KRONOS QUARTET Diplomová Práce
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Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla
The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2008 Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective Alejandro Marcelo Drago University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Latin American Languages and Societies Commons, Musicology Commons, and the Music Performance Commons Recommended Citation Drago, Alejandro Marcelo, "Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective" (2008). Dissertations. 1107. https://aquila.usm.edu/dissertations/1107 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: May 2008 COPYRIGHT BY ALEJANDRO MARCELO DRAGO 2008 The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 ABSTRACT INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. -
Kronos Quartet Five Tango Sensations Mp3, Flac, Wma
Kronos Quartet Five Tango Sensations mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Latin Album: Five Tango Sensations Country: US Released: 1991 Style: Tango MP3 version RAR size: 1657 mb FLAC version RAR size: 1417 mb WMA version RAR size: 1164 mb Rating: 4.4 Votes: 597 Other Formats: ADX WMA MOD MMF APE MIDI AAC Tracklist Five Tango Sensation (26:46) 1 Asleep 5:23 2 Loving 6:10 3 Anxiety 4:51 4 Despertar 6:03 5 Fear 4:00 Companies, etc. Phonographic Copyright (p) – Elektra Entertainment Copyright (c) – Elektra Entertainment Made By – WEA Manufacturing Inc. Credits Art Direction, Design – Manhattan Design Bandoneon – Astor Piazzolla Cello – Joan Jeanrenaud Engineer – Dan Gellert, Dave O'Donnell, Judith Sherman, Rob Eaton Executive-Producer – Robert Hurwitz Producer – Judith Sherman Viola – Hank Dutt Violin – David Harrington, John Sherba Barcode and Other Identifiers Barcode: 0 7559-79254-2 5 Matrix / Runout: 2 79254-2 SRC=04 SPARS Code: DDD Other versions Category Artist Title (Format) Label Category Country Year Astor Astor Piazzolla, Piazzolla, Kronos Quartet With Elektra 7559-79254-2 Kronos Astor Piazzolla - Five 7559-79254-2 Europe 1991 Nonesuch Quartet With Tango Sensations Astor Piazzolla (CD, MiniAlbum) Kronos Quartet With Elektra, Kronos 9 79254-4, Astor Piazzolla - Five Nonesuch, 9 79254-4, Quartet With US 1991 79254-4 Tango Sensations Elektra, 79254-4 Astor Piazzolla (Cass, MiniAlbum) Nonesuch Astor Astor Piazzolla, Piazzolla, Kronos Quartet With Elektra 7559-79254-2 Kronos Astor Piazzolla - Five 7559-79254-2 Europe -
HANZHI WANG, Accordion
HANZHI WANG, accordion Photo: Matt Dine COMMUNITIES DIGITAL NEWS (Washington, DC): “Ms. Wang dazzled all at the full house at the Kennedy Center with her skills and musicianship. She offered a program of surprisingly daring and eclectic repertoire, including a wide range of classical repertoire explored so masterfully that it seems as if these works had actually been written for the accordion in the first place. It was a genuinely eye-opening evening. Hanzhi Wang is undoubtedly well on her way to a brilliant career that is certain to be much discussed.” OBERON’S GROVE (New York): “Hanzhi Wang gave a remarkable performance. She displayed staggering virtuosity and a gift for drawing colors and magical dynamics from her accordion. It was an inspiring mixture of passion and finesse. Putting a regal polish on every phrase, her sparkling technique held the audience in a state of breathlessness, as thrilling to watch as to hear.” NEW YORK MUSIC DAILY: “Hanzhi Wang isn’t the first accordionist to specialize in classical music, but she is the first one ever to earn inclusion on the Young Concert Artists roster. That’s a pretty big deal. Nothing beats the plaintive lusciousness of Wang’s instrument of choice. She has a magically dynamic new album, and her Carnegie Hall debut in Zankel Hall is one of THE big accordion events of the year in New York. ” Musical America Worldwide New Artist of the Month, July 2018 First Prize, 2017 Young Concert Artists International Auditions First Prize, 40th Castelfidardo International Accordion Competition (Italy) Peter P. Marino Debut Prize of YCA • Mortimer Levitt Career Development Award for Women Artists of YCA Ruth Laredo Award of YCA • Candlelight Concert Society Prize • Chamber Orchestra of the Triangle Prize Krannert Center for the Performing Arts Prize • Sinfonia Gulf Coast Prize •Tannery Pond Concerts Prize University of Florida Performing Arts Prize • Usedom Music Festival Prize Vancouver Recital Society Prize• Washington Performing Arts Prize YOUNG CONCERT ARTISTS, INC. -
