DOCSLIB.ORG

Zoe Knighton Amir Farid

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Zoe Knighton Amir Farid Argentine Cello ZOE KNIGHTON AMIR FARID GINASTERA · BRAGATO · SOLARE · COBIAN · PIAZZOLLA · GUASTAVINO · GAITO his CD has been the result of a joint Under a lemon tree where the water didn’t Astor Piazzolla is perhaps the most love of Argentine music, a love of the run internationally recognised composer to Ttango and a love of playing together. I gave my heart away to someone who didn’t have come from Argentina. Born to (you We have so enjoyed this repertoire and each deserve it guessed it) Italian parents, his development time we visit these pieces, we feel more Sadness is the day without the sun of the tango was both revolutionary and attached to them. There are some threads Sadness is the night without the moon controversial. We have Nadia Boulanger to running through our choice of repertoire But sader than this is wanting thank for encouraging Piazzolla to follow – the first being an ongoing connection without any hope his heart. After studying with Ginastera (on between Europe (specifically Italy) and Translation: Penelope White das Graças the suggestion of Arthur Rubinstein) he won Argentina. Vincenzo Piazzolla (Astor’s a grant with his Buenos Aires Symphony to father) is quoted by his son as saying that The music has a sense of improvised study in Paris. Boulanger could hear all of all best tango composers come from South abandon combined with the use of diatonic his influences, Ravel, Stravinsky, Bartok but Italy. We also follow a geographical thread and pentatonic flavours, the latter being encouraged him to do what he did best and with the region in Argentina known as the a characteristic of the Incan pentatonic to find his own voice. He then went on to Pampas. Quite often, specific places give rise scale. Ginastera provides some vital musical transform the tango tradition. There is an to a wealth of inspiration and it seems this lineage in being taught by Copland and Argentine saying – “in Argentina everything region has done just that. having taught Astor Piazzolla as well as may change — except the tango”. He met being great friends with Carlos Guastavino. with enormous resistance with his use We begin the Argentine/Italian connection of instrumentation and inclusion of jazz here with Alberto Ginastera being born to Jose Bragato was a cellist himself and not elements. Sticking to his artistic vision, he an Italian mother. Much like Beethoven, his just any cellist – he was most famous for consequently brought tango and his work works can be divided into three periods – being the cellist with Piazzolla’s Tango into being a household name. objective nationalism, subjective nationalism Nuevo bands. Before this he was principal and neo expressionism. This work falls into cellist with Buenos Aires Symphony Juan Maria Solare is alive and well and living the first category with Ginastera being Orchestra and a member of the Buenos in Bremen, Germany where he teaches particularly attracted to the region of the Aires Quartet and the Carlos Pessina Tango. His father’s parents were Italian and Pampas. Written in 1950, the composer Quartet. He grew up (unsurprisingly) in a holds joint citizenship between Italy and says, “without using any folkloric material, very musical family. Born in Italy (here’s that Argetina. With influences as broad as The it recalls the rhythms and melodic trends connection again!), the young migrant family Beatles, John Cage and Helmut Lachemann. of the Argentine pampas”. Inspired largely firmly made their mark on the cultural life of He writes: by his wife, Aurora Natola-Ginastera, this Argentina. With his role in Piazzolla’s Nuevo Tengo un tango (2004) This work – the work may be seen as a precursor to the Tango bands, Composer, arranger and title is a pun freely translated meaning I’ve cello sonata. She gave the world premiere conductor, there wasn’t much that Bragato gotta tango – is dedicated to Nicola B. Lahn performance of Pampeana No. 2 on May 8, couldn’t do. This piece represents his most and Walter Samsel on the occasion of their 1950 in Buenos Aires. His chanson “triste” well known offering. It is widely played marriage. It’s one of my most successful was orginally a song as part of a set of five in Europe as a piece for cello and string pieces and actually I had to write at least a in his opus 10 transcribed for cello by the orchestra. 