The Society of Composers Inc. Region Iv Conference

Total Page:16

File Type:pdf, Size:1020Kb

The Society of Composers Inc. Region Iv Conference THE UNIVERSITY OF ALABAMA SCHOOL OF MUSIC presents THE SOCIETY OF COMPOSERS INC. REGION IV CONFERENCE November 17-19, 1988 Frank Moody Music Building Tuscaloosa, Alabama Society of Composers, Inc. 1988 Region IV Conference Schedule of Events THURSDAY - Noyember 17 8:45 a.m Registration Lobby (Coffee and Doughnuts and Tour of Music Building) 9:45 Welcome- Dr. Dennis Monk Choral-Opera 10:00 Lecture Choral-Opera Darmstadt 88 and the New Pluralism - Mark Lee 10:45 Concert Choral-Opera 5 The Unified Arts Ensemble of Motlow State Community College Stockhausen - Tierkries, Wellen Feldman - Durations 2 Monk - View 1, Ester's Song, Paris Glass - 1 + 1, Opening, The Olympian 1:30 p.m. Concert FNB Concert Hall --- 6 Clemmons - Sonata - solo violin (Rubin) Presser - Horn Quartet (Snead, Linsley, Mattingly, Furry) Smoke - Three Movements - clarinet & percussion (Bridges.Mathis) Pinney - (4*2) + 2 Mason - Windage - organ (Cook) 3:00 Recital Huey Recital Hall 6 Benoit - Suite No.2 - piano (Smith) Ledee -ABCISSA - clarinet (LeDee) Wendt - Elegy - trombone (Stalling) Landers - Fugue - piano (Frederick) Thompson - Three Pieces - cello (Holland) Whitfield - Piano Trio No. 1 (Dyer, Stout, Freeze) Robbins - Percussion Trio - (Walters, Mosley, Williams) 4:15 Lecture/Panel Discussion Choral-Opera Collaboration Between Composers and Poets - Lola Haskins Respondents - Dinos Constantinides, Harold Schiffman, John White Moderator - Harold Phillips 8:00 Concert FNB Concert Hall --- 7 The University of Alabama Symphony Orchestra Schiffman - Capricci Concertati Phillips - Popul Vuh Constantinides - Four Songs on Poems by Sappho Howe - Elegy for Strings White - Symphony for a Saint 2 FRIDAY - November 18 9:00 a.m. Late registration Choral-Opera 9:30 Recital Huey Recital Hall -----· 11 Lee - 2R - guitar (Lee) Kinningham - Tribute - clarinet & piano (Crabtree, Freeze) Sain - Parallel - flute (Sain) Millen - Fantasy - flute & piano (Bull, Perez) Eastman - The Signs of The Zodiac - flute (Cohen) Robison - Quartet - woodwinds & tape (Boyd, Sanders, Crabtree, Simpson) 11:00 Concert FNB Concert Hall -----11 Sleeper - Four Miniatures - bassoon & flute (Sleeper, Rickman) Weigal - Augmented Break - violin (Constantinides) Ovens - Third Improvisation - percussion (Ovens) White - Homage a Gxe:xx Gxx.xd - piano (White) Robertson - Music - cello & piano (Harrell, Lee) 1:30 p.m. Paper Huey Recital Hall The Alabama Electronic Studios - Brad Albers 2:15 Panel Discussion Huey Recital Hall The Design of Electronic Music Studios and Musical Bias Panel - Brad Albers, Hubert Howe, John Melby, Sylvia Pengilly Moderator - Marvin Johnson 3:45 Electronic Music Concert FNB Concert Hall -----12 Pengilly - Dimensions of Space and Time - tape (Pengilly) Albers - Nexus - tape (Albers) Freund - Steel Grey Sky - electronic keyboard (Freund) Melby - Chor der Toten - tape (Melby) Howe - Piece for DX-7 Synthesizer Ensemble 5:30 Wine and Cheese Party (Cash Bar) University Club 8:00 Concert FNB Concert Hall -----13 The Alabama Wind Ensemble Davis - Fanfare, Meditation, and Scherzo Montalto - Symphony Hayden - Scintilla Van Appledom - Cacophony Finney - Saxophone Concerto 3 SA TUR DAY - November 19 8:30 a.m. Business Meeting (late registration) Choral-Opera 9:30 Recital Huey Recital Hall 17 Van Der Slice - Variations - flute & piano (Cohen, Penick) Daugherty - Numinous Ignotus- clarinet & piano (Bridges, Wilder) Hoffman -Autumn Song - violin (Ross) Adams - Syzygy - violin & marimba (Monacelli, Walters) · Raitt -Aromas cello & piano (Holland, Smith) Garcia - Sonic Islands in a Sea of Solitude - flt, ob, clar, tbn (Boyd, Irish, McFarlen, Mason) 11:00 Concert FNB Concert Hall 17 Tipton - Four Alice Walker Songs - baritone, piano, percussion (Tipton, Perry) Montalto - Quiet Waters - soprano & tape (Dorough) Contemporary Ensemble of The University of Alabama Drennen - Palempsest - piano (Frederick) Eastman - A New Day - soprano, alto, tenor, bass, piano (Hatchett, Johnston, Freeze, Tibbs, Frederick) Johnson - Parsley Sage - chorus and tape Kam - Allelulia - organ (Risinger) Kindred - Hagia Sophia - baritone, organ, chorus (Tibbs, Risinger) 2:00 p.m. Panel Discussion Choral-Opera Twentieth Century Music and Aesthetic Diversity Ross Lee Finney, Don Freund, Hubert Howe, Dennis Kam Moderator - Frederic Goossen 4:00 Concert FNB Concert Hall 23 Constantinides - Sonata No. 2 - solo violin (Rubin) Freund - LifeGoes On - violin & piano (Ross, Freund) Goossen - Tenebrae - piano (Murray) Sieg - Piano Trio (Cadek) Kallstrom - Tropism - piano trio (Cadek) 5:30 Alabama Teachers of Music Theory Choral-Opera Business Meeting 8:00 Concert FNB Concert Hall -- 24 Contemporary Ensemble of the University of Georgia Finney - Quartet/or Oboe, Cello, Percussion, and Piano Melby - Concerto for Clarinet and Tape Davies - Eight Songs for a Mad King 10:00 Party (cash bar) Sheraton Hotel 4 Thursday, November 17, 1988 10:45 a.m. - Choral Opera Room - Moody Music Building The Unified Arts Ensemble of Motlow State Community College Tullahoma, Tennessee Mark Lee, Director PROGRAM Tiel 1 Karlheinz Stockhausen Tierkries ( 197 6) Mark Prince Lee, guitar Wellen (1968), from Fiir Kommende Zeiten Mark Prince Lee, guitar Beverly Barnes, keyboard Patrick McCurdy, bass Tiel 2 Morton Feldman Durations 2 (1963) Kristie Beavers, piano Patrick McCurdy, bass Tiel 3 Meredith Monk View 1 Ester's Song (1986) from the ballet/opera Turtle Dreams Paris (1978) Kristie Beavers - soprano, keyboard Beverly Barnes - alto, keyboard Mark Prince Lee - guitar, keyboard Patrick McCurdy - bass Alan Odegaard - saxophone Teil 4 Philip Glass l+l Opening The Olympian Kristie Beavers, piano Beverly Barnes, keyboard Mark Prince Lee, keyboard Patrick McCurdy, bass Alan Odegaard, saxophone Forty-third Concert of the 1988-89 Season 5 Thursday, November 17, 1988 1:30 p .m. - FNB Concert Hall - Moody Music Building PROGRAM Sonata (1975) W.R. Clemmons Variants Sentiments Caprice Reflections Henry Rubin, violin Horn Quartet William Presser Charles Snead, Victoria Linsley, Alan Mattingly, Stephanie Furry Three Movements Gary Smoke Scott Bridges , clarinet Larry Mathis, percussion (4*2) + 2 Gregory Pinney Contemporay Ensemble of the University of Alabama Scott Bridges, conductor Windage Charles Mason Jim Cook, organ Forty-fourth Program of the 1988-89 Season Thursday, November 17, 1988 3 p.m. - Huey Recital Hall - Moody Music Building PROGRAM Suite No. 2 Kenneth Benoit Jonathan Smith, piano ABCISSA Mikel LeDee Mikel LeDee, clarinet Elegy Lewis Wendt Richard Stalling, trombone Gerald Loren Welker, conductor 6 Fugue Joseph Landers Amy Frederick, piano Three Pieces Peggy Thompson James Holland, violoncello Piano Trio No. 1 Matt Whitfield Monica Dyer, violin Joe Stout, violoncello