Full BBC Proms 2014 Listings
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2012 02 20 Programme Booklet FIN
COMPOSITION - EXPERIMENT - TRADITION: An experimental tradition. A compositional experiment. A traditional composition. An experimental composition. A traditional experiment. A compositional tradition. Orpheus Research Centre in Music [ORCiM] 22-23 February 2012, Orpheus Institute, Ghent Belgium The fourth International ORCiM Seminar organised at the Orpheus Institute offers an opportunity for an international group of contributors to explore specific aspects of ORCiM's research focus: Artistic Experimentation in Music. The theme of the conference is: Composition – Experiment – Tradition. This two-day international seminar aims at exploring the complex role of experimentation in the context of compositional practice and the artistic possibilities that its different approaches yield for practitioners and audiences. How these practices inform, or are informed by, historical, cultural, material and geographical contexts will be a recurring theme of this seminar. The seminar is particularly directed at composers and music practitioners working in areas of research linked to artistic experimentation. Organising Committee ORCiM Seminar 2012: William Brooks (U.K.), Kathleen Coessens (Belgium), Stefan Östersjö (Sweden), Juan Parra (Chile/Belgium) Orpheus Research Centre in Music [ORCiM] The Orpheus Research Centre in Music is based at the Orpheus Institute in Ghent, Belgium. ORCiM's mission is to produce and promote the highest quality research into music, and in particular into the processes of music- making and our understanding of them. ORCiM -
Mcewen Concert Programme 2020
5 March 2020 McEwen Memorial Concert of Scottish Chamber Music Thursday 5 March, 2020 1.10pm University Concert Hall Nanhai Piano Trio Gongbo Jiang (violin), Robert Anderson (cello), and Gordon Bragg (piano) David Horne Reflecting Instruments* *Commissioned by the Court of the University of Glasgow under the terms of the McEwen Bequest. Additional funding towards today’s performance has been provided by the Ferguson Bequest. While I have a large number of chamber works including four string quartets, a piano quartet and two piano quintets, this is the first work I have composed for Piano Trio. It is fair to say that the wonderful Piano Trio by Maurice Ravel has always been inspirational to me, including as a pianist when I performed the work many times. While there are no direct allusions to that great work, I was motivated to explore a wide range of colour and textures in my own piece, with the trio frequently coalescing and separating texturally. As the title suggests, there is a great deal of interplay between the timbres of the various instruments and how they interplay, indeed reflect each other. From the outset the piano seems to echo and even resonate the sounds of the strings, though as the work progresses this relationship often reverses, with the strings emulating the harmonics of the piano, its pedalling and resonance. There is another aspect of the music’s language which will not be apparent to the listener but is worth noting. In much of my work I am fascinated by the nature of instruments and how their own idioms often inspire and lead musical ideas. -
Deutsche Nationalbibliografie 2014 T 05
Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2014 T 05 Stand: 21. Mai 2014 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2014 ISSN 1613-8945 urn:nbn:de:101-ReiheT05_2014-2 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie sche Katalogisierung von Ausgaben musikalischer Wer- auf der Sachgruppenübersicht angegeben, entsprechend ke (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD (PM)“ zugrunde. -
Mark Simpson