Calambre, Between Tango and Fugue
Calambre, between tango and fugue and space, both blazed new trails and inspired future genera- This program interweaves the music of two geniuses who, separated by time and space, both blazed new tions of musicians and composers. Stick&Bow, on marimba and cello, accompanied by Jonathan Goldman on bandoneon and trails and inspired future generations of musicians Juan-Miguel Hernandez on viola, offer a refreshing interpreta- and composers. Stick&Bow, on marimba and cello, ac- tion thanks to this novel instrumentation. The bandoneon and companied by Jonathan Goldman on bandoneon and percussion symbolize the spirit of tango, while the cello and Juan-Miguel Hernandez on viola, offer a refreshing viola honour the spirit of Bach, combining melodic, rhythmic interpretation thanks to this novel instrumentation. and dark sonorities to offer you an extraordinary evening of The bandoneon and percussion symbolize the spirit tangos and fugas. of tango, while the cello and viola honour the spirit of Johann Sebastian Bach Bach, combining melodic, rhythmic and dark sonor- “Contrapunctus IV,” excerpt from The Art of Fugue, BWV 1080 ities to offer you an extraordinary evening of tangos Astor Piazzolla and fugas. Calambre Astor Piazzolla Artists Fuga 9 Stick&Bow Johann Sebastian Bach (Krystina Marcoux, marimba, and Prelude (Fantasia) in C minor, BWV 537 Juan Sebastian Delgado, cello) Astor Piazzolla Jonathan Goldman Primavera porteña Bandoneon Astor Piazzolla Juan-Miguel Hernandez Invierno porteño Viola Johann Sebastian Bach Program Trio Sonata in C minor (Allegro), BWV 526 Known for his famous tangos such as Adiós Nonino, Libertango Astor Piazzolla or The Four Seasons of Buenos Aires, the revolutionary Argentine Fuga y Misterio composer Astor Piazzolla initially hid his musical excursions into Johann Sebastian Bach the world of tango as he blazed the trail for the development of Gigue Fugue in G major, BWV 577 Tango Nuevo in the 1950s. -
125 Commissions Project and Premieres
18|19 COMMISSIONS PROJECT Carnegie Hall’s commitment to the music of tomorrow continues with the fourth year of its five-year project during which at least 125 new works will be commissioned from today’s leading composers. Through the 125 Commissions Project, Carnegie Hall expands upon its history as the preeminent venue where music history is made. Launched during the Hall’s 125th anniversary season in 2015, the project features new solo, chamber, and orchestral music from both established and emerging composers, including John Adams, Thomas Adès, Timo Andres, Donnacha Dennehy, Bryce Dessner, Philip Glass, Sofia Gubaidulina, Brad Mehldau, Nico Muhly, Steve Reich, Frederic Rzewski, Caroline Shaw, Tyshawn Sorey, Chris Thile, and Jörg Widmann. As part of the project, Carnegie Hall has sought to partner with co-commissioners as much as possible in order to maximize the number of performances for new each work. As part of the 125 Commissions Project, Kronos Quartet and Kronos Performing Arts Organization continue Fifty for the Future: The Kronos Learning Repertoire. Collaborating with many diverse partners over five seasons, Kronos is co-commissioning 50 new works by 25 men and 25 women devoted to contemporary approaches to the string quartet, designed expressly for the training of students and emerging professionals. Composers commissioned to write works for previous seasons included Fodé Lassana Diabaté, Rhiannon Giddens, Garth Knox, Aleksandra Vrebalov, Wu Man, and Karin Rehnqvist. Commissions for the 2018–2019 season include works written by Bryce Dessner, Susie Ibarra, Jlin, Vladimir Martynov, Missy Mazzoli, Misato Mochizuki, Terry Riley, Henry Threadgill, Mario Galeano Toro, and Lu Yun. -
