DOCSLIB.ORG

DANIEL the Old Testament Library

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
DANIEL the Old Testament Library The Old Testament Library The Old Testament Library DANIEL THE OLD TESTAMENT LIBRARY . provides fresh and authoritative treat- GENESIS, A Commentary. Revised Edition. BY GERHARD VON RAD The Old Testament Library ments of important aspects of Old Testament THE BOOK OF EXODUS, A Critical, Theological Commentary. BY BREVARD S. CHILDS study through commentaries and general LEVITICUS, A Commentary. BY ERHARD S. GERSTENBERGER surveys. The contributors are scholars of NUMBERS, A Commentary. BY MARTIN NOTH DANIEL international standing. The editorial board DEUTERONOMY, A Commentary. BY RICHARD D. NELSON consists of William P. Brown, William DEUTERONOMY, A Commentary. BY GERHARD VON RAD JOSHUA, A Commentary. BY RICHARD D. NELSON Carol A. Newsom Marcellus McPheeters Professor of Old JUDGES, A Commentary. BY SUSAN NIDITCH with Brennan W. Breed Testament, Columbia Theological Seminary JUDGES, A Commentary. BY J. ALBERTO SOGGIN in Decatur, Georgia; Carol A. Newsom, RUTH, A Commentary. BY KIRSTEN NIELSEN Charles Howard Candler Professor of Old I & II SAMUEL, A Commentary. BY A. GRAEME AULD “This literate and learned book is the Testament, Candler School of Theology at I & II SAMUEL, A Commentary. BY HANS WILHELM HERTZBERG first major commentary on Daniel of the Emory University in Atlanta, Georgia; and I & II KINGS, A Commentary. BY MARVIN A. SWEENEY twenty-first-century. It is distinguished from Brent A. Strawn, Professor of Old Testament, I & II CHRONICLES, A Commentary. BY SARA JAPHET previous commentaries by the extensive EZRA-NEHEMIAH, A Commentary. BY JOSEPH BLENKINSOPP Candler School of Theology at Emory treatment of the history of reception, but ESTHER, A Commentary. BY JON D. LEVENSON University in Atlanta, Georgia. THE BOOK OF JOB, A Commentary. BY NORMAN C. HABEL it also provides an informed and engaging THE PSALMS, A Commentary. BY ARTUR WEISER treatment of the book in its ancient histori- “Carol Newsom’s superb commentary on PROVERBS, A Commentary. BY RICHARD J. CLIFFORD cal context.” Daniel focuses on its central narrative—the ECCLESIASTES, A Commentary. BY JAMES L. CRENSHAW —John J. Collins, Holmes Professor quest to uncover the mysteries of heaven SONG OF SONGS, A Commentary. BY J. CHERYL EXUM of Old Testament Criticism and and understand the true nature of God’s ISAIAH, A Commentary. BY BREVARD S. CHILDS Interpretation, Yale Divinity School relationship with history and humanity. ISAIAH 1–12, A Commentary. Second Edition. BY OTTO KAISER Supplementary sections by Brennan Breed ISAIAH 13–39, A Commentary. BY OTTO KAISER outline the reception history of key themes ISAIAH 40–66, A Commentary. BY CLAUS WESTERMANN “Carol Newsom’s work is a worthy suc- JEREMIAH, A Commentary. BY LESLIE C. ALLEN of each chapter of Daniel from the ancient cessor to Norman Porteous’s volume on LAMENTATIONS, A Commentary. BY ADELE BERLIN world to the present. The result is a brilliant Daniel, one of the great commentaries EZEKIEL, A Commentary. BY WALTHER EICHRODT Daniel in the original Old Testament Library. exposition of the most enigmatic book in DANIEL, A Commentary. BY CAROL A. NEWSOM WITH BRENNAN W. BREED the Hebrew Bible that details its profound DANIEL, A Commentary. BY NORMAN W. PORTEOUS Whereas Porteous wrote against the back- influence on Western culture and sheds new HOSEA, A Commentary. BY JAMES L. MAYS ground of the biblical theology movement, light on its meaning for readers both then JOEL AND OBADIAH, A Commentary. BY JOHN BARTON with CAROL A. NEWSOM A Commentary by Dr. Newsom writes against the background and now.” AMOS, A