backgrounds during the current pandemic and the rise of the Black Lives Matter movement.
Load more

Recommended publications
  • Focus 2020 Pioneering Women Composers of the 20Th Century
    Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers.
    [Show full text]
  • Paul Weller with the BBC Symphony Orchestra and Jules Buckley
    For immediate release Paul Weller with the BBC Symphony Orchestra and Jules Buckley concert date added to ‘Live from the Barbican’ line-up in spring 2021 Barbican Hall, Saturday 6 February 2021, 8pm The Barbican and Barbican Associate Orchestra, the BBC Symphony Orchestra are excited to announce that the orchestra and its Creative Artist in Association Jules Buckley, will be joined by legendary singer songwriter Paul Weller on Saturday 6 February for a concert reimagining Weller’s work in stunning orchestral settings as part of Live from the Barbican in 2021. In Weller’s first live performance for two years, songs spanning the broad spectrum of his career from The Jam to as yet unheard new material will delight fans and newcomers alike. Classic songs including ‘You Do Something to Me’, ‘English Rose’ and ‘Wild Wood’ along with tracks from Weller’s latest number 1 album ‘On Sunset’ will be heard as never before in brand new orchestral arrangements by Buckley. Weller, who takes cultural authenticity to the top of the charts, reunites with Steve Cradock for this one-off performance. Part of the acclaimed Live from the Barbican series which returns to the Centre in the spring, the concert will have a reduced, socially distanced live audience in the Barbican Hall, and it will also be available to watch globally via a livestream on the Barbican website. Whilst the concert will reflect on some of Weller’s back catalogue, as is typical of his constantly evolving career, it will look to the future with performances of songs from an album not released until May 2021, as well as welcoming guest artists to illustrate his work and the music that influenced him.
    [Show full text]
  • Orchestra of St. Luke's 2020 Winter-Sping Season
    Press release ORCHESTRA OF ST. LUKE’S BEGINS 2020 WINTER-SPRING SEASON IN FEBRUARY WITH VIOLINIST DANIEL HOPE AND CONTRALTO MARIE-NICOLE LEMIEUX IN HANDEL & VIVALDI: RARE WORKS FOR DOUBLE ORCHESTRA AT CARNEGIE HALL Carnegie Hall Series Concludes on March 5 with Beethoven’s Choral Fantasy featuring La Chapelle de Québec North American Premiere of Work by Composer Eleanor Alberga Anchors 2020 Music in Color Tour Pianist Paavali JumPPanen Joins St. Luke’s Chamber Ensemble for Beethoven’s “Eroica” at The Morgan Library, Merkin Hall, and Brooklyn Museum OSL joined by Taylor 2 Dance Company for OSL’s 43rd Season of Free School Concerts OSL debuts by violinist Daniel HoPe, Pianist Paavali JumPPanen, and singers Marie-Nicole Lemieux, Karina Gauvin, Matthew Brook, and Andrew Haji New York, NY, December 16, 2019 — Orchestra of St. Luke’s (OSL) 2020 winter-spring season will run from February 6 through the end of June, bringing music to over a dozen venues across the five boroughs of New York City. The season includes two Carnegie Hall subscription series concerts led by Principal Conductor Bernard Labadie; OSL’s signature Chamber Music Series with two all-Beethoven programs; a collaboration with New York’s MasterVoices in Sheldon Harnick’s English language version of Bizet’s Carmen; and Music in Color: Eleanor Alberga, OSL’s annual five borough free concert tour highlighting the works and lives of classical composers of color. CARNEGIE HALL PRESENTS ORCHESTRA OF ST. LUKE’S SERIES OSL Principal Conductor Bernard Labadie will lead the Orchestra in two dynamic programs: one dedicated entirely to works for double orchestra by Handel and Vivaldi and the other a celebration of Beethoven’s 250th birthday with a range of works displaying the composer’s audacious genius.