96 at the time of writing, he still dozen arrangements for various ensembles French master, Pierre Fournier. The text is composes music every day. ranging from Solo to Nonet. painfully beautiful. Nómade (2002) is the second of the named him “the Schubert of the Pampas”. Completing the theme of Italy and four movements of Sonatango, a classical He died in 2000 after a very long career Argentina, our final composer studied in sonata form but with unequivocal tango and has influenced much of Argentina’s Naples. Constantino Gaito then returned elements, and in this sense a work at the nationalism in music. Guastavino isolated to Argentina and founded a conservatory hinge – or in the gap – between “academic” himself stylistically from the modernist and as well as teaching at the National and “popular” music. The title (also a avant-garde movements in the 1960s, his Conservatory. He certainly remains a “transparent word”) has autobiographical unapologetic embrace of nationalism made mainstay of the Argentine history of overtones: on the one hand it was him an inspiration for popular and folk “classical” music. His cello sonata is written just days after finishing a one-year musicians throughout Argentina. La rose y el thoroughly romantic in nature with the form programme as composer in residence sauce (The rose and the willow) has become of the first movement firmly held in sonata at the Künstlerhäuser Worpswede – and an iconic song in Argentina. form. It is intelligent, heartfelt and has a consequently facing an uncertain future; well constructed development of the main on the other hand, “tango nómade” is a Juan Carlos Cobian died young at the age themes. He uses a very clever technique quite established musicological concept of 58. He was another revolutionary in the of bringing the work together by using the referred to the tangos of the exile, the ones world of tango, being the first composer opening theme throughout the work. composed by Argentines overseas. Nómade, to embellish the bass line while the melody and actually Sonatango in its entirety, is rests. Travelling, performing and composing ZOE KNIGHTON dedicated to my sister María Mercedes. My took their toll. In his book, “The unknown warm thanks to Australian cellist Penelope Juan Carlos Cobian” Enrique Cadicamo Zoe is a founding member of Flinders Witt, with whom I performed Nómade twice wrote that when he sent some verses of Quartet and has toured internationally in Buenos Aires, and that later passed on the a poem to Cobian, he believed them to through Sweden, Canada and the UK. score to Zoe and Amir. You guess the rest. represent his own life. He returned to his Flinders Quartet appears regularly at Talismán (2005) A plain tango written parents’ home after 23 years. The first verse Australian festivals as well as their own originally for the album Arte del Tango is as follows … celebrated subscription series. The group (Ricordi Munich, 2006). The first theme, has commissioned many works and of a quasi baroque texture, illustrates the Calm neighborhood from my past, continues to be a champion of Australian tango concept of diverging articulations: the like a sad sunset, Chamber music. “Flinders Quartet…whose accompaniment legato, the melody being I return, old, to your street corner... players give such care and unanimity of mainly staccato. The title is an example I return older, musical thought to Australian Chamber of a “transparent word”, which you can life has changed me... Music” Peter McCallum, Sydney Morning understand in several languages. My naive On my head a little silver it has painted. Herald. wish is that such words can stand as symbols I was a traveler of pain In 2008, Zoe founded the Melbourne of the feasibility of coping with the Babelian and in my dreamer’s wandering Chamber Feast, as a biannual festival and misunderstandings of today’s world. I understood my life’s malady, in 2009 was the Artistic Director of the and every kiss, I erased with drink Montsalvat 20 concert series. She was Carlos Guastavino is one of the most prolific in a game of illusion an adjudicator for the 2009 Asia Pacific of our composers, having composed over I dealt my heart. Chamber Music Competition and regularly 500 works. He was heavily influenced acts as panel member and assessment by folk music and his gift for songs has advisor. She is currently Youth and ANAM on the Musica Viva review Orchestras. panel. As a chamber musician, A passionate pedagogue, Amir is pianist of the Zoe and the Flinders Benaud Trio, winning the Quartet are regular tutors Piano Trio prize at the for the Australian Youth 2005 Australian Chamber Orchestra and the Mount Music Competition. As Buller Chamber Music an accompanist, he was Summer School. Zoe winner of the prize for best coaches chamber music pianist at the 2006 Mietta and cello studies at the Song Recital award, and Victorian College of the the 2007 Geoffrey Parsons Arts and the University Award. of Melbourne where in Amir is the recipient 2008, she was Acting Co- of various awards and ordinator of Strings. scholarships, including In demand as soloist, she the Australian Music has performed concertos Foundation, the Ian Potter numerous times with Cultural Trust, the Royal Melbourne Orchestras and Overseas League, the Swiss continues her Bach series experience and understanding”, and who Global Artistic Foundation, every year.
