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Nasher Sculpture Center's Soundings Concert Honoring President John F. Kennedy with New Work by American Composer Steven Macke
Nasher Sculpture Center’s Soundings Concert Honoring President John F. Kennedy with New Work by American Composer Steven Mackey to be Performed at City Performance Hall; Guaranteed Seating with Soundings Season Ticket Package Brentano String Quartet Performance of One Red Rose, co-commissioned by the Nasher with Carnegie Hall and Yellow Barn, moved to accommodate bigger audience. DALLAS, Texas (September 12, 2013) – The Nasher Sculpture Center is pleased to announce that the JFK commemorative Soundings concert will be performed at City Performance Hall. Season tickets to Soundings are now on sale with guaranteed seating to the special concert honoring President Kennedy on the 50th anniversary of his death with an important new work by internationally renowned composer Steven Mackey. One Red Rose is written for the Brentano String Quartet in commemoration of this anniversary, and is commissioned by the Nasher (Dallas, TX) with Carnegie Hall (New York, NY) and Yellow Barn (Putney, VT). The concert will be held on Saturday, November 23, 2013 at 7:30 pm at City Performance Hall with celebrated musicians; the Brentano String Quartet, clarinetist Charles Neidich and pianist Seth Knopp. Mr. Mackey’s One Red Rose will be performed along with seminal works by Olivier Messiaen and John Cage. An encore performance of One Red Rose, will take place Sunday, November 24, 2013 at 2 pm at the Sixth Floor Museum at Dealey Plaza. Both concerts will include a discussion with the audience. Season tickets are now available at NasherSculptureCenter.org and individual tickets for the November 23 concert will be available for purchase on October 8, 2013. -
Isang Yun World Premiere: 06 Nov 1983 Trossingen, Germany Hugo Noth, Accordion; Joachim-Quartett
9790202514955 Accordion, String Quartet Isang Yun World Premiere: 06 Nov 1983 Trossingen, Germany Hugo Noth, accordion; Joachim-Quartett Contemplation 1988 11 min for two violas 9790202516089 2 Violas Isang Yun photo © Booseyprints World Premiere: 09 Oct 1988 Philharmonie, Kammermusiksaal, Berlin, Germany Eckart Schloifer & Brett Dean ENSEMBLE AND CHAMBER WITHOUT VOICE(S) Availability: This work is available from Boosey & Hawkes for the world Bläseroktett Distanzen 1993 18 min 1988 16 min for wind octet with double bass ad lib. for wind quintet and string quintet 2ob.2cl.2bn-2hn-db(ad lib) 9790202516409 (Full score) 9790202518427 (Full score) World Premiere: 09 Oct 1988 World Premiere: 19 Feb 1995 Philharmonie, Kammermusiksaal, Berlin, Germany Stuttgart, Germany Scharoun Ensemble Stuttgarter Bläserakademie Conductor: Heinz Holliger Availability: This work is available from Boosey & Hawkes for the world Availability: This work is available from Boosey & Hawkes for the world Bläserquintett Duo for cello and harp 1991 16 min 1984 13 min for wind quintet (or cello and piano) fl.ob.cl.bn-hn 9790202514986 Cello, Harp 9790202580790 Flute, Oboe, Clarinet, Bassoon, Horn (score & parts) 9790202580806 Flute, Oboe, Clarinet, Horn, Bassoon (Full Score) World Premiere: 27 May 1984 Ingelheim, Germany Ulrich Heinen, cello / Gerda Ockers, harp World Premiere: 06 Aug 1991 Schleswig-Holstein Musik Festival, Altenhof bei Kiel, Germany Availability: This work is available from Boosey & Hawkes for the world Albert Schweitzer Quintett Espace II Concertino 1993 13 min 1983 17 min for cello, harp and oboe (ad lib.) for accordion and string quartet 9790202517475 Cello, Harp, (optional Oboe) 9790202518700 Accordion, String Quartet (string parts) World Premiere: 17 Sep 1993 St. -
Piano; Trio for Violin, Horn & Piano) Eric Huebner (Piano); Yuki Numata Resnick (Violin); Adam Unsworth (Horn) New Focus Recordings, Fcr 269, 2020