MARK SIMPSON PRISM Mark Simpson clarinet and basset clarinet Ian Buckle piano Music by Gary Carpenter • Kenneth Hesketh • Gavin Higgins David Horne • Emily Howard • Patrick Nunn • Stephen Pratt Mark Simpson • Mark-Anthony Turnage 1 GARY CARPENTER MARKING TIME 8’36 PRISM for basset clarinet and piano Mark Simpson clarinet and basset clarinet 2 KENNETH HESKETH POINT FORMS (after Kandinsky) 11’35 Ian Buckle piano for basset clarinet and piano GAVIN HIGGINS THREE BROKEN LOVE SONGS 12’24 for basset clarinet and piano 3 ‘...Two bottles of wine later...’ 4’18 4 ‘Three’s a crowd’ 3’57 5 Love Hurts 4’09 6 EMILY HOWARD MASQUERADE 6’03 for basset clarinet and piano 7 DAVID HORNE CHIME 9’40 for basset clarinet and piano 8 PATRICK NUNN PRISM 8’27 for basset clarinet and piano STEPHEN PRATT SHORT SCORE 10’04 for clarinet and piano 9 I 3’01 10 II Playful, fast! 1’28 11 III 3’36 12 IV With abandon! 1’59 13 MARK SIMPSON LOV(ESCAPE) 3’42 for clarinet and piano 14 MARK-ANTHONY TURNAGE CRADLE SONG 3’28 for clarinet and piano Total timing 74’51 3 Photo: David Lefeber PRISM: WORKS FOR CLARINET AND BASSET CLARINET NOTE BY MARK SIMPSON The basset clarinet came into existence through the collaboration between players and musicologists rediscovering the original form of the Mozart Anton Stadler and Austrian clarinet maker Theodor Lotz. Together they Concerto for basset clarinet. In England, Alan Hacker – founder member of worked on a number of variations which extended the clarinet’s range by a the Fires of London – was at the forefront of this renaissance, with Antony major third to written low C (concert A below the C below middle C) though Pay. -
Proms 2014 Page 1 of 7
Proms 2014 Page 1 of 7 Prom 1: First Night of the Proms Proms Chamber Music 1: Les Arts Florissants Prom 9: Brahms & Janáček Friday 18 July Monday 21 July Thursday 24 July 7.30pm ± c9.10pm 1.00pm ± c2.00pm 7.30pm ± c9.45pm Royal Albert Hall Cadogan Hall Royal Albert Hall Elgar Rameau Brahms The Kingdom, Op. 51 (90 mins) Pièces de clavecin en concerts (53 mins): Piano Concerto No. 1 in D minor (49 mins) Erin Wall soprano (Blessed Virgin) Premier concert : La Coulicam, La Livri - Rondeau gracieux, Le INTERVAL Catherine Wyn-Rogers mezzo-soprano (Mary Magdalene) Vézinet Janáček Andrew Staples tenor (St John) Deuxième concert : La Laborde, La Boucon, L©Agaçante, Premier Glagolitic Mass (original version, reconstructed P. Wingfield) (43 Christopher Purves baritone (St Peter) Menuet et Deuxième Menuet mins) BBC National Chorus of Wales Troisième concert : La Lapoplinière, La Timide, Premier Barry Douglas piano BBC Symphony Chorus Tambourin et Deuxième Tambourin en Rondeau Mlada Khudoley soprano BBC Symphony Orchestra Quatrième concert : La Pantomime, L©Indiscrète, La Rameau Yulia Matochkina mezzo-soprano Sir Andrew Davis conductor Cinquième concert : La Forqueray, La Cupis, La Marais Mikhail Vekua tenor Les Arts Florissants Yuri Vorobiev bass Paolo Zanzu harpsichord/director London Symphony Chorus Prom 2: Elgar, Tchaikovsky, Mussorgsky & Liszt London Symphony Orchestra Saturday 19 July Valery Gergiev conductor 7.30pm ± c10.25pm Prom 5: Beethoven, Dvořák & R.Strauss Royal Albert Hall Monday 21 July 7.30pm ± c9.50pm Prom 10: Elgar, Walton, Moeran & David Horne Elgar Royal Albert Hall Friday 25 July Military March, ©Pomp and Circumstance© in G major, Op 39.4 (6 7.30pm ± c9.50pm mins) Richard Strauss Royal Albert Hall Tchaikovsky Till Eulenspiegels lustige Streiche (18 mins) Fantasy-Overture ©Romeo and Juliet© (20 mins) Dvořák Walton Liszt Concerto for Violin in A minor, Op. -
North Current the MAY 2014 | VOLUME 55 | ISSUE 5