Load more

Recommended publications
  • Landesmusikplan Bremen 2010
    Landesmusikplan Bremen 2010 Der 1978 gegründete Landesmusikrat Bremen e.V. veröffentlichte bereits 1980 den ersten Landesmusikplan. Die Erstellung von Landesmusikplänen ist eine Aufgabe, die sich aus den Satzungen der in Deutschland aktiven Musikräte ableitet. Der vorliegende Plan ist neu erstellt und ersetzt den Vorläufer von 2000. Gegenüber den bisherigen Musikplänen wird hier wesentlich stärker als in der Vergangenheit auf das aktuelle Musikleben und auf die das Musikgeschehen tragenden Einrichtungen, Organisationen und Verbände in Bremen und Bremerhaven hingewiesen. Der Landesmusikplan Bremen 2010 ist somit auch ein Nachschlagewerk für alle, die sich zu diesem Teil der Kultur einen Überblick verschaffen wollen. Landesmusikpläne erfassen den gesamten Bereich des Musikschaffens, analysieren die Situation, zeigen Stärken und Schwächen des Musiklebens auf, nennen Schwachstellen und Versäumnisse und stellen daraus resultierend Forderungen zur Verbesserung des musikalischen Infrastruktur im Bundesland auf. Die Landesmusikräte verstehen sich als Sachverwalter der musikalisch aktiven Bevölkerung. Berufsmusiker aller Fachrichtungen, Musikpädagogen und -wissenschaftler, Laienmusizierende, Musikveranstalter, Komponisten, Musikverleger, Konzertbesucher, Kirchenmusiker, Instrumentenbauer, sie alle haben ihre Vertreter in den Landesmusikräten. Sie artikulieren ihre Interessen gegenüber der verantwortlichen Kulturpolitik in den Landesmusikplänen. Die Enquete-Kommission des Deutschen Bundestages hat mit ihrem Abschlussbericht „Kultur in Deutschland“
    [Show full text]
  • Reencuentro (Slow Milonga by Juan Maria Solare)
    Juan María Solare Reencuentro milonga para piano Reunion - for piano Wiederbegegnung - für Klavier Duración: ~ 3 minutos El Escorial, Worpswede & Berlín, marzo-abril de 2008 Juan María Solare Reencuentro Ø Original para piano (Worpswede 7 de abril & Berlín 9 de abril 2008) Ø Segunda versión: para piano a cuatro manos (Köln, 17 de abril de 2008, correcciones en Köln, 7 de noviembre de 2008) Ø Tercera versión: para saxofón tenor y piano (Ginebra, 15-16 de agosto de 2008) Ø Cuarta versión: para violín y piano (Worpswede, 31 de agosto de 2008) Ø Quinta versión: para cello y piano (Worpswede, 6 de octubre de 2008) Ø Sexta versión: para bandoneón, saxo tenor y piano (Buenos Aires, 19/MAR & 14/ABR/2009) Ø Séptima versión: para viola y piano (Bremen, 25 de enero de 2010) Milonga anotada tras una visita al cementerio de El Escorial (España) el 30 de marzo de 2008. Es la típica obra que se va destilando en etapas: primero una versión "parrilla", luego una primera versión sencilla para piano, que luego se va tornando más compleja. La versión "sencilla" para piano solo fue escrita en el 7 de abril de 2008 y terminada en Berlín el 9 de abril de 2008. Estreno (versión original para piano solo): por el compositor el 3 de julio de 2008 en el teatro de la Universidad de Bremen, durante un concierto de la Orquesta No Típica. Estreno en el continente americano por Iván Pérez Faccaro el 27 de noviembre de 2008 en el Conservatorio Superior de Música de Buenos Aires (Argentina) "Ástor Piazzolla".