FROM the HEAD of DEPARTMENT the Major Piece of Research
FROM THE HEAD OF DEPARTMENT The major piece of research news over the past term an event that also saw a display of materials from the has undoubtedly been the release in December of Daphne Oram archive. Coincidentally, at about the the results of the Research Assessment Exercise. same time, we also secured the purchase of Daphne Keith Negus has given a full appraisal of these in Oram’s original ‘Oramics’ machine, one of the first his contribution below so I will simply reiterate his ever electronic music composition systems. We point that having 70% of the Department’s work rated anticipate that this will lead to some very interesting as being either ‘world leading’ or ‘internationally future strands of research, as well as potential excellent’ was an exceptionally good outcome for us, collaborations with other high-profile partners. and a result that, in percentage terms, was exceeded Another indicator of the Department’s high standing by only one other department within the College as a in music research is the number and quality of PhD whole. The RAE will soon give way to the Research students we are able to attract. Even so, it was Excellence Framework (REF), and we shall shortly something of a pleasant surprise when I discovered begin to contemplate the potential implications for that we have enrolled no fewer than 20 PhD students the Department of this revised method of research in the department in the last calendar year, two of assessment. But for the moment we can draw whom have joined us on AHRC-funded scholarships breath and congratulate ourselves on the very fine (making a total of five students in the Department achievement this time around. -
RUSSIAN, SOVIET & POST-SOVIET CONCERTOS a Discography Of
RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Edited by Stephen Ellis Composers H-P GAGIK HOVUNTS (see OVUNTS) AIRAT ICHMOURATOV (b. 1973) Born in Kazan, Tatarstan, Russia. He studied clarinet at the Kazan Music School, Kazan Music College and the Kazan Conservatory. He was appointed as associate clarinetist of the Tatarstan's Opera and Ballet Theatre, and of the Kazan State Symphony Orchestra. He toured extensively in Europe, then went to Canada where he settled permanently in 1998. He completed his musical education at the University of Montreal where he studied with Andre Moisan. He works as a conductor and Klezmer clarinetist and has composed a sizeable body of music. He has written a number of concertante works including Concerto for Viola and Orchestra No1, Op.7 (2004), Concerto for Viola and String Orchestra with Harpsicord No. 2, Op.41 “in Baroque style” (2015), Concerto for Oboe and Strings with Percussions, Op.6 (2004), Concerto for Cello and String Orchestra with Percussion, Op.18 (2009) and Concerto for Piano and Orchestra, Op 40 (2014). Concerto Grosso No. 1, Op.28 for Clarinet, Violin, Viola, Cello, Piano and String Orchestra with Percussion (2011) Evgeny Bushko/Belarusian State Chamber Orchestra ( + 3 Romances for Viola and Strings with Harp and Letter from an Unknown Woman) CHANDOS CHAN20141 (2019) 3 Romances for Viola and Strings with Harp (2009) Elvira Misbakhova (viola)/Evgeny Bushko/Belarusian State Chamber Orchestra ( + Concerto Grosso No. 1 and Letter from an Unknown Woman) CHANDOS CHAN20141 (2019) ARSHAK IKILIKIAN (b. 1948, ARMENIA) Born in Gyumri Armenia. -
Oranit Kongwattananon 1