    [Show full text]
  • Mario Ferraro 00
    City Research Online City, University of London Institutional Repository Citation: Ferraro Jr., Mario (2011). Contemporary opera in Britain, 1970-2010. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1279/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] CONTEMPORARY OPERA IN BRITAIN, 1970-2010 MARIO JACINTO FERRARO JR PHD in Music – Composition City University, London School of Arts Department of Creative Practice and Enterprise Centre for Music Studies October 2011 CONTEMPORARY OPERA IN BRITAIN, 1970-2010 Contents Page Acknowledgements Declaration Abstract Preface i Introduction ii Chapter 1. Creating an Opera 1 1. Theatre/Opera: Historical Background 1 2. New Approaches to Narrative 5 2. The Libretto 13 3. The Music 29 4. Stage Direction 39 Chapter 2. Operas written after 1970, their composers and premieres by 45 opera companies in Britain 1.
    [Show full text]
  • Summer Festival Set to Offer Treat to Shanghai Music Fans
    20 Monday, June 10, 2019 LIFE CHINA DAILY HONG KONG EDITION s a kid growing up in Yin­ chuan, Northwest China’s Ningxia Hui autonomous A documentary on singer Su Yang’s musical inspiration region, Su Yang recalls local people singing “infectious” folk A will be in Chinese cinemas soon, Chen Nan reports. songs as they worked on farms there. It wasn’t until adulthood, however, after Su founded his own band, influ­ enced by rock, that he discovered his interest in Ningxia’s folk and tradi­ tional music. Since 2003, the 50­year­old singer­ songwriter, who picked up music at the age of 16, has been traveling around Northwest China collecting folk material from local artists. In 2006, he released his debut album, Able and Virtuous, which soon gained him a fan base with its combi­ nation of folk music and rock. Four years later, he released his second album, Like A Grass, which, like his debut album, features ele­ ments of Chinese folk. One of the songs Su performs is a traditional hua’er, a type of folk singing from the country’s northwest. Titled The Night Journey, the song tells the sto­ ry of a man’s secret date with the woman of his dreams. In 2016, Su and a team of filmmak­ ers visited four folk artists in differ­ Folk rocks ent locations, who have influenced his music, and shot the documentary, The River in Me, which is set to be released in Chinese cinemas on June 18. The film was screened during this Ke Yongquan, 30, who was born year’s Cannes Film Festival on May and raised in Wuchuan, Guangdong 18.
    [Show full text]
  • Annual Subscription UK/Eire £19.50
    TE/HPO A Quarterly Review of Modern Music Editor: Calum MacDonald Price £4.00 (plus postage) - Annual Subscription UK/Eire £19.50 (individuals), £29.00 (institutions) Overseas £21.50 (individuals), £31.50 (institutions) Web Site www.temporeview.com Editorial and U.K. Subscription Office 295 Regent Street, London W1B 2JH. Tel: 020-7580 2060 E-mail: [email protected] Advertising Arthur Boyars, 4 Hollywood Mews, London SW10 9HU. Tel: 020-7352 6400 Overseas Subscription (South Africa) Accent Music C.C., PO Box 30634, Braamfontein Contributors Jonathan Cross is Reader in Musicology at the University of Julian Anderson has been appointed Artistic Director of Music Bristol. He has edited the Cambridge Companion to Stravinsky Today, the Philharmonia Orchestra's contemporary music which will appear later in 2002. series, in succession to James MacMillan. Julian Haylock is currently editor of International Piano Raymond Yiu is a composer, jazz pianist and music researcher magazine and a former editor of CD Revieiv (UK). He is the who also works as a systems analyst. His works have been author of biographical studies on Rachmaninoff and Mahler, performed both in the UK and in the USA, including and has contributed numerous articles to a wide range of Distance of the Moon for 11 solo strings, which was premiered publications. in 2001 by the Adantic Chamber Orchestra Players with Lukas Foss conducting. John Kersey is Director of the London Society for Musicological Research, Vice-Delegate for England and John York is well known as a pianist and accompanist. He is President of the English National Office of the World a professor at the Guildhall School of Music and Drama and University, Arizona, USA.