    [Show full text]
  • Fifty-Ninth National Conference October 27–29, 2016 Santa Fe, New Mexico ABSTRACTS & PROGRAM NOTES Updated September 12, 2
    Fifty-Ninth National Conference October 27–29, 2016 Santa Fe, New Mexico ABSTRACTS & PROGRAM NOTES updated September 12, 2016 Alberti, Alexander Paper: From Beatboxing to Bach: Applications of Collegiate A Cappella Across the Music Curriculum In recent decades, collegiate a cappella groups have flourished on campuses across the nation, yet a cappella’s place in the study of classical art music has been unclear, despite such benefits as practical ear training, group cohesion, applications of music arrangement, and engaging vocal practice. St. Jean (2014) investigated a cappella’s benefits to the undergraduate ensemble singer’s skillset; however, the literature has yet to expand this into a broader range of musical disciplines. To address this gap, the present study explored how the collegiate a cappella experience may supplement, improve, and coexist with the traditional music curriculum at the college level, using a qualitative methodology known as experience-sampling (Zirkel, Garcia, Murphy, 2015). Undergraduates in various music degree programs, simultaneously engaged in a cappella organizations, submitted weekly reports of the integration of their a cappella skills into their courses, lessons, and classwork. Coupled with interviews, this information was thematically coded and analyzed through the lens of Kolb’s Experiential Learning Model to discover how skills gained in a cappella supported students’ experience in the music curriculum, regardless of concentration. Results of this study may better inform curriculum development and professional development opportunities across the entire music discipline. Alhadeff, Peter Paper: Berklee’s Fair Music and Transparency Report: A Critique Berklee’s Fair Music Report has made headlines by highlighting much opacity in the engagement of talent by a variety of music intermediaries.
    [Show full text]
  • Programm 08.03
    Gesamttiroler Landeswettbewerb TIROLER M USIK S CHUL W ERK PROGRAMM 08.03. bis 16.03.2017 Auszug aus dem Ortsplan von Wattens Inhaltsangabe Infos zum Wettbewerb und Teilnehmerstatistik ..........................................................................................................2 Grußwort der Kulturlandesrätin von Tirol ....................................................................................................................3 Grußwort des Kulturlandesrates von Südtirol .............................................................................................................4 Grußwort des Bürgermeisters Thomas Oberbeirsteiner .............................................................................................5 Die Musikschule Wattens ...........................................................................................................................................6 Adressen, Telefonnummern ........................................................................................................................................7 Austragungsorte .........................................................................................................................................................8 Swarovski Kristallwelten ............................................................................................................................................9 Preisträgerkonzert und Sonderpreise .......................................................................................................................10