North Current The MAY 2014 | VOLUME 55 | ISSUE 5 where in the world are seniors going? see pages 14-15 rampant commercialism! pages 22-25 mascots unmasked! see pages 12-13 2 TABLE OF CONTENTS EDITORIAL 3 table of contents high fives 2 Table of Contents 3 Editorial 4 Stu’pinions 5-7 Opinion 8-10 Current Events 11 News Briefs 12-13 Features 14-15 Double Truck 16-17 News 18 Sports 1. Chris Allison eating celery with Mitt Romney: He was a nice 19-20 Entertainment guy. 21-23 Health and Fitness 2. Zonkeys: Zebra + donkey = 2 cute 23-25 Advertisements 4 us 3. Last issue: Woohoo! Mission Ac- complished! editorial board 4. Challenge Day: Sending you Chelsea Hammersmith | Co-Editor-in-Chief photo credit: john de leon, ’14 peace and love. Joe Simkus | Co-Editor-in-Chief Nice weather? Blam! Chris Anders | Entertainment Editor 5. Spring: Joe Simkus | Sports Editor Marisa DiPaolo | Features Editor the North CurrentMAY 2014 | VOLUME 55 | ISSUE 5 deep sixes Sydnee Gee | Opinion Editor EDITORIAL POLICY Karina Gandhi | Health & Fitness Editor The is an open forum with no prior review or restraint. It is produced five times Anisha Monga | News Briefs Editor North Current SK ANY HIGH SCHOOL GRAD- of people, they are all gone by the time a year by staff members as an extracurricular activity. The editorial board has determined an Breanna Wishnow | Current Events Editor uate about their high school you graduate. Your fond memories are editorial policy to maintain a responsible, ethical student newspaper. The following guidelines Nirav Virani | News Editor experience, and you are met just that: memories. -
Hitting the Right Note Inside the Royal College of Music’S New Percussion Suite
The Magazine for the Royal College of MusicI Autumn 2015 Hitting the Right Note Inside the Royal College of Music’s new percussion suite... What’s inside... Welcome to upbeat... The Royal College of Music welcomed new and returning staff and students this term after a summer break which saw a number of exciting developments. Contents The Durrington Room on the fourth floor of the South Building has been 4 In the news renovated into a new purpose-built percussion suite – see page ten to find out more from Head of Percussion David Hockings. The state-of-the-art Amadeus The latest news from the RCM, practice pods that were in the courtyard have been moved to the third floor Ziff including the recent visit of the Suite and the remaining practice rooms have been refurbished. First Lady of China, a tribute to former RCM Director Sir David Meanwhile, improvements to the Blomfield Building include the creation of a new Willcocks and the launch of the performance space on the ground floor. The Corelli Room encompasses the old Royal College of Music’s Creative G15 and G16 rooms and will hold chamber concerts, lectures and classes. Careers Centre... This issue, we also look at how young musicians at the RCM are supported 10 Percussive Progress through scholarships. Turn to page 12 for an interview with pianist Martin James Head of Percussion David Bartlett and his supporter Terry Hitchcock to find out more about this valuable Hockings describes the exciting programme. development of a brand new The Royal College of Music is delighted to announce that the RCM Symphony percussion suite in the South Orchestra will return to the Royal Festival Hall in 2016. -
Composer Brochure | Works
Book 3.indb 2 John ADAMS ElliottCARTER 9/5/2008 12:08:42 PM John Adams Introduction English 1 Deutsch 4 Français 7 Abbreviations 10 Works Operas 12 Full Orchestra 16 Chamber Orchestra 20 Solo Instrument(s) and Orchestra 21 TABLE OF CONTENTS TABLE Voice(s) and Orchestra 22 Ensemble and Chamber with out Voice(s) 23 Piano(s) 26 Instrumental 26 Miscellaneous 27 Arrangements 27 Recordings 29 Chronological List of Works 32 Boosey & Hawkes Addresses 34 Composer List Cover photo: Deborah O'Grady Book 3.indb 3 9/5/2008 12:08:42 PM The Music of John Adams ON I The strains of his grandfather’s lakeside New England dance hall were among the earliest layers of John Adams’s aural CT memory. So too were the marching bands in which he played clarinet as a young student. Learning the basic European DU canon in front of the family Magnavox, Adams readily O assimilated it alongside the crazy quilt of American vernacular R music he encountered in