Commentary. BY JAMES L. MAYS of postcolonial study and interest in recep- BY JÖRG JEREMIAS —Lorenzo DiTommaso, Professor of THE BOOK OF AMOS, A Commentary. BRENNAN W. BREED tion history, and her commentary is aware JONAH, A Commentary. BY JAMES LIMBURG Religion, Concordia University Montréal of those approaches to interpretation. (It MICAH, A Commentary. BY JAMES L. MAYS was an excellent move to get Brennan NAHUM, HABAKKUK, AND ZEPHANIAH, A Commentary. BY J. J. M. ROBERTS Breed to provide substantial studies of each CAROL A. NEWSOM is the Charles Howard HAGGAI AND ZECHARIAH 1–8, A Commentary. BY DAVID L. PETERSEN ZECHARIAH 9–14 AND MALACHI, A Commentary. BY DAVID L. PETERSEN chapter’s reception history.) Traditional Candler Professor of Old Testament at Candler critical questions about history and lan- School of Theology, Emory University and was EXILE AND RESTORATION: A Study of Hebrew Thought of the Sixth Century B.C. guage also get thorough and judicious con- the 2011 President of the Society of Biblical BY PETER R. ACKROYD A HISTORY OF ISRAELITE RELIGION IN THE OLD TESTAMENT PERIOD, sideration. Serious students of Daniel in Literature. She is the author and editor of Volumes I and II. BY RAINER ALBERTZ our twenty-first-century context will profit many books and coeditor of the Women’s Bible INTRODUCTION TO THE OLD TESTAMENT. Third Edition. BY J. ALBERTO SOGGIN hugely from this commentary.” Commentary, third edition. JEWISH WISDOM IN THE HELLENISTIC AGE. BY JOHN J. COLLINS OLD TESTAMENT THEOLOGY, Volumes I and II. BY HORST DIETRICH PREUSS — John Goldingay, David Allan Hubbard BRENNAN W. BREED is Assistant Professor of Old OLD TESTAMENT THEOLOGY, Volumes I and II. BY GERHARD VON RAD Professor of Old Testament, THEOLOGY OF THE OLD TESTAMENT, Volumes I and II. Fuller Theological Seminary Testament at Columbia Theological Seminary. BY WALTHER EICHRODT ISBN-13: 978-0-664-22080-8 A Commentary by CAROL A. NEWSOM ËxHSKGQEy220808zv*:+:!:+:! with BRENNAN W. BREED www.wjkbooks.com “This literate and learned book is the first major commentary on Daniel of the twenty-first century. It is distinguished from previous commentaries by the extensive treatment of the history of reception, but it also provides an informed and engaging treatment of the book in its ancient historical context.” —John J. Collins, Holmes Professor of Old Testament Criticism and Interpretation, Yale Divinity School “Carol Newsom’s work is a worthy successor to Norman Porteous’s volume on Daniel, one of the great commentaries in the original Old Testament Library. Whereas Porteous wrote against the background of the biblical theology move- ment, Dr. Newsom writes against the background of postcolonial study and interest in reception history, and her commentary is aware of those approaches to interpretation. (It was an excellent move to get Brennan Breed to provide sub- stantial studies of each chapter’s reception history.) Traditional critical ques- tions about history and language also get thorough and judicious consideration. Serious students of Daniel in our twenty-first-century context will profit hugely from this commentary.” —John Goldingay, David Allan Hubbard Professor of Old Testament, Fuller Theological Seminary “Carol Newsom’s superb commentary on Daniel focuses on its central nar- rative—the quest to uncover the mysteries of heaven and understand the true nature of God’s relationship with history and humanity. Supplementary sections by Brennan Breed outline the reception history of key themes of each chapter of Daniel from the ancient world to the present. The result is a brilliant exposi- tion of the most enigmatic book in the Hebrew Bible that details its profound influence on