    [Show full text]
  • Jay Byrnes Final DMA Recital Notes 2
    Jay Byrnes Final DMA Recital Saxophone Semester 6 13th April 2016 7.00pm ‘El Asunto del Tango’ figure 1. Associate Artists Daniel Rojas – Piano Michael Kluger – Accordion Isabella Brown – Double Bass Carmen Nieves – Alto Saxophone Ben Carey – Soprano Saxophone Nathan Henshaw – Tenor Saxophone Michael Duke – Baritone Saxophone 1 Program 1. From the Guardia Vieja to La Epoca de Oro Anibal Troilo (1914-1975) Che, Bandoneon (1950) Alto Saxophone, Accordion, Piano Arr. Jay Byrnes, Michael Kluger Carlos Gardel (1890-1935) Volver (1935) Baritone Saxophone, Piano Arr. Jay Byrnes, Daniel Rojas Gerardo Matos Rodríguez (1897-1948) La Cumparsita (1916) Soprano Saxophone, Alto Saxophone, Piano Arr. Jay Byrnes, Fernando Muslera Julián Plaza (1928-2003) Nocturna Soprano Saxophone, Accordion, Piano, Double Bass Arr. Jay Byrnes 2. Nuevo Tango – The genius of Piazzolla Astor Piazzolla (1921-1992) Soledad (1969) Baritone Saxophone, Alto Saxophone, Accordion, Piano, Double Bass Arr. Jay Byrnes, C. Nieves Libertango (1974) Baritone Saxophone, Alto Saxophone, Soprano Saxophone, Accordion, Piano, Double Bass Arr. Jay Byrnes Resurrección del Angel (1969) Baritone Saxophone and Saxophone Quartet Arr. Jay Byrnes 3. Vanguardia – Tango’s Future Fernando Lerman (b. 1965) Entongue Tango (2015) Baritone Saxophone, Accordion Jorge Retamoza (b. 1958) Estudio no.1 (2014) Alto Saxophone Fernando Muslera (b.1975) Nostalgia City (2015) Baritone Saxophone, Piano Arr. Fernando Muslera 2 Acknowledgements I would like express my sincere gratitude to all those who made this DMA possible. A doctoral recital is no small undertaking and without the support and commitment from a number of people, this work could not have been achieved. Firstly, a huge thank you to my performance supervisor, Dr.
    [Show full text]
  • Febrero-Marzo 2005 2,80 € EDUCACIÓN 1 La Reforma En Los
    EDUCACIÓN 1 La reforma en los conservatorios del sur de Galicia 1 Razones para la creación de currículos y centros integrados 1 Musicología y juventud, notas de un Encuentro1 INSTRUMENTOS 1 El cantante Ismael en sus colecciones musicales 1 Francisco González: Premio artesano madrileño tradicional 1 PUBLICACIONES 1 libros, partituras y discos 1 OTRAS SECCIONES 1 Música y Medicina, Actualidad, Conciertos para niños (propuestas, críticas, agenda). • CUADERNO DE NOTAS 1 La ESMUC estrena sus nuevas instalaciones 1 1 Actualidad, Publicaciones, Cursos y Concursos, Pequeños anuncios. revista de información musical febrero-marzo 2005 2,80 € Conéctate a Internet desde tu Clavinova CVP VERDADERAMENTE GRANDIOSOS Con un sonido magnífico y un aspecto elegante, los nuevos Clavinovas serie CVP de Yamaha, incorporan un nuevo diseño atractivo que está basado en lo mejor de los anteriores modelos CVP. Los sonidos extraordinariamente auténticos y los estilos dinámicos ofrecen un sonido realmente profesional, mientras que las características sofisticadas y al mismo tiempo fáciles de usar de este instrumento como su conexión directa a Internet, lo convierten en una fuente inagotable de disfrute musical para usuarios de todas las edades. Pulsa una tecla y comprenderás... por qué los pianos digitales de la nueva serie CVP, son verdaderamente grandiosos. www.yamaha.es YAMAHA YAIVIAHA-HAZEN MÚSICA, S.A. 902 3 9 88 88 EN PORTADA: Zarza ardiente, 2003. Escultura de Carlos Schwartz; (cortesía Galería Fúcares). De este artista podrá verse, del 20 de enero al 26 de febrero 2005, una exposición en la Galería Fúcares de Madrid, calle Conde Xiquena, 12, 1°. N°45 FEBRERO-MARZO 2005 uropa es la noticia.