Greg Freeze, piano Percussion Trio Scott Robbins Cori Walters, Kevin Mosley, Woody Williams Forty-fifth Program of the 1988-89 Season Thursday, November 17, 1988 8 p.m. - FNB Concert Hall - Moody Music Building The University of Alabama Symphony Orchestra Carlton McCreery, conductor Capricci Concertati Harold Schiffman I. Allegro giocoso II. Andantino gracioso III. Precississimo Michael Gattozzi, violin; Diane Boyd, flute Robert Sanders, oboe; Billy Crabtree, clarinet John Irish, clarinet; David Simpson, bassoon Mark Foster, trombone; Cynthia Zoller, percussion Gerald Loren Welker, conductor Popol Vuh H. Garrett Phillips Allegro moderato-Adagio sostenuto-Allegro assai Henry Rubin, violin; Melissa Ross, viola Alan Harrell, violoncello; Scott Bridges, clarinet Larry Mathis, percussion; Jonathan Smith, piano Gerald Loren Welker, conductor INTERMISSION Four Songs On Poems By Sappho Dinos Constantinides I. Homecoming 7 II. To A Handsome Man 111. Candor IV. Light Vanishing Susan Fleming, mezzo-soprano Elegie For Strings Hubert Howe Symphony For A Saint John White I. Prologue II. Nuptual Mass III. The Conversion Of Valerian IV. Martyrdom V . Transfiguration Cecilia- Karen White , soprano Valerian- Stephen Cary, tenor Narrator- Ed White, bass-baritone Forty-Seventh Program of the 1988-89 Season Four Songs on Poems by Sappho Symphony for a Saint I. Homecoming I. You have come. Comes now, comes now Cecilia Well done. Like a weeping bird whose sob is joy, I longed for you. Who flies to the glass of her own reflection You have given fire to my heart Who seeks the inside of the sanctuary, which burns now for you. Who falls among the little leaves Welcome, be welcome. And is held gentle in his hands that carry Welcome for all the hours of our separa­ her within. tion. Comes now, comes now Cecilia Like a simple flower that sings the sun II. To a Handsome Man inside her petals when the sun is gone, Stand up and gaze on me who brought Valerian to the Lord, as friend to friend. who taught him to cup the rain in his Reveal openly to me wounds as he left the Earth the beauty in your eyes. to the executioners whose wiped swords made flowers of their robes. III. Candor (to Akaeus) Comes now, comes now Cecilia If you cared for the good and the beautiful to stop your ears with music. and your tongue were not hiding evil, shame would not harbor in your eyes. II. Your would speak out your real desire. For all the bold shivers of your strings, all the tumult of your pipes, IV. Light Vanishing It is only you I hear. The moon has gone down, Your soft dark wings, the shadow of your gone down the Pleiadcs. wings comfort me. Night is half-gone, Oh Lord who sings in my heart when I and life speeds by. come to you 8 I will carry you no tears in my hands. And see how my bones are brightening, I sing of you, you in my heart, and see how my blood is rising. for you these garlands bloom, these Praised be the light that grows upon the dancers dance. walls, here where the weather flames For you the giddy flowers of your dance. beyond my reach, here where the hot salt Your peace be with me now. purifies my eyes. I hear his voice, his feathered words of love and I find my life in Him. III. She finds her life in whom? My sweet grey dove, among the trees there are such swellings. I am Cecilia, daughter of Rome ... All the throats of the dark leaves are And see how the rain seeps through the singing, my sweet grey dove.