Western culture and sheds new light on its meaning for readers both then and now.” —Lorenzo DiTommaso, Professor of Religion, Concordia University Montréal Newsom-Daniel.indb 1 9/17/14 12:08 PM DANIeL Newsom-Daniel.indb 1 9/17/14 12:08 PM THe OLD TeSTAMeNT LIBRARY editorial Advisory Board WILLIAM P. BROWN CAROL A. NEWSOM BRENT A. STRAWN Newsom-Daniel.indb 2 9/17/14 12:08 PM Carol A. Newsom with Brennan W. Breed A Commentary Newsom-Daniel.indb 3 9/17/14 12:08 PM © 2014 Carol A. Newsom First edition Published by Westminster John Knox Press Louisville, Kentucky 14 15 16 17 18 19 20 21 22 23—10 9 8 7 6 5 4 3 2 1 All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval system, without permission in writing from the publisher. For information, address Westminster John Knox Press, 100 Witherspoon Street, Louisville, Kentucky 40202-1396. Or contact us online at www.wjkbooks.com. Unless otherwise indicated, Scripture quotations outside the book of Daniel, with slight adaptation, are from the New Revised Standard Version of the Bible, copyright © 1989 by the Division of Christian education of the National Council of the Churches of Christ in the U.S.A., and are used by permission. Other versions occasionally cited are listed with the Abbreviations. Daniel is translated by the author. See pp. xv–xvi, “Acknowledgments and Credits,” for other permission information. Book design by Jennifer K. Cox Library of Congress Cataloging-in-Publication Data Newsom, Carol A. (Carol Ann), 1950– Daniel : a commentary / Carol A. Newsom, with Brennan W. Breed.—First edition. pages cm.—(The Old Testament library) Includes bibliographical references and indexes. ISBN 978-0-664-22080-8 (hbk : alk. paper)—ISBN 978-0-664-26016-3 (pbk : alk. paper) 1. Bible. Daniel—Commentaries. I. Breed, Brennan W. II. Title. BS1555.53.N49 2014 224'.507—dc23 2014016541 The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992. Most Westminster John Knox Press books are available at special quantity discounts when purchased in bulk
Load more

Recommended publications
  • Wuorinen Printable Program
    The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Celebrating Charles Wuorinen at 80 featuring Ensemble SIGNAL Brad Lubman, conductor Tuesday, April 24, 2018 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Charles Wuorinen (b. 1938) iRidule Jacqueline Leclair, oboe soloist Spin 5 Olivia De Prato, violin soloist Intermission Megalith Eric Huebner, piano soloist PERSONNEL Ensemble Signal Brad Lubman, Music Director Paul Coleman, Sound Director Olivia De Prato, Violin Lauren Radnofsky, Cello Ken Thomson, Clarinet, Bass Clarinet Adrián Sandí, Clarinet, Bass Clarinet David Friend, Piano 1 Oliver Hagen, Piano 2 Karl Larson, Piano 3 Georgia Mills, Piano 4 Matt Evans, Vibraphone, Piano Carson Moody, Marimba 1 Bill Solomon, Marimba 2 Amy Garapic, Marimba 3 Brad Lubman, Marimba Sarah Brailey, Voice 1 Mellissa Hughes, Voice 2 Kirsten Sollek, Voice 4 Charles Wuorinen In 1970 Wuorinen became the youngest composer at that time to win the Pulitzer Prize (for the electronic work Time's Encomium). The Pulitzer and the MacArthur Fellowship are just two among many awards, fellowships and other honors to have come his way. Wuorinen has written more than 260 compositions to date. His most recent works include Sudden Changes for Michael Tilson Thomas and the San Francisco Symphony, Exsultet (Praeconium Paschale) for Francisco Núñez and the Young People's Chorus of New York, a String Trio for the Goeyvaerts String Trio, and a duo for viola and percussion, Xenolith, for Lois Martin and Michael Truesdell. The premiere of of his opera on Annie Proulx's Brokeback Mountain was was a major cultural event worldwide.