    [Show full text]
  • The Devil's Horn and the Music of the Brothel
    THE DEVIL’S HORN AND THE MUSIC OF THE BROTHEL APPROACHING ADAPTATION AND PERFORMANCE OF TANGO FOR THE CLASSICAL SAXOPHONIST A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Musical Arts at the Sydney Conservatorium of Music The University of Sydney Jonathan Byrnes 200108443 October 2015 Abstract The purpose of this thesis is to establish a concise and well-considered approach to the performance of tango music by a classical saxophonist. It explores the significance of adaptation to a saxophonist by investigating the integral role it has had on the performance, promotion and education throughout the instrument’s history. To this end, this thesis also traces the tradition of adaptation in Western Classical music. When approaching the adaptation of tango it is important to recognise the differences in the music’s culture. We are ultimately changing the context of the music by arranging it for another instrument. Therefore, a fervent discussion of the issues surrounding the idea of schizophonic mimesis are explored in an effort to maintain due respect for the original composition while bringing something new to it. The impact of schizophonic mimesis on our audience’s expectations, the stylisation of music, and the respect to the tradition of the other culture are discussed, and establish the need for a well- informed and stylistic approach. To help address the various issues, this thesis gives a historical account of, what we will refer to as the tango’s ‘tangible’ and ‘intangible’ stylistic traits, and will propose a new approach to saxophone tango performance through a series of established and novel techniques.
    [Show full text]
  • Mda Portfolio Sw Englisch Kor.Indd
    MARIA DE ALVEAR COMPOSER The German-Spanish composer Maria de Alvear was officially honoured with the Spanish National Award for Music on June 1, 2016. King Felipe VI and Queen Leticia of Spain presented Maria de Alvear with the prize in Palencia Cathedral. Laudation: The jury commended Maria de Alvear for her prolific output and the international appeal of her works, for her pioneering role in the conception of musical works as complete artistic syntheses, for her interdisciplinary approach with its constant openness to partners from other artistic spheres, for her extra- ordinary ability to channel musical influences in a transgressive manner and for her strong commitment to younger composers. Short biography: Maria de Alvear was born in Madrid, and has been living and working in Cologne for more than 35 years. She was awarded the Bernd Alois Zimmermann Prize of the City of Cologne early on in her career, and studied New Music Theatre under Mauricio Kagel. Since 1998, she has collaborated regularly with video artists, both with her sister Ana de Alvear and the British artist Isaac Julien. In the same year, she founded the music publishing house WORLD EDITION. Since 2003, she has been publishing the journal „KUNST- MUSIK - Writings on art as music“. Her works, which are mostly interdiscipli- nary and make use of a variety of media, are performed worldwide by many well-known interpreters, such as Ensemble Modern, the Basel Sinfonietta, En- semble Musikfabrik and the Frankfurt Radio Symphony (hr-Sinfonieorchester). She works together with numerous soloists, orchestras and ensembles across the world. She has given many concerts in Europe, the USA and Canada at a number of prestigious venues, including the Glenn Gould Concert Hall, Toronto, the Lin- coln Center, New York, the Donaueschingen Festival, the International Summer Course for New Music in Darmstadt, the Hellerau Festival Theatre, the Univer- sity of Waterloo, Ontario, and the Museo Nacional Centro de Arte Reina Sofia, Madrid.
