DOCSLIB.ORG

Sunday 27 November Box Office 01484 430528 Hcmf @Hcmfuk FESTIVAL DIARY

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sunday 27 November Box Office 01484 430528 Hcmf @Hcmfuk FESTIVAL DIARY Friday 18 – Sunday 27 November Box Office 01484 430528 www.hcmf.co.uk hcmf @hcmfuk FESTIVAL DIARY DATE NO EVENT TIME VENUE Fri 18 Pre-concert Talk: Jenny Walshe 5.15pm St Paul’s Hall 1 Arditti Quartet + Jennifer Walshe 6pm St Paul’s Hall 2 Ensemble Musikfabrik + Peter Brötzmann + Solos 1 9.30pm Bates Mill Blending Shed Sat 19 Coffee with the Composer: Claudia Molitor 10.45am Epicure Bar & Kitchen 3 Dublin Guitar Quartet 12pm Phipps Hall Talk: Georg Friedrich Haas 3pm Phipps Hall 4 Walking with Partch + Solos 2 5pm Bates Mill Photographic Studio 5 Klangforum Wien + Arditti Quartet: Haas 10pm St Paul’s Hall Sun 20 Coffee with the Composer: Rebecca Saunders 10.45am Epicure Bar & Kitchen Manasamitra: The Life of a Bee 11am Phipps Hall 6 Trombone Unit Hannover: Haas 12pm St Paul’s Hall 7 Body-opera 3pm The Calder @ The Hepworth Wakefield 8 Klangforum Wien 7.30pm St Paul’s Hall 9 London Sinfonietta: FAMA 10pm Huddersfield Town Hall Mon 21 Philip Thomas 12pm Creative Arts Building Atrium Zubin Kanga 12.40pm St Paul’s Hall Pop-Up Art School 1pm - 4pm Heritage Quay Explore Ensemble 1.20pm Huddersfield Town Hall Ailís Ní Ríain 2pm Phipps Hall Robert Bentall + Mario Duarte 3.30pm St Paul’s Hall Susanne Peters + Sarah Saviet 4.30pm St Thomas’ Church Revolution Ensemble 5.30pm Bates Mill Blending Shed Raphael Roginski 6.10pm Bates Mill Photographic Studio SALT 7.30pm Phipps Hall Andrew Crossley 8pm Creative Arts Building Atrium Trio Kimmig-Studer-Zimmerlin + John Butcher 9pm St Paul’s Hall Éliane Radigue: OCCAM HEXA IV 10.30pm Bates Mill Photographic Studio Tue 22 Talk: Liza Lim + Aaron Cassidy 11am Creative Arts Building, CAM G/01 10 ELISION 1pm St Paul’s Hall 11 The Stone Orchestra 7.30pm Bates Mill Blending Shed 12 Christian Weber + Joke Lanz: Berlin Tapes 10pm Bates Mill Photographic Studio Wed 23 Open Workshop: Sam Pluta 10am - 12 noon Heritage Quay White Cane: Salamanda Tandem 12.30pm, 2.20pm & 5pm Huddersfield Railway Station Interactive Art Workshop 5.30pm - 7.30pm Heritage Quay 13 Red Note Ensemble 8pm Phipps Hall Thu 24 14 Marianne Schuppe: slow songs 12pm St Paul’s Hall Pre-concert talk: historage 3pm Phipps Hall 15 Distractfold 4pm Phipps Hall 16 Tony Conrad: Completely in the Present 6.45pm St Paul’s Hall & Lawrence Batley Theatre Fri 25 17 Seth Parker Woods 12pm Phipps Hall Pre-concert talk: Elliott Sharp 6.45pm St Paul’s Hall 18 Ensemble Resonanz + Elliott Sharp + Gareth Davis 7.30pm St Paul’s Hall 19 The Spike Orchestra 10pm Bates Mill Blending Shed Sat 26 20 Richard Uttley 11am St Paul’s Hall 21 Ailie Robertson 2pm Phipps Hall 22 Percy Pursglove: Tender Buttons: Objects, Food, Rooms 4pm Huddersfield Town Hall 23 Quatuor Diotima 6pm St Paul’s Hall 24 part wild horses mane on both sides 8.30pm Bates Mill Photographic Studio 25 Return to the ARK 10pm Bates Mill Blending Shed Sun 27 Pre-concert talk: Michael Finnissy 12.15pm St Paul’s Hall 26 Mark Knoop + Juliet Fraser: Palimpsests 1pm St Paul’s Hall