    [Show full text]
  • Unwelcome Words from the Lord: Isaiah's Messages
    Word & World Volume XIX, Number 2 Spring 1999 Unwelcome Words from the Lord: Isaiah’s Messages ROLF A. JACOBSON Princeton Theological Seminary Princeton, New Jersey I. THE CUSTOM OF ASKING FOR PROPHETIC WORDS N BOTH ANCIENT ISRAEL AND THE NEIGHBORING COUNTRIES, IT WAS COMMON for prophets to be consulted prior to a momentous decision or event. Often, the king or a representative of the king would inquire of a prophet to find out whether the gods would bless a particular action which the king was considering. A. 1 Samuel 23. In the Old Testament, there are many examples of this phe- nomenon. 1 Sam 23:2-5 describes how David inquired of the Lord to learn whether he should attack the Philistines: Now they told David, “The Philistines are fighting against Keilah, and are rob- bing the threshing floors.” David inquired of the LORD, “Shall I go and attack these Philistines?” The LORD said to David, “Go and attack the Philistines and save Keilah.” But David’s men said to him, “Look, we are afraid here in Judah; how much more then if we go to Keilah against the armies of the Philistines?” Then David inquired of the LORD again. The LORD answered him, “Yes, go ROLF JACOBSON is a Ph.D. candidate in Old Testament at Princeton Theological Seminary. He is associate editor of the Princeton Seminary Bulletin and editorial assistant of Theology Today. Isaiah’s word of the Lord, even a positive word, often received an unwelcome re- ception. God’s promises, then and now, can be unwelcome because they warn against trusting any other promise.
    [Show full text]
  • National Museum of Aleppo As a Model)
    Strategies for reconstructing and restructuring of museums in post-war places (National Museum of Aleppo as a Model) A dissertation submitted at the Faculty of Philosophy and History at the University of Bern for the doctoral degree by: Mohamad Fakhro (Idlib – Syria) 20/02/2020 Prof. Dr. Mirko Novák, Institut für Archäologische Wissenschaften der Universität Bern and Dr. Lutz Martin, Stellvertretender Direktor, Vorderasiatisches Museum, Staatliche Museen zu Berlin Fakhro. Mohamad Hutmatten Str.12 D-79639 Grenzach-Wyhlen Bern, 25.11.2019 Original document saved on the web server of the University Library of Bern This work is licensed under a Creative Commons Attribution-Non-Commercial-No derivative works 2.5 Switzerland licence. To see the licence go to http://creativecommons.org/licenses/by-nc-nd/2.5/ch/ or write to Creative Commons, 171 Second Street, Suite 300, San Francisco, California 94105, USA Copyright Notice This document is licensed under the Creative Commons Attribution-Non-Commercial-No derivative works 2.5 Switzerland. http://creativecommons.org/licenses/by-nc-nd/2.5/ch/ You are free: to copy, distribute, display, and perform the work Under the following conditions: Attribution. You must give the original author credit. Non-Commercial. You may not use this work for commercial purposes. No derivative works. You may not alter, transform, or build upon this work.. For any reuse or distribution, you must take clear to others the license terms of this work. Any of these conditions can be waived if you get permission from the copyright holder. Nothing in this license impairs or restricts the author’s moral rights according to Swiss law.