Recommended publications
  • Alberto Ginastera
    FUNDACION JUAN MARCH HOMENAJE A Alberto Ginastera Miércoles, 20 de abril de 1977, 20 horas. PROGRAMA ALBERTO GINASTERA. Quihteto para piano y cuarteto de cuerdas, Op. 29 (1963). I. Introduzione. II. Cadenza I per viola e violoncello. III. Scherzo Fantastico. IV. Cadenza II per due violini. V. Piccola musica notturna. VI. Cadenza III per pianoforte. VII. Finale. ALBERTO GINASTERA. Serenata sobre los «Poemas de amor», de Neruda, Op. 42 (1974). I. Poetico. II. Fantastico. III. Drammatico. Violoncello: Aurora Nàtola. Baritono: Antonio Blancas. Grupo Koan Director: Julio Malaval. NOTAS AL PROGRAMA QUINTETO Para piano y cuarteto de cuerdas, Op. 29 El «Quinteto» Op. 29 me fue encargado por la señora Jeannette Arata de Erize, presidente del Mozarteum Argentino, con destino al Quinteto Chigiano de Siena, quien estrenó la obra ei 13 de abril de 1963 en el teatro La Fenice de Venecia durante el Festival de Música Contemporánea que se realizaba en dicha ciudad. En este «Quinteto», como lo señalaron algunos mu- sicólogos estudiosos de mi obra, se manifiestan cla- ramente algunas de mis preocupaciones más anhe- lantes en el campo de la creación musical: la elabo- ración de un lenguaje personal en su textura, la bús- queda de nuevas estructuras que se acomoden al idioma sonoro actual y la adaptación del discurso musical a un procedimiento de escritura basado en el máximo empleo de las posibilidades de los instru- mentos y en el realce del virtuosismo de los intérpre- tes. Los movimientos tradicionales de las obras de cá- mara que respondían a las exigencias de la música tonal están aquí reemplazados por cuatro estructuras que conservan el carácter del allegro, scherzo, ada- gio y final, pero cuya forma está dada por los proce- dimientos derivados de la técnica «post-serial».
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 128, 2008-2009
    BOSTON SYMPHONY ORCHESTRA James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 128th Season, 2008-2009 COMMUNITY CONCERT IX Sunday, March 29, at 3, at Granoff Music Center, Tufts University, Medford CHAMBER TEA V Friday, April 3, at 2:30 COMMUNITY CONCERT X Sunday, April 5, at 3, at Hernandez Cultural Center, Boston The free Community Concerts on March 29 and April 5 are generously supported by The Lowell Institute. CYNTHIA MEYERS, flute and piccolo ROBERT SHEENA, oboe and English horn THOMAS MARTIN, clarinet SUZANNE NELSEN, bassoon JONATHAN MENKIS, horn TIMOTHY GENIS, percussion (Piazzolla; Toussaint; D'Rivera "Afro") PIAZZOLLA Libertango (arr. Jeff Scott) MILHAUD "Sorocaba" and "Ipanema" from Saudades do Brasil, Opus 67 (arr. David Bussick) PIAZZOLLA Oblivion (arr. Jeff Scott) TOUSSAINT Mambo D'RIVERA Aires Tropicales 1. Alborada 2. Son 3. Wapango (arr. Jeff Scott /Tom Martin) 4. Habanera 5. Vals Venezolano 6. Afro 7. Contradanza Week 22 Astor Piazzolla (1921-92) Libertango and Oblivion Born in Mar del Plata, Argentina, Astor Piazzolla moved with his family to New York City in 1925, where (with one brief return to Argentina in 1930) they lived until 1936. He took up the bandoneon, the central instrument in the Ar- gentine tango, and also studied classical piano. Upon his return to Argentina he began to perform with tango orchestras, but also studied composition with the great Alberto Ginastera. He formed his first orchestra in 1946 but disbanded it as his music became more experimental. Piazzolla's music of the time shows the influence of Bartok and Stravinsky, but with some Argentine elements like the inclusion of two bandoneons in the orchestral work Buenos Aires.
    [Show full text]
  • Alberto Ginastera (1916-1983)
    Suárez Urtubey, Pola Alberto Ginastera (1916-1983) Revista del Instituto de Investigación Musicológica “Carlos Vega” Nº 7, 1986 Este documento está disponible en la Biblioteca Digital de la Universidad Católica Argentina, repositorio institucional desarrollado por la Biblioteca Central “San Benito Abad”. Su objetivo es difundir y preservar la producción intelectual de la Institución. La Biblioteca posee la autorización del autor para su divulgación en línea. Cómo citar el documento: Suárez Urtubey, Pola. “Alberto Ginastera (1916-1983)” [en línea]. Revista del Instituto de Investigación Musicológica “Carlos Vega”, 7 (1986). Disponible en: http://bibliotecadigital.uca.edu.ar/greenstone/cgi-bin/library.cgi? a=d&c=Revistas&d=alberto-ginastera-1916-1983 [Fecha de consulta:........] ALBERTO GINASTERA (1916 -1983) Ofrecemos aquí el catálogo integral de las obras de Alberto Ginastera. Se trata de 54 composiciones, todas ellas numerados por el autor, a las que cabría añadir varias creaciones tempranas que Ginastera eliminó del mismo. Ahí quedan, repudiadas, algunas que los intérpretes aún hoy se empeñan en ejecutar, como .es el caso de las Impresiones de la puna; o que merecieron distinciones, tal la Sonatina para arpa, premio de la Comi­ sión Nacional de Cultura; o la Sinfonía porteña, que en 1942 fue estrenada por un director del relieve de Fritz Busch.1 Queda igualmente al margen toda la música incidental realizada en el curso de dieciocho años, de 1940 a 1958, para teatro y cine,1I así como transcripciones realizadas por Ginastera de su propia obra o de otro autor.8 La existencia de toda esa música, en gran parte inédita, nos mueve a ocuparnos, en un trabajo futuro, de su estudio, con miras a realizar una aproximación valorativa y buscar las razones que movieron a su autor a desecharla.