    [Show full text]
  • Radio 3 Listings for 20 – 26 May 2017 Page 1 of 12
    Radio 3 Listings for 20 – 26 May 2017 Page 1 of 12 SATURDAY 20 MAY 2017 (conductor) DELIUS: String Quartet (1916) [plus two movements from original version, reassembled by Daniel Grimley] SAT 01:00 Through the Night (b08q2ss1) 5:25 AM ELGAR: String Quartet in E minor Op. 83 Edward Gardner conducts the BBC Symphony Orchestra Förster, Kaspar Jr (1616-1673) Villiers Quartet Edward Gardner conducts the BBC Symphony Orchestra in a Dialogus a 5 ©Quid faciam misera?© NAXOS 8573586 (CD) world premiere by Raymond Yiu, plus music by Britten, Nielsen Olga Pasiecznik & Marta Boberska (sopranos), Dirk Snellings and Janácek. Catriona Young presents. (bass), Il Tempo Baroque Ensemble - Wim Maseele (theorbo), La Symphonie des Oiseaux Anna Sliwa (viola), Lilianna Stawarz (chamber organ), Marcin CASALS: El Cant dels Ocells (Song of the birds) 1:01 AM Zalewski (bass viol), Agata Sapiecha (violin & director) DVORAK: Waldesruhe (Silent woods) for cello and orchestra Britten, Benjamin (1913-1976) Op. 68 No. 5 Sinfonia da requiem, Op.20 5:32 AM GRANADOS: Goyescas: Quejas o La Maja y el Ruisenor BBC Symphony Orchestra, Edward Gardner (conductor) Rameau, Jean-Philippe (1683-1764) GRIEG: Lyric Pieces Op. 43: No. 4 - Little bird Suite in G major - from Nouvelles suites de pièces de clavecin - LISZT: Legende S.175 No. 1, St Francis of Assisi preaching to 1:20 AM arr. for wind quintet the birds Yiu, Raymond (b.1973) Yur-Eum Woodwind Quintet MESSIAEN: Louange a L©Immortalite de Jesus (from Quatuor Symphony, for countertenor and orchestra pour la fin du temps) Andrew Watts (countertenor), BBC Symphony Orchestra, 5:47 AM MOZART: Der Vogelfanger bin ich, ja (from Die Zauberflote) Edward Gardner (conductor) Chopin, Frédéric (1810-1849) PERLMAN: A Birdling sings Andante spianato and Grande polonaise brillante, Op.22 RAMEAU: La poule 1:49 AM Janina Fialkowska (piano), Kitchener-Waterloo Symphony SAINT-SAENS: Le carnaval des animaux: Le Cygne Nielsen, Carl (1865-1931) Orchestra, Raffi Armenian (conductor) SCHUMANN: Vogel als Prophet (No.
    [Show full text]
  • Julian Anderson
    JULIAN ANDERSON HEAVEN IS SHY OF EARTH THE COMEDY OF CHANGE SUSAN BICKLEY LONDON SINFONIETTA BBC SYMPHONY ORCHESTRA & CHORUS OLIVER KNUSSEN Julian Anderson JULIAN ANDERSON (b. 1967) The Comedy of Change (2009) 23:48 for chamber ensemble of 12 players 1 I. 2:11 2 II. – 2:47 3 III. 1:55 4 IV. – 2:31 5 V. 3:39 6 VI. 5:30 7 VII. 5:15 Heaven is Shy of Earth (2006/2009–10) 38:32 for mezzo-soprano, chorus & orchestra 8 Intrada 3:10 9 Kyrie 5:07 10 Gloria (with Bird) 6:59 11 Quam dilecta tabernacula tua 5:08 12 Sanctus 8:06 13 Agnus Dei 10:02 London Sinfonietta (1–7) Susan Bickley, mezzo-soprano (9–13) BBC Symphony Chorus (9, 10, 12, 13) BBC Symphony Orchestra (8–13) Oliver Knussen, conductor hen Julian Anderson was commissioned to write a substantial work for solo Wmezzo-soprano, chorus and orchestra for the 2006 BBC Proms, the stage was set for a large-scale summation of his recent musical concerns. Anderson would be able to revisit the communal expressive ideal of several recent works for unaccompanied choir in the context of his by now well-established orchestral style, with its characteristic integration of lyrical simplicity and joyous complexity. The solo female voice, meanwhile, suggested a new and often dramatic presence – an individual consciousness at the heart of one of Anderson’s typical evocations of the natural world. Clearly, the choice of texts would be a central decision. Anderson had set poems by Emily Dickinson before, and now found in her visionary eccentricity a compelling expression of nature’s abundance as a kind of secular miracle.