Désordre (Etudes pour Piano; Trio for violin, horn & piano) Eric Huebner (piano); Yuki Numata Resnick (violin); Adam Unsworth (horn) New focus Recordings, fcr 269, 2020 Kodály & Ligeti: Cello Works Hellen Weiß (Violin); Gabriel Schwabe (Violoncello) Naxos, NX 4202, 2020 Ligeti – Concertos (Concerto for piano and orchestra, Concerto for cello and orchestra, Chamber Concerto for 13 instrumentalists, Melodien) Joonas Ahonen (piano); Christian Poltéra (violoncello); BIT20 Ensemble; Baldur Brönnimann (conductor) BIS-2209 SACD, 2016 LIGETI – Les Siècles Live : Six Bagatelles, Kammerkonzert, Dix pièces pour quintette à vent Les Siècles; François-Xavier Roth (conductor) Musicales Actes Sud, 2016 musica viva vol. 22: Ligeti · Murail · Benjamin (Lontano) Pierre-Laurent Aimard (piano); Bavarian Radio Symphony Orchestra; George Benjamin, (conductor) NEOS, 11422, 2016 Shai Wosner: Haydn · Ligeti, Concertos & Capriccios (Capriccios Nos. 1 and 2) Shai Wosner (piano); Danish National Symphony Orchestra; Nicolas Collon (conductor) Onyx Classics, ONYX4174, 2016 Bartók | Ligeti, Concerto for piano and orchestra, Concerto for cello and orchestra, Concerto for violin and orchestra Hidéki Nagano (piano); Pierre Strauch (violoncello); Jeanne-Marie Conquer (violin); Ensemble intercontemporain; Matthias Pintscher (conductor) Alpha, 217, 2015 Chorwerk (Négy Lakodalmi Tánc; Nonsense Madrigals; Lux æterna) Noël Akchoté (electric guitar) Noël Akchoté Downloads, GLC-2, 2015 Rameau | Ligeti (Musica Ricercata) Cathy Krier (piano) Avi-Music – 8553308, 2014 Zürcher Bläserquintett: -
Juilliard Orchestra Jeffrey Milarsky, Conductor Jaewon Wee, Violin
Thursday Evening, October 17, 2019, at 7:30 The Juilliard School presents Juilliard Orchestra Jeffrey Milarsky, Conductor Jaewon Wee, Violin ANNA THORVALDSDÓTTIR (b. 1977) Metacosmos (2018) SERGEI PROKOFIEV (1891–1953) Violin Concerto No. 2 in G minor (1935) Allegro moderato Andante assai Allegro, ben marcato JAEWON WEE, Violin Intermission BÉLA BARTÓK (1881–1945) Concerto for Orchestra (1944) Introduzione. Andante non troppo—Allegro vivace Presentando le coppie. Allegro scherzando Elegia. Andante non troppo Intermezzo interrotto. Allegretto Finale. Presto Performance time: approximately 1 hour and 45 minutes, including an intermission The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. soundscapes is on full display in Notes on the Program Metacosmos. Unfolding as a single move- by Thomas May ment that lasts about 14 minutes, the piece manifests this composer’s aesthetic of deep Metacosmos listening as well as a contemporary slant on ANNA THORVALDSDÓTTIR Romantic concept of “organic” unity as the Born: July 11, 1977, in Reykjavik, Iceland basis for musical creativity. Thorvaldsdóttir describes her composition as “an ecosys- The Icelandic composer Anna Thorvaldsdóttir tem of materials that are carried from one emerged on the scene less than a decade performer—or performers—to the next ago (her debut album, Rhízo¯¯ma, appeared throughout the process of the work.” in 2011), but already she has become an internationally sought-after composer. -
Alan Shockley Kojiro Umezaki
dead, and a letter to a friend that he had written the previous year describing the passage of time in prison was later published. Rzewski read the letter, and set this excerpt. ABOUT KOJIRO UMEZAKI Born to a Japanese father and Danish mother, Kojiro Umezaki grew up in Tokyo and is a performer of the shakuhachi, a composer of electro-acoustic works, and a technologist with interests in developing portable and mobile interactive music systems for live performance. He performs regularly with the Grammy-nominated Silk Road Ensemble with whom he appears on the recordings Beyond the Horizon (Sony BMG, 2005), New Impossibilities (Sony BMG, 2007), Off the Map (World Village, 2009), NEW MUSIC and A Playlist Without Borders (Sony Masterworks, 2013). Other notable recordings of his work have been released on Brooklyn Rider's Dominant Curve (In A Circle, 2010); Yo-Yo Ma's Appassionato (Sony BMG, 2007) and Songs of Joy and Peace (Sony BMG, 2008); Beat in Fractions' Beat Infraction (Healthy Boys, 2007); and The Silk Road: A Musical Caravan (Smithsonian Folkways, 2002). Recent commissioned compositions and producer credits ENSEMBLE include those for Brooklyn Rider (2009), Joseph Gramley (2009, 2010), Huun Huur Tu (Ancestors Call, 2010), and the Silk Road Ensemble (2012). As Assistant Professor of Music at the University of California, Irvine, he is ALAN SHOCKLEY a core faculty member of the Integrated Composition, Improvisation, and Technology (ICIT) group where his research focuses on forms of hybrid music at the intersection of tradition and technology and intercultural DIRECTOR musical practices across the historic Silk Road regions and beyond. -