    [Show full text]
  • Krautrock and the West German Counterculture
    “Macht das Ohr auf” Krautrock and the West German Counterculture Ryan Iseppi A thesis submitted in partial fulfillment of the requirements for the degree of BACHELOR OF ARTS WITH HONORS DEPARTMENT OF GERMANIC LANGUAGES & LITERATURES UNIVERSITY OF MICHIGAN April 17, 2012 Advised by Professor Vanessa Agnew 2 Contents I. Introduction 5 Electric Junk: Krautrock’s Identity Crisis II. Chapter 1 23 Future Days: Krautrock Roots and Synthesis III. Chapter 2 33 The Collaborative Ethos and the Spirit of ‘68 IV: Chapter 3 47 Macht kaputt, was euch kaputt macht: Krautrock in Opposition V: Chapter 4 61 Ethnological Forgeries and Agit-Rock VI: Chapter 5 73 The Man-Machines: Krautrock and Electronic Music VII: Conclusion 85 Ultima Thule: Krautrock and the Modern World VIII: Bibliography 95 IX: Discography 103 3 4 I. Introduction Electric Junk: Krautrock’s Identity Crisis If there is any musical subculture to which this modern age of online music consumption has been particularly kind, it is certainly the obscure, groundbreaking, and oft misunderstood German pop music phenomenon known as “krautrock”. That krautrock’s appeal to new generations of musicians and fans both in Germany and abroad continues to grow with each passing year is a testament to the implicitly iconoclastic nature of the style; krautrock still sounds odd, eccentric, and even confrontational approximately twenty-five years after the movement is generally considered to have ended.1 In fact, it is difficult nowadays to even page through a recent issue of major periodicals like Rolling Stone or Spin without chancing upon some kind of passing reference to the genre.
    [Show full text]
  • The History of Rock Music - the Nineties
    The History of Rock Music - The Nineties The History of Rock Music: 1995-2001 Drum'n'bass, trip-hop, glitch music History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Ambience (These are excerpts from my book "A History of Rock and Dance Music") Avantgarde world music, 1995-1999 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The technology of sampling and the broad availability of ethnic instruments turned world-music into a sort of commodity. Generally speaking, the studio became the real center of the new "high-tech" world- music. Georgia's Macha (1) penned the mostly improvised Macha (1998) and the quasi-symphonic See It Another Way (1999); while New York's Badawi, Raz Mesinai's project, fused traditional Middle-Eastern instruments, simple reggae figures and syncopated drumming at a deeper level on Jerusalem Under Fire (1997). Tuatara (1), a supergroup made of REM's Peter Buck, Screaming Trees' drummer Barrett Martin, Luna's bassist Justin Harwood and jazz saxophonist Skerik (Nalgas Sin Carne), indulged in studio magic on the all-instrumental Breaking The Ethers (1997). Michigan's Fibreforms (1) performed instrumental world-music a` la Penguin Cafe Orchestra on Treedrums (1996), but based on the haunting sound of the African bounkam. They changed their name to Kiln (1) and repeated the exploit with Holo (1998).