    [Show full text]
  • A Choral Christmas
    Sunday 2 December 7–9pm Barbican Hall LSO SING A CHORAL CHRISTMAS Lucy Griffiths presenter & conductor, LSO Discovery Junior Choir David Lawrence conductor, LSO Community Choir & Discovery Senior Choir A CHORAL T Jae Cole conductor, Powerhouse Gospel Choir Simon Halsey conductor LSO Community Choir LSO Discovery Choirs Powerhouse Gospel Choir CHRISTMAS LSO Brass Ensemble The LSO Discovery and Community Choirs are generously supported by the Garfield Weston Foundation, John S Cohen Foundation, Slaughter and May Charitable Trust, D’Oyly Carte Charitable Trust and John Thaw Foundation Welcome Latest News Keep in Touch conductor of the Discovery Junior Choir, who BRITISH COMPOSER NOMINATIONS SUBSCRIBE will also be presenting tonight’s concert. Receive monthly updates from the The British Academy of Songwriters, LSO, LSO Live and LSO St Luke’s. Thank you to those who have supported the Composers and Authors has announced lso.co.uk/elist singers on-stage tonight, and to all those its nominations for the 2018 British who support the LSO’s singing activities, Composer Awards. Nominees include 2012 LISTEN including the Garfield Weston Foundation, LSO Soundhub Member Richard Bullen, Stream, download or buy music John S Cohen Foundation, Slaughter and Soundhub Associates Matt London and from our record label LSO Live. May Charitable Trust, D’Oyly Carte Charitable Liam Taylor-West, and Panufnik composers lsolive.co.uk Trust and John Thaw Foundation. Raymond Yiu (2008), Cevanne Horrocks- Hopayian (2010) and Cassie Kinoshi LSO PLAY warm welcome to the LSO’s annual I hope that you enjoy the performance, (current). The winners are to be announced See the Orchestra from a different Choral Christmas concert, as we and I wish you a very happy festive season.
    [Show full text]
  • Episode #29: Eleanor Alberga Listening to Ladies Original Release Date: August 29, 2019 Host: Elisabet
    Episode #29: Eleanor Alberga Listening to Ladies www.listeningtoladies.com Original release date: August 29, 2019 Host: Elisabeth C Blair (ECB) Interviewee: Eleanor Alberga (EA) ECB: This episode is supported in part by the Irving S. Gilmore Foundation, in partnership with 102.1 WMUK, and by the International Alliance for Women in Music. Learn more and explore membership at www.iawm.org. I’m Elisabeth Blair and this is Listening to Ladies. [excerpt of Violin Concerto No. 1 plays] ECB: This is an excerpt from the first movement of Violin Concerto No. 1 by composer Eleanor Alberga. The Scottish Chamber Orchestra commissioned it, and it was composed in 2001 for her husband to perform. EA: I must say that it is a privilege to be married to married to a wonderful virtuoso violinist, Thomas Bowes. When the opportunity arose to write my first violin concerto for him, I was thrilled. With the violin concerto, I wanted to step away from any sort of clear extra musical idea. I wanted to exploit the drama of the relationship between the solo violin and the orchestra. The violin's natural ability to convey, almost viscerally, human vulnerability was something that attracted me greatly. [excerpt of Violin Concerto No. 1 plays] EA: I always feel that deciding upon the moment of which I start to crystallize what is in my imagination, is the most crucial decision of all and I always would like to wait until that moment is right. And with this piece, I could, I had enough time to wait until that moment arrived.