    [Show full text]
  • Women at Work in the Deuteronomistic History
    International Voices in Biblical Studies Women at Work in the Deuteronomistic History Mercedes L. García Bachmann Women at Work in the Deuteronomistic history international Voices in Biblical studies General Editors monica J. melanchthon Louis c. Jonker Editorial Board eric Bortey anum Ida Fröhlich Jione Havea Hisako Kinukawa Sam P. Mathew Néstor Míguez Nancy Nam Hoon Tan number 4 Women at Work in the Deuteronomistic history Women at Work in the Deuteronomistic history mercedes L. García Bachmann society of Biblical Literature atlanta copyright © 2013 by the society of Biblical Literature all rights reserved. no part of this work may be reproduced or published in print form except with permission from the publisher. individuals are free to copy, distribute, and transmit the work in whole or in part by electronic means or by means of any informa- tion or retrieval system under the following conditions: (1) they must include with the work notice of ownership of the copyright by the society of Biblical Literature; (2) they may not use the work for commercial purposes; and (3) they may not alter, transform, or build upon the work. requests for permission should be addressed in writing to the rights and Permissions office, society of Biblical Literature, 825 houston mill road, atlanta, Ga 30329, usa. Scripture quotations labeled NRSV are from the New Revised Standard Version Bible (London, HarperCollins Publishers), copyright © 1989 by the Division of Christian Educa- tion of the National Council of the Churches of Christ in the USA. SBL Hebrew Fonts and BWHEBB and BWTRANSH PostScript® Type 1 and TrueType fonts Copyright ©1994-2013 BibleWorks, LLC.
    [Show full text]
  • Eridu, Dunnu, and Babel: a Study in Comparative Mythology
    ERIDU, DUNNU, AND BABEL: A STUDY IN COMPARATIVE MYTHOLOGY by PATRICK D. MILLER, JR. Princeton Theological Seminary, Princeton, NJ 08542 This essay focuses on some themes in two quite different myths from ancient Mesopotamia, one known commonly as the Sumerian Deluge or Flood story, discovered at Nippur and published around the turn of the century by Poebel (I 9 I 4a and b ), the other published much more recently by Lambert and Walcot (1966) and dubbed by Jacobsen (1984) "The Harab Myth." The former myth was the subject of some attention at the time of its publication and extensive analysis by Poebel, par­ ticularly in King's Schweich Lectures (1918). As Jacobsen notes, it has not been the subject of much further work except for Kramer's transla­ tion (Pritchard, 1955, pp. 42-44) and Civil's translation and notes in Lambert and Millard (1969, pp. 138-147). More recently, Kramer has given a new translation of the text together with notes (Kramer, 1983). Both texts have now been the subject of major new treatments in the last three or four years by Jacobsen (1978 and 1984), and that is in a large sense the impetus for my turning to them. Indeed, I first became interested in the two texts when Jacobsen delivered a paper on them entitled "Two Mesopotamian Myths of Beginnings" at a symposium on mythology given at Sweetbriar College several years ago. His rationale for dealing with the two of them at that time was that each "in its own way stands apart and it seems to me, raises interesting questions of a more general nature-about composition, interpretation, and what hap­ pens when a myth is borrowed from one people to another" ( 1978, p.
    [Show full text]
  • Interpretations of the Socio-Economic Structure of the Urartian Kingdom
    UNIVERSITY OF LIVERPOOL SCHOOL OF HISTORIES, LANGUAGES AND CULTURES (ARCHAEOLOGY, CLASSICS AND EGYPTOLOGY) INTERPRETATIONS OF THE SOCIO-ECONOMIC STRUCTURE OF THE URARTIAN KINGDOM By ALİ ÇİFÇİ Submitted in partial fulfilment of the requirement for the degree of Doctor of Philosophy April 2014 Liverpool i To my parents Cennet ÇİFÇİ and Ali ÇİFÇİ ii ACKNOWLEDGMENTS Many people have helped me to complete this research and in particular I would like to thank to my supervisors, Alan M. Greaves and Christopher Tuplin, both of whom have provided me with ideas and advice on numerous occasions. Also I would like to thank to my examiners Bruce Routledge and Claudia Glatz for their comments and suggestions. I would also like to thank Paul Zimansky for reading the first drafts of my thesis and for his subsequent suggestions and advice as to how it could be improved. I must also express my gratitude to Kemalettin Köroğlu, who has been generous with his help and advice and Altan Çilingiroğlu for allowing me to participate in the Ayanis excavation and for scholarly conversations. Further thanks are due to Erkan Konyar, who generously provided unpublished information and to the Van Kalesi Höyüğü excavation team for their support. Mirjo Salvini, Mehmet Karaosmanoğlu and Stephan Kroll have also offered help and advice on various aspects of Urartian archaeology and I am also grateful to Magnus Widell for his help with cuneiform inscriptions. In addition, I would like to thank Emel Oybak Dönmez, Atilla Batmaz, Yervand Greakyan and Mehmet Ali Yılmaz for sending me literature that was helpful to my research.