    [Show full text]
  • Jenkins Still with the Music
    October 2015 Jenkins Still with the Music Karl Jenkins tells of his life and passion for music in a new autobiography, while Warner Classics releases a box set of his greatest works together with the premiere recording of The Healer. Still with the Music is the new autobiography by To tie in with the book publication, Warner Karl Jenkins, the composer of The Armed Man: Classics has released a new compilation disc A Mass for Peace and Adiemus, written with Sam (2564610053) and a box set entitled Voices Jackson and published by Elliott & Thompson (2564610051). The collection contains seven (978-1783961375). The Welsh-born composer, of Jenkins’s chart-topping discs together with recently knighted in the Queen’s Birthday Honours the first release of his latest work for choir and for “services to composing and crossing musical ensemble, The Healer, a cantata for St Luke. genres”, is one of the world’s most popular and Jenkins returns to the Royal Albert Hall in widely performed living composers. His Armed London on 30 October for a concert including Man is a classical music phenomenon, with on Stabat Mater and The Armed Man, with the average two performances per week, amounting Royal Philharmonic Orchestra and London to over 1800 total in 20 different countries, and a Philharmonic Choir. recording that has been in the UK Classical Album Chart for close to 600 weeks. Current composing projects include a new work for chorus and orchestra, commissioned by S4C From a modest upbringing, steeped in the Welsh to commemorate the 50th anniversary of the choral tradition and the Western musical canon, Aberfan Tragedy in October 1966, when a waste Jenkins trained as a classical musician at Cardiff tip slid down a mountainside to engulf houses University and the Royal Academy of Music in and a junior school, killing 144.
    [Show full text]
  • ALBERTO GINASTERA: a CATALOGUE of the ORCHESTRAL MUSIC 1934-37: Ballet “Panambi”, Op.1: 39 Minutes (And Ballet Suite- + (N
    ALBERTO GINASTERA: A CATALOGUE OF THE ORCHESTRAL MUSIC 1934-37: Ballet “Panambi”, op.1: 39 minutes (and Ballet Suite- + (Naxos, Everest and Urania cds)) 1936: “Concierto argentino” for Piano and Orchestra (withdrawn) 1938: Psalm for clarinet, chorus and orchestra, op.5 1941: Ballet “Estancia” for narrator and orchestra, op.8: 33 minutes (and Ballet Suite) + (several recordings) 1932: Overture “Creloe Faust”, op.9 + (Chandos, Bridge, Mercury and Decca cds) 1942: Symphony No.1 “Portena” (withdrawn) 1944: Symphony No. 2 “Elegiaca” (withdrawn) 1947: “Ollantay: Three Symphonic Movements” for orchestra, op.17 + (Naxos, Bridge and First Edition cds) 1953: “Variations Concertante” for chamber orchestra, op.23: 24 minutes + (Arte Nova, Naxos, Elan and Koch cds) 1954: “Pampeana No.3” for orchestra, op.24 + (Chandos, First Edition, Sono Luminus and Bridge cds) 1956/65: Harp Concerto, op.25: 23 minutes + (Chandos, Berlin Classics, Kontrapunkt and Afka cds) 1960: Cantata No.1 “ Cantata para America magica” for soprano and percussion orchestra, op.27: 23 minutes + (Neos cd) 1961-62: Piano Concerto No.1, op.28: 28 minutes + (Naxos, Arte Nova and Phoenix cds) 1963: Violin Concerto, op.30: 27 minutes + (Dynamic cd) 1964: Cantata No.2 “Bomarzo” for soloists, narrator and chamber orchestra, op.32 1968/78: Cello Concerto No.1, op.36: 32 minutes + (Pierian and Naxos cds) 1965: Concerto for strings, op.33: 17 minutes + (Caprice cd) 1967: Symphonic Studies for orchestra, op.35 1971: Cantata No.3 “Milena” for soprano and orchestra, op.37: 23 minutes + (Phoneix
    [Show full text]
  • Ballet the Sound of Ballet
    The Sound of Ballet The Sound of Ballet This Naxos segment catalogue contains a wealth of music from the world of ballet, from the genre’s inception right through to its contemporary forms. This rich resource has its roots in the Italian Renaissance and 17th century French theatre, but ballet in the form we generally know it today emerged during the Romantic era developments of the 19th century. With Swan Lake, The Sleeping Beauty and The Nutcracker, Pyotr Ilyich Tchaikovsky showed how the master of symphonic writing 8.550755-56 was able to apply some of his finest expressions to the stage, helping to establish the robust tradition of Russian ballet that continues today. The Parisian scene at the time similarly flourished with celebrated works such as Adolphe Adam’sGiselle and Léo Delibes’ Coppélia. Paris was never to be the same, however, following the arrival of Serge Diaghilev’s Ballets Russes. It was Diaghilev who commissioned Maurice Ravel’s Daphnis et Chloé, for example, and collaborated with Igor Stravinsky, the composer who revolutionised 20th-century music with his score for The Rite of Spring. 8.572924 Soon afterwards, Darius Milhaud’s La création du monde brought jazz influences to Paris from the United States, and the harsh realities of 1920s moral corruption in Eastern Europe resulted in Béla Bartók’s banned pantomime ballet The Miraculous Mandarin. The frontier narratives of America found voice in works such as Aaron Copland’s Appalachian Spring, Rodeo and Billy the Kid, while the life of the country’s bustling cities became projected in Leonard Bernstein’s Fancy Free.