Concert: Chamber Music of Steven Mackey Steven Mackey
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 4-17-2011 Concert: Chamber Music of Steven Mackey Steven Mackey Follow this and additional works at: http://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Mackey, Steven, "Concert: Chamber Music of Steven Mackey" (2011). All Concert & Recital Programs. 155. http://digitalcommons.ithaca.edu/music_programs/155 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Chamber Music of Steven Mackey The 2010-2011 Husa Visiting Professor of Composition Hockett Family Recital Hall Sunday, April 17, 2011 4:00 p.m. Indigenous Instruments Jacqueline Christen*, flute/piccolo Adam Butalewicz*, clarinet Kate Goldstein*, violin Nathan Gulla*, piano Richard Faria**, conductor Measures of Turbulence Eric Pearson, Matt Gillen, Nick Throop, Nick Malishak, Russ Knifin, guitar Dave Moore, Scott Card, electric guitar Sam Verneuille, electric bass Chun-Ming Chen, conductor Intermission Gaggle and Flock Gaggle Flock Nicholas DiEugenio**, Susan Waterbury**, Isaac Shiman, Sadie Kenny, violin Zachary Slack, Max Aleman, viola Elizabeth Simkin**, Peter Volpert, cello Jeffery Meyer**, conductor * Ithaca College Alumni ** Ithaca College Faculty Biography Steven Mackey Steven Mackey was born in 1956 to American parents stationed in Frankfurt, Germany. His first musical passion was playing the electric guitar, in rock bands based in northern California. He later discovered concert music and has composed for orchestras, chamber ensembles, dance, and opera. He regularly performs his own works, including two electric guitar concertos and numerous solo and chamber works, and is also active as an improvising musician and performs with his band Big Farm. -
What Happened to Women Composers in Dutch Music History?
HELEN METZELAAR STICHTING VROUW EN MUZIEK, AMSTERDAM What happened to women composers in Dutch music history? (Composers whose names are in bold characterized by a high degree of sociability; type are represented in the discography playing music is often an activity done at the end of the article). together and for others. The purpose of this article is twofold: to One of the perspectives within this more introduce a number of Dutch women com sociological approach concentrates on posers and to briefly discuss some aspects of examining how music is related to gender, Dutch music history in relation to gender. that is to a society's belief system or con The focus will be on classical music, both struction, varying in time and place, of what because there is little record of women in is considered male and female. Such a other genres, such as folksongs and liturgical division is a basic social organizing principle music, and because some genres, such as throughout history in all cultures, and also military band music, by definition tradition affects music at many levels. Some musical ally excluded women's participation. genres have historically been considered to be feminine, like children's songs, while Musicology has long focused on examin others, like drinking songs, are considered ing works by individual composers, concen to be more suited for men. Gender may also trating on the so-called canon, classical be examined at an institutional level: what masters such as Bach, Beethoven and roles did women and men play in various Mozart. Currently, a broader, more sociologi musical institutions, such as orchestras and III Ii cal approach iswfilfiiilggtound. -
Why Is Op. 6 Still So Difficult to Understand?