the early postwar decades. Duke Ellington is a recurrent inspiration, and Adams’s love of jazz— which returns in unexpected forms, such as the improvisatory NT I “hypermelody” of the Violin Concerto (1993) or the electric violin’s raga-like musings in The Dharma at Big Sur (2003)— was early nurtured by his parents’ activities in jazz groups. As a student at Harvard during the cataclysmic upheavals of the late Sixties, Adams experienced the cognitive dissonance of the arid pronouncements of contemporary serialists when confronted with the fresh, Dionysian inventiveness of this golden age of rock. -
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Telemann - Fantasia in A minor Emily Doolittle - Social Sounds for Whales at Night John Casken - Amethyst Deceiver -interval- Tansy Davies - Forgotten Game (2) Berio - Sequenza Elizabeth Hoffman - athbhreithnigh (w.p.) -interval- Sir Peter Maxwell Davies - First Grace of Light Peter Gregson - Three Questions (w.p.) Melinda Maxwell - Pibroch Ross Edwards - Ulpirra Telemann Fantasia in A minor Taken from Telemann’s collection of twelve Fantasias, this work was originally for solo Flute. Written in Hamburg in 1732 this Fantasia plenty of freedom for the performer to explore the sonorities of their instrument. While the modern oboe performing this evening will have dif- fered greatly from the Baroque Flutes intended for this work, so many extraordinary qualities of the music endure. In many ways the Fantasias remain just as virtuosic as they were nearly three hundred years ago. Compromising four short movements, this work blends and contrasts lyrical melodies with moments of really verve and energy. Emily Doolittle Social Sounds for Whales at Night (Cor Anglais, Percussion and Tape) Both the English horn and the tape part of Social sounds from whales at night are drawn almost entirely from the song of the humpback whale. The English horn begins by playing a transcrip- tion of the humpback whale song, while the tape part begins as an accompanimental background made out of altered recordings humpback whale song, sperm whale clicks, musician wren song, and one grey seal “rup” call. As the humpback whale song itself begins to emerge from the tape part, the oboe d’amore and the whale sing in duet, before the English horn takes over with an improvisation based on the whale’s musical language. -
Queer Performativity and Grieving Through Music in the Work of Rufus Wainwright
TRUE LOVES, DARK NIGHTS: QUEER PERFORMATIVITY AND GRIEVING THROUGH MUSIC IN THE WORK OF RUFUS WAINWRIGHT Stephanie Salerno A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2016 Committee: Jeremy Wallach, Advisor Christian Coons Graduate Faculty Representative Kimberly Coates Katherine Meizel © 2016 Stephanie Salerno All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This dissertation studies the cultural significance of Canadian-American singer/songwriter Rufus Wainwright’s (b. 1973) album All Days Are Nights: Songs for Lulu (Decca, 2010). Lulu was written, recorded, and toured in the years surrounding the illness and eventual death of his mother, beloved Québécoise singer/songwriter Kate McGarrigle. The album, performed as a classical song cycle, stands out amongst Wainwright’s musical catalogue as a hybrid composition that mixes classical and popular musical forms and styles. More than merely a collection of songs about death, loss, and personal suffering, Lulu is a vehicle that enabled him to grieve through music. I argue that Wainwright’s performativity, as well as the music itself, can be understood as queer, or as that which transgresses traditional or expected boundaries. In this sense, Wainwright’s artistic identity and musical trajectory resemble a rhizome, extending in multiple directions and continually expanding to create new paths and outcomes. Instances of queerness reveal themselves in the genre hybridity of the Lulu song cycle, the emotional vulnerability of Wainwright’s vocal performance, the deconstruction of gender norms in live performance, and the circulation of affect within the performance space. -