    [Show full text]
  • Shed2 Press Release
    shed2 Press Release THE BLOOMBERG BUILDING 545 W 30th Street New York, NY 10001 For more information, please contact: Sommer Hixson Director of Communications The Shed (646) 876-6933 [email protected] Christina Riley Publicist The Shed Reich Richter features music composed by Steve Reich; a moving picture, in (646) 876-6858 collaboration with Corinna Belz; and images © Gerhard Richter 2019 (05042019). [email protected] Photo: Stephanie Berger. Courtesy The Shed. Reich Richter Pärt, Immersive Live Performance Installations Exploring the Amanda Domizio Shared Language of Visual Art and Music, Premieres on Saturday, April 6, Polskin Arts as an Opening Commission of The Shed (212) 583-2798 [email protected] NEW YORK, APRIL 6, 2019—In its opening week, The Shed presents Reich Richter Pärt, a marriage of music and visual art that brings together three @theshedny luminaries of 20th-century culture, in collaboration with each other for the first theshed.org time in their legendary careers. On Saturday, April 6th, celebrated American composer Steve Reich and pioneering artist Gerhard Richter will debut a world premiere commission, as two New York groups — Ensemble Signal and International Contemporary Ensemble — will alternate performances of Reich’s new score in counterpoint with Richter’s new work, including a new moving picture. Created by Gerhard Richter and filmmaker Corinna Belz, the moving picture will screen in an environment that is intentionally intimate for both audiences and musicians. “Gerhard and Corinna specially developed a new moving picture for this project using calculations based on Richter's book, Patterns: Divided, Mirrored, Repeated,” says Hans Ulrich Obrist, The Shed’s Senior Program Advisor.
    [Show full text]
  • O Uso Do Transe Extatico No Processo Da Adivinhacao Babilonica
    Classica, Sao Paulo, 4: 35-52, 1991 O uso do transe extatico no processo da adivinhacao babilonica EMANUEL BOUZON Pontificia Universidade Catolica do Rio de Janeiro RESUMO: Este artigo analisa uma serie de textos cuneiformes da antiga Babilonia em varios de seus periodos. Sabe-se, por esses tabletes, que, al6m da adivinhacao dedutiva, sem duvida a mais abundantemente testemunhada, existiu um outro tipo de contato com a divindade: a adivinhacao "inspirada", em que os deuses comuni- cavam a sua mensagem a um intermediario em estado de transe. Nos textos conheci- dos este intermediario recebia o titulo de mahhum ou muhhum no caso de um homem e mahhutum ou muhhutum no caso de uma mulher. PALAVRAS-CHAVE: Babilonia, adivinhacao, transe extatico, cuneiformes. Introducao A religiao babilonica usava diferentes maneiras de entrar em contato com os deu- ses para conhecer a sua vontade e obter deles respostas para os diversos problemas da vida cotidiana. A adivinhacao dedutiva1 era, sem duvida, o metodo mais comum e mais popular para conhecer os designios dos deuses a respeito de um pais, de uma cidade, de um soberano ou de uma pessoa qualquer2. Entre os metodos mais conhecidos deste tipo de adivinhacao estao a hepatoscopia, que consistia no exame do figado dos animais sacrificados3, a astrologia4, a interpretacao do voo das aves5, a lecanomancia6 etc ... Neste genero de adivinhacao a iniciativa partia do homem que, por meio de tecnicas especificas e seguindo um ritual predeterminado, deduzia, de diferentes ocorrencias, a resposta dos deuses para o caso em questao7. Mas a divindade podia, tambem, comuni- car-se espontaneamente por meio de sonhos ou por meio de mensagens transmitidas a um intermediario, que a recebia em estado de transe.