Oranit Kongwattananon 1 Introduction Arvo Pärt, an Estonian composer, was born in 1935. He studied at Tallinn Conservatory under his composition teacher, Heino Eller, in 1958-1963. While studying, he worked as a sound engineer at the Estonian Radio, and continued working there until 1968, when he became a freelance composer. At the beginning of 1980, Arvo Pärt and his family emigrated to Austria where he received Austrian citizenship. Afterwards, he received a scholarship from Der Deutsche Akademische Austauschdienst (German Academic Exchange Service) in 1981-1982, so he and his family moved to West Berlin.1 Most of the works at the beginning of his career as a composer were for piano in neo- classical style. He won the first prize of the All-Union Young Composers’ Competition in Moscow in 1962, and turned his interest to serial music at this time. He studied from books and scores, which were difficult to obtain in the Soviet Union. The first work to which he applied serial techniques, Nekrolog, was composed in 1960. Although he was panned by the critics for this work, he nevertheless continued creating his works with serial techniques throughout the 1960s. One well-known piece called Credo, composed in 1968, was the last work combining tonal and atonal styles.2 For several years afterwards, Pärt turned his attention to studying tonal monody and two-part counterpoint exercises.3 Between 1968-1976 Pärt initiated a “self-imposed silence”; during which he published only one work, Symphony no. 3, whilst studing early music: At the beginning of this period, Pärt heard Gregorian chant for the first time in his life and was completely overwhelmed by what he heard: he immediately sought out other examples, and went on to make an intensive study of early music, including not only Gregorian chant, but also the music of the Notre Dame school, Gillaume de Machaut, 1 Wright, Stephen, “Arvo Pärt (1935- ),” in Music of the twentieth-century avant-garde: a biocritical sourcebook, ed. -
Leon Levy BAM Digital Archive
Brooklyn Academy of Music 1997 Next Wave Festival ••• •• • Julio Galan, Rado, 1996, oil on canvas, 39 W' x 31 W' • Iver PHILIP MORRIS BAM 1997 Next Wave Festival is sponsored by COM PAN IE SIN C. Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board Harvey Lichtenstein President and Executive Producer presents II Running time: Eiko & Koma approximately Kronos Quartet seventy-five minutes. Somei Satoh There will be no intermission. BAM Majestic Theater December 3-6, 1997 at 7:30pm December 7 at 3pm Dancers Eiko & Koma Musicians Kronos Quartet David Harrington violin John Sherba viol in Hank Dutt viola Joan Jeanrenaud cello Com poser Somei Satoh Lighti ng designer Jeff Fontaine Scenery Eiko & Koma Sculptor Judd Weisberg Audio engineer Jay Cloidt Major support for this presentation has been provided by The Ford Foundation, The Harkness Foundation for Dance and The Joyce Mertz-Gilmore Foundation. Additional support has been provided by the Asian Cultural Council. Metropolitan Life Foundation is the exclusive sponsor of BAMradio, a broadcast series for which Kronos Quartet's performance will be recorded. The creation and touring of River has been made possible by Brooklyn Academy of Music in cooperation with other funders and presenters. Eiko & Koma An Arts Partners project grant to Lafayette College in Easton, PA enabled the Williams Center for the Arts there to function as lead commissioner of River and to provide the use of its theater for development of the work. The Jacob's Pillow Dance Festival, Art Awareness and the Atlantic Center for the Arts provided additional creative time and space. -
Like Reich on Vodka TUESDAY, DECEMBER 3, 2002 at 4 A.M
Like Reich On Vodka TUESDAY, DECEMBER 3, 2002 AT 4 A.M. 1 Anton Batagov: relentless rhythmic repetition for meditative purposes By coincidence I arrived in Moscow the day the theater siege began. I found a population distracted and depressed, but not too traumatized to share musical enthusiasms. I hadn't heard a peep of Russian music in decades—only the occasional Estonian like Arvo Pärt and Lepo Sumera, or displaced Ukrainian like Virko Baley. So I was surprised, given Europe's still-modernist tendencies, to find Russia awash in simple tonality, in brash repetition, in its own cheeky form of post- minimalism. Such a large country, so crowded with musicians, is not so simply summed up in stylistic terms, of course. But in Vladimir Martynov, Pavel Karmanov, Anton Batagov, Georgs Peletsis, Alexander Rabinovitch, Sergei Zagny, and Alexander Bakshi, I found an entire generation of in- your-face tonalists. I heard a few live performances, mostly by a scintillating and versatile string orchestra called Opus Posth at the Dom Foundation's Alternativa festival (in which I performed). Wider vistas were opened up by dozens of CDs given to me as I was trying to buy them, many of them by Dom's director, Nicolas Dmitriev, others by critic Dmitri Oukhov, sort of the Kyle Gann of Russia, as he described himself: the only person there whose job consists of writing about new experimental music. With typical European obliviousness to conflict-of-interest issues we're hypersensitive to, Oukhov is not only a leading critic but curator of Alternativa and other festivals. -