Why is op. 6 still so difficult to understand? Among composers who hold that complexity alone is certain good, Alban Berg’s Drei Orchesterstücke are often invoked as a kind of foundational scripture. A glance at almost any page of the note-dense score would appear to support their view. Passages like bars 90–95 of the second movement, Reigen, or the climactic Höhepunkt of the third movement, Marsch, (bar 126) leave the advocates of complexity in no doubt: Berg has penetrated to the dark centre of the expressionist labyrinth. But how justified is this idea? In this essay, I will suggest that other aspects of op. 6 contradict it. For instance, Berg’s H and N signs, denoting main and subsidiary themes, run almost continuously throughout the work. This Ariadne’s thread (when it is made clear by the performance) makes listening to op. 6 surprisingly straightforward, at any rate melodically. In plain language, there is always a tune to hang on to. Furthermore, a short-score version of the work reveals a four-voice texture not more complicated for much of its duration than the orchestral textures of Mahler or Strauss. My observations here grew out of making a two-piano version of op. 6, and I would like to elucidate especially, though not exclusively, points that become clearer from examining the work in two-piano form. 1 The case for a basic simplicity may be overstated also, and one can begin by conceding that in some instances Berg’s relish for piling up notes has got the better of his musical 1 Alban Berg, Drei Orchesterstücke op. -
CHAN 9999 BOOK.Qxd 10/5/07 3:38 Pm Page 2
CHAN 9999 front.qxd 10/5/07 3:31 pm Page 1 CHANDOS CHAN 9999 CHAN 9999 BOOK.qxd 10/5/07 3:38 pm Page 2 Alban Berg (1885–1935) Complete Chamber Music String Quartet, Op. 3 (1909–10) 25:53 1 I Langsam 10:18 2 II Mäßige Viertel 10:59 premiere recording 3 Hier ist Friede, Op. 4 No. 5 (1912)* 4:34 from Altenberg Lieder arranged for piano, harmonium, violin and cello by Alban Berg (1917) Ziemlich langsam premiere recording Four Pieces, Op. 5 (1913) 8:02 for clarinet and piano arranged for viola and piano by Henk Guittart (1992) 4 I Mäßig 1:28 5 II Sehr langsam 2:08 6 III Sehr rasch 1:19 7 IV Langsam 3:05 8 Adagio* 13:13 Alban Berg, c. 1925 Second movement from the Chamber Concerto for piano, violin and 13 wind instruments (1923–25) arranged for violin, clarinet and piano by Alban Berg (1935) 3 CHAN 9999 BOOK.qxd 10/5/07 3:38 pm Page 4 Berg: Complete Chamber Music Lyric Suite (1925–26) 28:41 With the exception of the Lyric Suite and the writing songs for performance by and within for string quartet Chamber Concerto, all the works on the the family. Writing to the publisher Emil 9 Allegretto giovale 3:08 present CD were written in the three years Hertzka in 1910, Schoenberg observed: from 1910 to 1913, when Alban Berg [Alban Berg] is an extraordinarily gifted composer, 10 Andante amoroso 6:15 (1885–1935) was in his mid-twenties. but the state he was in when he came to me was 11 Allegro misterioso – Trio estatico 3:24 The earliest work, the String Quartet, Op. -
Kenneth Woods- Repertoire
Kenneth Woods- Conductor Orchestral Repertoire Operatic repertoire follows below Adam, Adolpe: Giselle (complete ballet staged) Adams, John Violin Concerto Arnold, Malcolm: Serenade for Guitar and Strings Concerto for Guitar Scottish Dances Applebaum, Edward: Symphony No. 4 Bach, J.S.: St. John Passion St. Matthew Passion Christmas Oratorio Magnificat Cantata Wachet auf, ruft uns die Stimme BWV 140 Brandenberg Concerti, No.’s 1, 3, 4 and 5 Violin Concerti in A minor and E major Concerto for Two Violins Concerto for Violin and Oboe Orchestral Suite No. 2 in B minor Bacewicz, Grażyna Concerto for String Orchestra Barber, Samuel: Prayer of Kirkegarde Overture to “The School for Scandal” Adagio for Strings Violin Concerto Cello Concerto First Essay Medea’s Meditation and Dance of Vengeance Bartók, Bela: Divertimento for Strings Concerto for Orchestra Two Portraits Violin Concerto No. 2 Piano Concerti No.’s 2 and 3 Viola Concerto Miraculous Mandarin (Complete and Suite) Beethoven, Ludwig van: Symphonies No.’s 1-9 Mass in C Major Overtures: Coriolan, Leonore 1, 2 and 3, Fidelio, Egmont, Creatures of Prometheus, King Stephen Incidental Music to “Egmont” Piano Concerti No.’s 1-5 Kenneth Woods- conductor www.kennethwoods.net Violin Concerto Triple Concerto String Quartet in F minor op. 95, “Serioso,” arr. Gustav Mahler Leonore Overture No. 3 arr. Gustav Mahler Berg, Alban: Three Orchestra Pieces Kammerkonzert Violin Concerto Berio, Luciano: Folk Songs Serenata I for Flute and 14 Intruments Berlioz, Hector: Harold in Italy Symphonie Fantastique Damnation of Faust Overtures: Benvenuto Cellini, Roman Carnival, Corsaire, Beatrice and Benedict Te Deum Bernstein, Leonard: Overture to Candide Symphonic Dances from West Side Story Symphony No. -
Norfolk Chamber Music Festival Also Has an Generous and Committed Support of This Summer’S Season
Welcome To The Festival Welcome to another concerts that explore different aspects of this theme, I hope that season of “Music you come away intrigued, curious, and excited to learn and hear Among Friends” more. Professor Paul Berry returns to give his popular pre-concert at the Norfolk lectures, where he will add depth and context to the theme Chamber Music of the summer and also to the specific works on each Friday Festival. Norfolk is a evening concert. special place, where the beauty of the This summer we welcome violinist Martin Beaver, pianist Gilbert natural surroundings Kalish, and singer Janna Baty back to Norfolk. You will enjoy combines with the our resident ensemble the Brentano Quartet in the first two sounds of music to weeks of July, while the Miró Quartet returns for the last two create something truly weeks in July. Familiar returning artists include Ani Kavafian, magical. I’m pleased Melissa Reardon, Raman Ramakrishnan, David Shifrin, William that you are here Purvis, Allan Dean, Frank Morelli, and many others. Making to share in this their Norfolk debuts are pianist Wendy Chen and oboist special experience. James Austin Smith. In addition to I and the Faculty, Staff, and Fellows are most grateful to Dean the concerts that Blocker, the Yale School of Music, the Ellen Battell Stoeckel we put on every Trust, the donors, patrons, volunteers, and friends for their summer, the Norfolk Chamber Music Festival also has an generous and committed support of this summer’s season. educational component, in which we train the most promising Without the help of so many dedicated contributors, this festival instrumentalists from around the world in the art of chamber would not be possible. -
Steve Mackey's Music Has Muscle. It Behaves Like An
Steve Mackey’s music has muscle. It behaves like an animal. It’s not polite, this music. It’s not music as math by another means. This is emotional music; this is dance music—at times angry, at times mysterious, at times ethereal, at times primitive, always intensely searching, and yes, at times heady (that too is part of moving about in the world). This music doesn’t wait for us. It isn’t looking back to make sure we’re following, or stopping to explain why it’s moving as it does. Even when it’s still, almost placid, it isn’t waiting. It’s tracking something, closing in on it, in the dark, resolutely, with measured steps, or in daylight at a dead run. It’s not quite safe here, is it? And that raw electric sound of his, it’s his. Those rough licks, tricky, virtuosic, a controlled wildness, an infectious brashness that drives the powerful unisons in Heavy Light. This guitar sound seems to challenge the timbral assumptions of those nineteenth-century instruments, invite them on the road trip. And yet, with MOSAIC it makes exquisite sense. Together they’re like the smartest garage band you’ll ever hear. MOSAIC has the sand, the wit, and the skill to make this adventure work. MOSAIC would appear to be a perfect word here: MOSAIC: At home in any world, a timeless practice—bright, distinct, individual tiles, formed in the aggregate to flow like water, or threaten like a hungry dog, or speak of God. Where are we, anyway? The jungle? Second Avenue? Both and .