Michael Jackson Interviews
MMIICCHHAAEELL JJAACCKKSSOONN IINNTTEERRVVIIEEWWSS Table of Contents Randy J. Taraborrelli Interview 1978 Rolling Stone Interview 17 February, 1983 Ebony Magazine Interview December, 1984 Ebony Magazine Interview May, 1992 Oprah Winfrey Interview 1993 Ebony Magazine Interview October, 1994 Diane Sawyer Interview June 14, 1995 (Hollywood, USA) Simulchat Interview Thursday, 17 August 1995 VH1 Interview 10 November, 1996 Molly Meldrum Interview Tuesday, 19 November 1996 Arabic Interview 1996 OK Magazine Interview April 4 & 11, 1997 Barbara Walters Interview September 12, 1997 (televised on ABC) Life Magazine Interview 1997 'Wetten, Dass...?' March 20, 1999 (Saarlandhalle Saarbrücken, Germany) The Mirror Interview Tuesday, 13 April 1999 TV Guide Interview December 4, 1999 Pharrell Williams: Music's Hottest Hitmaker Talks to the Thriller (August, 2000) Online Audio Chat Interview 26 October, 2001 USA Today Interview 1 November, 2001 TV Guide Interview 2001 Steve Harvey Radio Show Interview March 08, 2002 VIBE Magazine Interview March, 2002 Gold Magazine Interview 2002 Rick Dees Interview Wednesday, 10 September 2003 Ed Bradley Interview 28 December, 2003 Brett Ratner Interview Sunday, 01 February 2004 Jesse Jackson Radio Show Interview 2005 Geraldo Rivera Interview 5 February, 2005 Billy Bush Interview 15 October, 2006 Interview by Randy J. Taraborrelli (1978) When John Whyman, the photographer, and I [Taraborrelli] pulled up to the ominous black wrought-iron gate at 4641 Hayvenhurst, the Jacksons' estate, it stood open, but Whyman pressed the buzzer on the squawk box anyway. We had heard about the vicious guard dogs and did not want to take any chances. An electronic camera, conspicuously mounted on a fifteen-foot-high pole, seemed to zoom in for closer inspection. -
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SONGS FOR SIR JOHN : INSPIRED BY WILLIAM BUTLER YEATS Robin Stevens (b.1958) Peter Dickinson (b.1934) 1 Men improve with the Years 2:32 12 Strings in the Earth and Air 1:40 Elis Pehkonen (b.1942) 2 Sonnet 5:46 Lennox Berkeley (1903-1989) Martin Bussey (b.1958) Three Duets for two recorders 5:05 3 The Cold Heaven 4:00 13 I. Moderato 1:37 Geoffrey Poole (b.1949) 14 II. Minuet 1:52 4 Reflection 5:41 15 III. Allegro 1:36 Sally Beamish (b.1956) Robin Walker (b.1953) 5 Yeats Interlude (for recorder, oboe, violin and cello) 7:26 Four Nursery Rhymes to texts by Thomas Pitfield (1903 - 1999) 3:52 Michael Ball (b.1946) 16 I. The Shipwrecked Sailor 1:03 6 Be Still 3:49 17 II. Lilly Pickle 0:41 18 III. Staring Moon 1:09 David Horne (b.1970) 19 IV. Cat and Mouse 0:58 7 Those Images 6:09 Jeremy Pike (b.1955) David Matthews (b.1943) 20 The Cat and the Moon 4:28 Two Yeats Songs, Op, 23b 5:04 8 I. Lullaby 3:28 9 II. Sweet Dancer 1:35 Nicholas Marshall (b.1942) 21. Into the Twilight 3:15 Kevin Malone (b.1958) 10 Zuzu’s Petals (for recorder, oboe, violin and cello) 5:21 Naji Hakim (b.1955) 22. The Cloths of Heaven 3:48 Gary Carpenter (b.1951) 11 This Great Purple Butterfly 4:36 Total playing time: 72:52 Lesley-Jane Rogers (soprano): tracks 1-4, 6-9, 11-12, 20-22 John Turner (recorder): all tracks |Richard Simpson (oboe): tracks 1-12, 20-22 Benedict Holland (violin): tracks 1-12, 20 | Susie Mészáros (viola): tracks 21-22 Nicholas Trygstad (cello): tracks 1-12, 20-22 | Laura Robinson (recorder): tracks 13-15 Richard Baker (narrator) and Keith Swallow (piano): tracks 16-19 REMEMBERING SIR JOHN A Note from Michael Berkeley If twentieth-century musical life in Britain could be characterised as a stately vehicle capable of surprising bursts of exuberant acceleration, then a pivotal cog in its gearbox might well be called The Manduell.