    [Show full text]
  • 15 One-Minute Pieces of Modern Tango Composed for Juan Maria
    15 one-minute pieces of modern tango composed for Juan Maria Solare Tango is a typical Argentine culture product, nevertheless the pianist Juan Maria Solare considers that it is also genuinely universal - this Fifteen-Minutes-of-Fame explores how composers from different cultural backgrounds approach this musical genre. The Argentinian composer and pianist Juan María Solare (Buenos Aires, 1966) has lived in Germany since 1993. He has played -as soloist and within diverse chamber music groups- in Berlin, Hamburg, Cologne, Munich, Amsterdam, London, Madrid, Graz, Geneva, Buenos Aires, etc. He conducts the Orquesta No Típica, the tango music ensemble of the University of Bremen (Bremen being therefore one of the very few European cities where tango music is taught at University level). At the University of Bremen he also conducts the Ensemble Kagel of New Music Theatre. At the Hochschule für Künste (College of the Arts) in Bremen he teaches composition and arrangement which is used as a syllabus for schools and colleges. Napoleon's Tango Daniel Arnold Daniel Arnold completed his MM in Composition at the University of Kentucky in 2012. He has been the recipient of a Kentucky Opportunity Fellowship, an Academic Year Fellowship, and a teaching assistantship from the University. I named "Napoleon's Tango" after I completed it. The title is in reference not only to how short the piece is, but also to the brief quotation from Beethoven's "Eroica" Symphony, which was originally dedicated to Napoleon. Tango Sostenido Jon Aveyard Jon Aveyard is a composer, performer and audio artist based in Preston, UK. His work often makes use of and combines skills derived from studio composition, soundwalking, binaural recording, interdisciplinary performance and electro-acoustic improvisation.
    [Show full text]
  • Saber Música
    EDUCACIÓN 1 Grado Superior de Danza 1 Qué significa "saber música"' INSTRUMENTOS 1 El Museo del quai Branly, la nueva apuesta parisina por los instrumentos de música I Polimúsica, sólo piano 1 PUBLICACIONES 1 Libros, partituras 1 GRABACIONES 1 discos, dvds 1 OTRAS SECCIONES 1 Música y Medicina, Actualidad música y danza, Pequeñas Notas (espectáculos para niños) • CUADERNO DE NOTAS 1 "Improvisar para dialogar": V Fiesta de la Música de Doce Notas I Actualidad de centros, Cursos y Concursos... de cola, digitales y verticales Profesionales cualificados te ayudarán a elegir el piano que mejor se adapte a tus necesidades. Podrás probarlo en la mayor exposición de Madrid. Seminarios permanentes de técnica e interpretación pianística. »› Tienda Caracas, 6 • 28010 Madrid • Tel. 91 319 48 57 / 91 308 40 23 • Fax: 91 308 09 45 • E-mail: [email protected] » Tienda vvww.polimusica.es Abrimos 24 Horas al dia EN PORTADA: Cartel Fiesta de la Música 2006. Foto: Instalación de Xavier Charles en SoundSpa- l verano es sinónimo de descanso y fiesta. Pero, en música, esto no significa pararse, a menudo es todo lo contrario. Por ejemplo, te12. Emmanuelle Pellegrini. E tos festivales que nos inundan por toda la geografía española (y, por supuesto, internacional si uno quiere viajar recibiendo cultura), N° 52 nos recuerdan que unas vacaciones pueden ser el momento más ade- JUNIO-SEPTIEMBRE 2006 cuado para oír música, ver ballet, ópera, teatro y un sinfín de cosas más. Y si hablamos de fiesta, Doce Notas ofrece este año su quinta edición de la Fiesta de la Música en Madrid et 21 de junio, una vez educación más en el Círculo de Bellas Artes (ver Cuaderno de Notas).