    [Show full text]
  • The Cello in Motion
    The Cello in Motion Co-presented by The Temple Emanu-El Streicker Center and Orchestra of St. Luke’s Monday, November 30th, 2020 at 6:30pm Streamed live from The Temple Emanu-El Streicker Center piano. In 1970, she won the biennial Royal Schools of Music Scholarship for the West Indies which Performers allowed her to study piano and singing at the Royal Academy of Music in London. In 1974, she was one Ilmar Gavilan, Mitsuru Tsubota, violin of three finalists in the International Piano Concerto Kaya Bryla-Weiss, viola Competition in Dudley, United Kingdom. While a Daire FitzGerald, Hamilton Berry, cellos rehearsal pianist for The London Contemporary Dance Theatre, Alberga began composing works conceived for dance, including her celebrated piano quintet Clouds (1984); she would later become the Program company’s musical director. ELEANOR ALBERGA Ride Through Alberga’s orchestral works, Sun Warrior (1990) written for the inaugural Women in Music Festival and her FRANZ SCHUBERT dramatic adaptation of Roald Dahl’s Snow White and the Seven Dwarves (1994) for large symphony String Quintet in C Major, D. 956 orchestra and narrators, were premiered at the Allegro ma non troppo Royal Festival Hall in 1994 with Franz Welser-Möst Adagio conducting the LPO. In 2009, the premiere of her Scherzo opera Letters of a Love Betrayed at the Royal Opera Allegretto House drew comparisons to Berg’s Wozzeck and Debussy’s Pelleas et Melisande. Program Notes In 2001, she was awarded a NESTA Fellowship for composition and premiered her first violin concerto, Ride Through by Eleanor Alberga written for Thomas Bowes and commissioned by The Scottish Chamber Orchestra under Joseph Swensen.
    [Show full text]
  • Art Music by Caribbean Composers: Jamaica
    BIBLIOGRAPHY Art Music by Caribbean Composers: Jamaica Christine Gangelhoff Cathleen LeGrand 1 The College of The Bahamas INTRODUCTION The classical music tradition in Jamaica dates Jamaica is among the Caribbean islands that back to the 18th century. The "first oratorio Columbus claimed for Spain. The island was written in the Americas," Jonah, was captured by the British in 1655 and remained composed by Samuel Felsted sometime a British colony until its independence in around 1773 (Lumsden, 2004). Sir Frederic 1962 (Jamaica, 2005). Jamaica was settled by H. Cowen, the most prolific Jamaican Europeans who brought in a large number of classical composer, created a long list of African slaves to perform agricultural work, works including several operas. Cowen mainly on sugar plantations. Workers from moved to England during his youth and, in Asia, predominantly from India and China, addition to composing, had a notable career as who arrived after Emancipation also a performer and conductor (Lumsden, 2003). contribute to the nation's diversity. In Peter Ashbourne is the most versatile of the response to its rich diversity, the motto of younger generation of composers born and Jamaica is: Out of Many, One People. living in Jamaica. One of his recent works, Mikey, a reggae opera, displays his innovative "Jamaican music is as varied as the people approach to composition. Ashbourne points who inhabit the island... [M]uch folk music out that "when you consider that, in terms of retains features and functions of black African popular culture, Jamaica has an unusually music, blended with elements of European high profile, [and] art music is easily (primarily British) music" (Lewin & Gordon, overshadowed by the more conspicuous and 2007-2011).
    [Show full text]