    [Show full text]
  • Steve Reich DOUBLE SEXTET / RADIO REWRITE Ensemble Signal Brad Lubman Conductor
    STEVE REICH DOUBLE SEXTET / RADIO REWRITE ENSEMBLE SIGNAL Brad Lubman conductor 1 STEVE REICH / Double Sextet / Radio Rewrite / ENSEMBLE SIGNAL / Brad Lubman HMU 907671 © harmonia mundi his CD holds recordings of two of Steve Reich’s most recent In truth, there is not much Radiohead in Radio Rewrite, just a STEVE REICH (b. 1936) pieces. Double Sextet is from 2007, Radio Rewrite is from 2012, few wisps of the harmonic motion from Everything in Its Right Place Tand they are both strong, tuneful, energetic, tightly made works. and a few scraps of tune from Jigsaw Falling into Place. But the whole (2007) [21’55] They are also from the complete other end of Steve’s career than the last piece keeps reminding me of another Reich project, Reich Remixed, in DOUBLE SEXTET CD of his music that Ensemble Signal made for harmonia mundi, their which electronica artists showed their debt to Reich’s innovations by 1 I. Fast 8’18 pristine and elegant recording of Steve’s 1974-76 masterpiece Music For morphing tiny bits of his music into large swaths of theirs. After all 6’57 2 II. Slow 18 Musicians. these years, Radio Rewrite feels like his own remix, using only as much 3 III. Fast 6’40 Music For 18 Musicians is one of those pieces that changed the mu- Radiohead as he needs to get his own music flowing. sical world. Most people never get the chance to change the world – it is – David Lang RADIO REWRITE (2013) [17’50] really hard! And rare. And it also raises certain challenges that ordinary people don’t usually face.
    [Show full text]
  • Barbican Centre Annual Review 2006/07
    London Symphony Orchestra port monuments arts festivals historic markets Guildhall School of Music & Drama arts funding City residents Barbican Centre churches City police Museum of London open spaces Barbican Centre Annual Review 2006/07 The 2006 Barbican Annual Review The City of London is the world’s leading international financial and business centre, a global powerhouse at the heart of the UK’s economy. City of London The City of London Corporation supports and promotes the City and the businesses within it. It sustains all the needs of a 24-hour city and helps position it for the future. Its mission is to ensure that the City continues to thrive and retains its place as Europe’s financial capital. and the The Barbican Centre is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation. / Barbican www.cityoflondon.gov.uk 07 2 Barbican Annual Review 06/07 53 The City of The Barbican’s London and vision and tbc the Barbican mission The Barbican Centre is provided by the City of London Driving the arts by leading, challenging and entertaining Corporation as part of its contribution to the cultural life of audiences through an imaginative, diverse and stimulating London and the nation. This contribution also includes the programme, offering quality, diversity and innovation, open Guildhall School of Music & Drama, Tower Bridge and the and accessible to all. Guildhall Art Gallery as well as sponsorship of numerous organisations, festivals and events. Satisfying our audiences by creating a welcoming and friendly environment that provides a total quality experience While providing local government services for an area not throughout the Centre, offering education and outreach, much larger than a square mile, the City Corporation commits expanding our audiences and exceeding our visitors’ more resources to arts and culture than any local authority, expectations.