    [Show full text]
  • Journal of the American Viola Society Volume 15 No. 2, 1999
    JOURNAL ofthe AMERICAN ViOLA SOCIETY Section of THE INTERNATIONAL VIOLA SOCIETY Association for the Promotion ofViola Performance and Research Vol. 15 No.2 1999 FEATURES 17 The Schnittke Viola Concerto By Michael Lawrence Hall 25 Letter from Guelph By Thomas Hall 39 Viola Ensembles By Thomas Tatton 45 Review of John White's An Anthology ofBritish Viola Players By Dwight Pounds OFFICERS Peter Slowik President Proftssor of Viola Oberlin College Conservatory 13411 Compass Point Strongsville, OH 44136 peter.slowik@oberlin. edu William Preucil Vice President 317 Windsor Dr. Iowa City, !A 52245 Catherine Forbes Secretary 1128 Woodland Dr. Arlington, TX 76012 Ellen Rose Treasurer 2807 Lawtherwood Pl. Dallas, TX 75214 Thomas Tatton Past President 7511 Parkwoods Dr. Stockton, CA 95207 BOARD Victoria Chiang Donna Lively Clark Paul Coletti Ralph Fielding Pamela Goldsmith Lisa Hirschmugl john Graham ]erzy Kosmala Jeffrey Irvine Karen Ritscher Christin Rutledge Pamela Ryan juliet White-Smith EDITOR, JAYS Kathryn Steely Baylor University Waco, TX 76798 PAST PRESIDENTS Myron Rosenblum (1971-1981) Maurice W Riley (1981-1986) David Dalton (1986-1990) Alan de Veritch (1990-1994) HONORARY PRESIDENT William Primrose (deceased) ~ Section ofthe Jnternationale Viola-Gesellschaft The journal ofthe American Viola Society is a peer-reviewed publication of that organization and is produced at Brigham Young University. © 1999, American Viola Society ISSN 0898-5987 ]AVS welcomes letters and articles from its readers. Editor: Kathryn Steely Assistant Editor for Viola Pedagogy: Jeffrey Irvine Assistant Editor for Interviews: Thomas Tatton Production: Quinn Warnick Advertising: Jeanette Anderson Editorial Office: Kathryn Steely School of Music Baylor University P.O. Box 97408 Waco, TX 76798 [email protected] Advertising Office: Crandall House West (CRWH) Brigham Young University Provo, UT 84602 (801) 378-4455 Fax: (801) 378-1127 [email protected] ]AVS appears three times yearly.
    [Show full text]
  • Landesmusikplan Bremen 2020
    Landesmusikplan Bremen 2020 Landesmusikrat Bremen e.V. im Deutschen Musikrat Landesmusikrat Bremen e.V. im Deutschen Musikrat Violenstr. 7 · 28195 Bremen · Tel. und Fax 0421 705 999 [email protected] · www.landesmusikrat-bremen.de Vorstand Ehrenvorsitzender: Prof. Klaus Bernbacher Vorsitzender: Prof. Ernst Folz Stellv. Vorsitzender: GMD Marc Niemann Schatzmeister: Dr. Oliver Rosteck Beisitzer: Claudia Beißwanger Andreas Brandes (Stellvertreter im Rundfunkrat) Marko Gartelmann Anke Hauke Beate Röllecke (Vertreterin im Rundfunkrat) Ehrenmitglieder: Prof. Siegrid Ernst-Meister Prof. Hans L. Feilke Ingeborg Fischer-Thein Ursula Görsch Helmut Schaarschmidt Inhaltsverzeichnis Vorwort 1-2 Kulturverwaltung 3-4 I Musikerziehung, Aus- und Fortbildung 5 • Musikunterricht in allgemein bildenden Schulen 6-7 • Musiklehrerausbildung 7-8 • Musikschulen 8-11 • Berufsfachschule „Theater der Kulturen“ 12 • Hermann-Grevesmühl-Gesellschaft 12 • ,,start“ Jugend Kunst Stiftung Bremen 13 • Hochschule für Künste 14-15 • Universität Bremen 16 • Bremen ohne Landesmusikakademie 17 • Musikbibliotheken und -archive 17-20 II Musikleben Teil 1, staatliche und prof. Musikeinrichtungen 21 • Theater Bremen 22-23 • Stadttheater Bremerhaven 23-24 • Metropolitan Theater Bremen 24 • Bremer Philharmoniker 24-25 • Philharmonisches Orchester Bremerhaven 26 • Die Deutsche Kammerphilharmonie 27-28 • ,,musica viva“ 29 • Musikfachmesse „jazzahead“ 29 • Musikfest Bremen 30 • Neue Musik im Lande Bremen 31 • Rock - Pop - Musik 32 • Kirchenmusik in Bremen 33-35 • Radio Bremen 35-37
    [Show full text]