    [Show full text]
  • Eco Ensemble David Milnes, Conductor
    Saturday, February 29, 2020, 8pm Hertz Hall Eco Ensemble David Milnes, conductor Myra Melford Homogenous Infiltration (2019) Myra Melford, solo piano Tod Brody, flute Kyle Bruckmann, oboe and English horn Bill Kalinkos, clarinet Brendan Lai Tong, trombone Loren Mach, percussion Hrabba Atladottir, violin Ellen Ruth Rose, viola Felix Fan, cello Richard Worn, double bass David Milnes, conductor Jeremy Wagner, technical direction Cindy Cox Lift-up-over sounding (2015) Peter Josheff, bass clarinet Loren Mach, percussion Jenny Chai, piano Leighton Fong, cello David Milnes, conductor Cal Performances’ 2019–20 season is sponsored by Wells Fargo. 19 Keeril Maken After Forgetting (2009) Matt Ingalls, clarinet Loren Mach, percussion Jenny Chai, piano Dan Flanagan, violin Leighton Fong, cello David Milnes, conductor INTERMISSION Edmund Campion Late Bloomer (2019, West Coast Premiere) Marilyn Nonken, Manuel Laufer, piano Jeremy Wagner, technical direction and instrument building Ken Ueno Zetsu (2014) Hrabba Atladottir, solo violin Matt Ingalls, Bill Kalinkos, clarinet and hookah saxophone Loren Mach, Haruka Fujii, percussion Leighton Fong, Felix Fan, cello Richard Worn, Andrew Butler, double bass David Milnes, conductor Jeremy Wagner, technical direction Special thanks to the University of California, Berkeley Department of Music and the Center for New Music & Audio Technologies Eco Ensemble David Milnes, artistic director Richard Andrews, executive director Amadeus Regucera, production director Jennifer Huang, production associate 20 PLAYBILL PROGRAM NOTES Myra Melford Th e musical material alternates between large Homogenous Infi ltration expressive soliloquies played by the bass clar- Homogenous Infi ltration, for improvising pia- inet, and a cyclical set of repetitions played by nist, chamber ensemble, and fi xed media, aims the entire quartet.
    [Show full text]
  • Liner Notes, Visit Our Web Site
    Robyn Schulkowsky’s Worlds of Percussion The composer of Armadillo is best known as a leading percussionist in new-music circles, who has worked closely with composers like Stockhausen, Cage, Feldman, and Kurtag. Less well-known sides of her work include teaching and organizing percussion activities in alternative situations, throughout the world—India, Brazil, Greece, Mexico (a recent project involved Metro workers in Mexico City), among many other places. As composer she has done considerable work with theater (including Euripides’ Medea and Sophocles’ Antigone), film, and an opera for performance for young people. And she has made large-scale, stand-alone pieces like Armadillo for solo or smaller ensembles. Two of these have titles drawn from Frederich Hölderlin’s hymn fragment Vom Abgrund nemlich . (“so, from the abyss”)—Meine Stimme /wird/ umgehen/ wie ein Hund (“my voice/ will/ walk/ like a dog”) and Der Wüste Lichttrunken (“the desert’s drunk with light”). As with many of Xenakis’s titles, seemingly abstract musical material is associated with matter outside of music as such, evoking poetry and other cultures (especially archaic Greece in Xenakis’ case). The title Armadillo is the name of a dance referred to in the great ancient Mayan epic book Popul Vuh, an account of the creation and history of gods and, eventually, human beings1. Edgard Varèse had, in 1932–34, set a hymn from this book in his Ecuatorial for bass singer and an ensemble including six percussionists, the score of which he prefaces with the statement “I conceived the music as having something of the same elemental rude intensity” as pre- Columbian sculpture.2 The use of percussion, either by itself or as an intrinsic part of an instrumental ensemble, is, in Western classical music, an innovation of the twentieth century.