    [Show full text]
  • STEVE REICH Compositions
    STEVE REICH Compositions RUNNER (2016) 2 fl, 2 ob, 2 cl, 2vbs, 2 pro, 4 vin, 2 vla, 2vcl, 1 cb PULSE (2015) 2 fl, 2 Cl, Pno, Electric Bass, 4 vlns, 2 vla QUARTET (2013) 16' for 2 pianos and two percussion RADIO REWRITE (2013) 19' fl.cl-2vib-2pft-elec.bass.gtr-1.1.1.1.0 WTC 9/11 (2010) 15' for string quartet and pre-recorded tape MALLET QUARTET (2009) 15' for percussion quartet 2X5 (2009) 20' for five musicians and tape, or 10 live musicians DOUBLE SEXTET (2007) 22' for ensemble (or ensemble and pre-recorded tape) 2fl-2cl-2vln-2vcl-2vib-2pft or fl-cl-vln-vcl-vib-pft and pre-recorded tape Awarded the 1990 Pulitzer Prize in Music DANIEL VARIATIONS for large ensemble (2006) 30' Text: Book of Daniel; Daniel Pearl (E) 2cl-4pft-perc(6):BD/tam-t/4vib-*2vln.vla.vlc-4 voices(*SSTT) *max. 1 player/voice per part VARIATIONS FOR VIBES, PIANOS AND STRINGS (2005) 25’ dance piece for vibraphones, pianos and strings 2 pft-4vib-3 string quartets (or sm string section*) YOU ARE (VARIATIONS) for amplified ensemble and voices (2004) 27' text: Rabbi Nachman of Breslov (E), Psalms (Heb.), Wittgenstein (E) & Pirke Avot (Heb.) 2-2-3-0, no brass, 2 marimbas, 2 vibraphones, 4 pft., strings 3-3-3-3-1 voices S,S,S,A,T,T FOR STRINGS (WITH WINDS AND BRASS) for orchestra (1987/2004) 12' 4(IV=picc).4.4.4-4.4.3.1-2synth-strings(16.16.12.8.6) CELLO COUNTERPOINT (2003) 15' for amplified cello and multichannel tape DANCE PATTERNS (2002) 6' 2 xylophones, 2 vibraphones, 2 pianos THREE TALES (1997-2002) 60’ Documentary video opera in collaboration with video artist Beryl Korot Text: documentary material (English) Vocal forces: Lyric Soprano (2), Tenor (3) perc (4): 2vib / 2SD / 2pedal kick dr/susp.cym - 2 pft (I, II=samplers) - pre-recorded tape - strings (1.1.1.1.0) TRIPLE QUARTET (1999) 15' for string quartet and tape (or three quartets or small string section eg.
    [Show full text]
  • A Guide to Steve Reich's Music Without Steve Reich's Rhythms, Pulses and Phasing, Contemporary Culture Would Be a Much Poorer Place
    A guide to Steve Reich's music Without Steve Reich's rhythms, pulses and phasing, contemporary culture would be a much poorer place 'He has given the contemporary musical world a licence to groove' … Steve Reich. Photograph: Martin Godwin for the Guardian It's rare that one says this about a contemporary composer, but it's become too easy to take Steve Reich for granted. Of course, that's a sign of just how influential his music has been, the way it has drawn on everything from African drumming to concept art, and how it has influenced generations of pop, jazz and classical musicians over the last half-century. In fact, if you were to subtract Steve Reich from the total sum of today's musical culture, I think you'd notice more of a difference than if you took away any other single figure. Even if you think you don't know Reich's music directly, you will almost certainly be familiar with what it does, thanks to the way his music and his example have been refracted by other composers in other fields. Here's a whistlestop tour: in the 1960s, with Terry Riley and Philip Glass, Reich gave pulse back to experimental music (listen to Clapping Music for the Reichian pulse at its purest), he discovered tape-based techniques of looping and phasing using recordings of fragments of speech (try Come Out and It's Gonna Rain ), and then molecules of musical material ( Piano Phase , Violin Phase , or the Fluxus-ish Pendulum Music). And phasing itself? Imagine you have a pattern that consists of 12 quavers.
    [Show full text]