2011 Next Wave Festival SEP 2011
2011 Next Wave Festival SEP 2011 Donald Baechler, Red + Blue Rose (detail), 2011 BAM 2011 Next Wave Festival sponsor Published by: BAM 2011 Next Wave Festival Brooklyn Academy of Music presents Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Awakening: Adam E. Max, Vice Chairman of the Board A Musical Meditation Karen Brooks Hopkins, President on the Anniversary of 9/11 Joseph V. Melillo, Executive Producer BAM Howard Gilman Opera House Sep 21—24, 2011 at 7:30pm Approximate running time: 90 minutes, no intermission Kronos Quartet Violin David Harrington Violin John Sherba Viola Hank Dutt Cello Jeffrey Zeigler With special guest Brooklyn Youth Chorus, conducted by Dianne Berkun Scenic and lighting design by Laurence Neff Audio engineer Brian Mohr Technical associate Calvin Ll. Jones Awakening was first performed on September 11, 2006, at Herbst Theatre in San Francisco, California. BAM 2011 Next Wave Festival sponsor The 2011 Richard B. Fisher Next Wave Award honors the Kronos Quartet and its production of Awakening. Leadership support for the Next Wave Festival is provided by The Ford Foundation. Leadership support for Awakening provided by Goldman Sachs Gives at the recommendation of R. Martin Chavez. Awakening A Musical Meditation on the Anniversary of 9/11 I. Dmitri Yanov-Yanovsky Awakening* (Uzbekistan) Unknown (arr. Ljova & Kronos) Oh Mother, the Handsome Man Tortures Me+ (Iraq) Traditional (arr. Jacob Garchik) Lullaby+ (Iran) Ram Narayan (arr. Kronos, transc. Ljova) Raga Mishra Bhairavi: Alap+ (India) II. Einstürzende Neubauten Armenia+ (Germany) (arr. Paola Prestini & Kronos) John Oswald Spectre* (Canada) Michael Gordon Selections from The Sad Park* (United States) Part 1 two evil planes broke in little pieces and fire came Part 4 and all the persons that were in the airplane died III. -
Kronos Quartet
I::)AIVI bill Brooklyn Academy of Music 1996 Next Wave Festival Jim Dine, The Heart of BAM, 1996, Woodcut, 26-1/4" x 19-3/8" Kronos Quartet BAM 1996 Next Wave Festival and 135th Anniversary Season are sponsored by Philip Morris Companies Inc. The Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board Harvey Lichtenstein President & Executive Producer presents Kronos Qua rtet David Harrington-violin Hank Dutt-viola John Sherba-violin Joan Jeanrenaud-cello BAM Carey Playhouse Running time: Aural Histories Medieval to Modern American Mavericks approximately two November 13 at 7pm November 15 at 8pm November 16 at 8pm hours per program, including intermission Ken Benshoof Ben Johnston John Zorn St. Francis Climbs Mt. Amazing Grace Cat 0' Nine Tails* Diablo (on His Way to Harry Partch Mark Feldman Heaven) *:1: (Arr. Ben Johnston) Resident Alien* 0 Jack Body Two Studies on Ancient Tim Berne Arum Manis * Greek Scales:t Dry Ink, Silence* 0 Mo Wuping 1.0Iympos' Pentatonic Lois V Vierk Village Ritua/:l: 2.Archytas'Enharmonk River Beneath the Istvan Marta Arvo Part / Psalom:l: River* Doom. A Sigh* Perotin (Arr. Kronos) Jon Hassell Viderunt Omnes t:l: Intermission Pano da Costa Judith Shatin Terry Riley (Cloth from the Coast) * Elijah's Chariot * :I: Cadenza on the Night Intermission Intermission Plain * Osvaldo Golijov Hildegard of Bingen/ The Dreams and Gerard McBurney Prayers of Isaac the Karitas Habundat t:l: * Written for Kronos Blind with special Henry Purcell tArranged for Kronos guest David Krakauer, Four Part Fantasia #2 :I: New York Premiere clarinets (June 11, 1680) o World Premiere John Cage (Arr.