    [Show full text]
  • Alberto Ginasterawasanoriginalcreative Voice, It Becomesuniversal.”—Albertoginastera Elements Ofhumanity, Ispurifiedandbecomestranslucentclear
    GiNAStERA GiNAStERA 5 Introduction / Einführung lt 5 English 9 Deutsch A 14 Works / Werke h 15 Opera / Oper Ginastera’s Operas / Ginasteras Opern 17 Ballet / Ballett iN The Great Ballet / Das große Ballett 17 Works for Orchestra / Orchesterwerke / New York Content, Review Arrivals and Departures: North America / Stationen: Nordamerika S Boosey & Hawkes, Inc. Trudy Chan 229 West 28th St, 11th Floor Patrick Gullo Música Mágica / Música Mágica t New York, NY 10001 Maggie Heskin 21 Works for String Orchestra / Werke für Streichorchester USA Steven Lankenau +1 (212) 358-5300 Zizi Mueller 21 Works for Solo Instrument & Orchestra / Werke für Soloinstrument und Orchester [email protected] Concierto argentino / Concierto argentino Introduction EN www.boosey.com Deborah Schwartz-Kates 23 Works Arranged for Solo Instrument & Orchestra / Bearbeitungen für Soloinstrument und Orchester London t Translations 25 Works for Voice(s) & Orchestra / Werke für Stimme(n) und Orchester Boosey & Hawkes Verbatim Solutions Music Publishers Limited Jens Luckwaldt Arrivals and Departures: New York / Stationen: New York N Aldwych House Sebastián Zubieta 26 Works for Chorus & Orchestra / Werke für Chor und Orchester 71-91 Aldwych London, WC2B 4HN Sampler Editing Arrivals and Departures: Europe / Stationen: Europa UK Trudy Chan +44 (0) 20 7054 7200 Chris Cresswell 27 Works for Ensemble & Chamber Without Voice(s) / Ensemblewerke und Kammermusik ohne Stimme(n) co [email protected] Art Direction, Design 28 Works for Ensemble & Chamber With Voice(s) / Ensemblewerke
    [Show full text]
  • Joaquín Orellana: the Spine of Music
    JOAQUÍN ORELLANA: THE SPINE OF MUSIC AMERICAS SOCIETY EXHIBITIONS CONTENTS 7 Foreword Susan Segal 11 The Mallet as a Brush Diana Flatto 33 Efluvios y puntos (Outpours and Dots) Joaquín Orellana 45 Humanophony: Orellana’s útiles sonoros Sebastián Zubieta 63 Works 64 Joaquín Orellana 94 Carlos Amorales 98 Maria Adela Díaz 100 Akira Ikezoe 104 Alberto Rodríguez Collía 107 Orellana’s Compositions 114 Selected Bibliography 116 Artist Biographies 117 Author Biographies 119 Acknowledgments Previous: Orellana’s studio in the Centro Cultural Miguel Ángel Asturias, Guatemala City, 2020. FOREWORD Americas Society is pleased to present Joaquín Orellana: The Spine of Music, the first exhibition in the United States of the Guatemalan artist. At the age of ninety, he is receiving renewed recognition for his decades-long career as a composer and sculptor of instruments, as well as for his influence on contemporary art. This exhibition of Orellana’s instruments is particularly special to Americas Society as it brings together music and the visual arts, two fields that intersect in his work and are core to our cultural mission. I am grateful to Americas Society’s co-curators, Diana Flatto, former Assistant Curator of Visual Arts, and Sebastián Zubieta, Director of Music. I want 7 to especially thank Gabriela Rangel, former support of Governor Andrew M. Cuomo and Director and Chief Curator of Visual Arts at the New York State Legislature. Additional Americas Society and currently Director of support is provided by MetLife Foundation, Museo de Arte Latinoamericano de Buenos Presenting Sponsor of the MetLife Foundation Aires (MALBA), for bringing this project to our Music of the Americas Concert Series; the institution.
    [Show full text]