Music at Play: Contemporary Dance for Under 5s 2pm - 3pm Heritage Quay 27 Ensemble Vortex 4pm Phipps Hall 28 Colin Stetson: Sorrow 7pm Bates Mill Blending Shed Funders CONTENTS page 05 Director’s welcome 2017 CLASSICAL FESTIVAL PARTNERS HIGHLIGHTS AT page 06 Arts Council England Project Funders page 06 University of Huddersfield SOUTHBANK page 07 Kirklees Council page 07 BBC Radio 3 CENTRE page 08 Adam Mickiewicz Institute page 08 Swiss Arts Council Pro Helvetia page 09 Goethe-Institut London PROGRAMME page 10 Profile: Georg Friedrich Haas page 12 Exhibitions page 14 Talks © Neda Navaee Neda Navaee © Leighton Grant © page 16 Friday 18 November © Wonge Bergmann Bergmann Wonge © © Jennifer Snapes Jennifer © Trusts and Foundations MUSIC FOR TWO PIANOS THE GREATEST LIVING COMPOSER page 18 Profile: Peter Brötzmann / Pierre-Laurent Aimard & IS IN TOWN Michael Wertmüller Tamara Stefanovich What You Need to Know: Steve Reich page 21 Saturday 19 November Tue 24 Jan Sat 29 Apr In partnership with Media Partner Broadcast Partner The duo will perform Brahms’ Sonata No spoilers, a must see. page 26 Profile: Bob Gilmore: in F minor and Messiaen’s Visions de WHAT HAS RELIGION EVER DONE FOR The Partch Effect l’amen as part of our year-long festival, SOCIETY? page 32 Sunday 20 November Belief and Beyond Belief. The Colin Currie Group Perform Reich Festival Partners page 40 Monday 21 November REMEMBERING COMPOSER STEVE Fri 5 May page 48 Learning & Participation MARTLAND Exploring community and worship with Marin Alsop, Colin Currie & Reich’s compositions, part of our year- page 50 Tuesday 22 November Britten-Pears Orchestra long Belief and Beyond Belief festival. page 52 Profile: Alfred Zimmerlin Fri 7 Apr INTERNATIONAL ORCHESTRA SEASON: page 56 Wednesday 23 November The best young musicians from over THE FINALE 35 countries perform new concerto by page 59 Thursday 24 November Budapest Festival Orchestra, Mark-Anthony Turnage in memory of his Tue 23 May page 65 Friday 25 November friend and mentor, Steve Martland. Bartok’s dark and perturbing Duke page 68 Profile: Elliott Sharp CHAMPIONED MUSIC FOR ORGAN Bluebeard’s Castle opera concludes a page 72 Saturday 26 November Stephen Farr glorious orchestra season. Mon 24 Apr page 84 Profile: Michael Finnissy An evening themed on transfi guration BOOK NOW page 85 Sunday 27 November and transformation, featuring the world premiere of a specially commissioned 020 7960 4200 work by Judith Bingham. southbankcentre.co.uk/classical The Festival also gratefully acknowledges support from Festival Members Professor Mick Peake Cover image: Alexander Schubert © Peggy März Welcome to the 39th Huddersfield PATRONS The Festival would especially like to Contemporary Music Festival! Sir Ernest Hall OBE DL thank the following for their service and Sir Simon Rattle CBE support: his year’s Festival is undoubtedly characterised by the bringing together of Toften quite disparate forces, to create new sounds, new experiences, and Barry Hynes, Kitty Porteous, Bob Cryan, new approaches to music making. Perhaps this is best evidenced in the pairing BOARD OF MANAGEMENT Rachel Cowgill, Adrian Lythgoe, Adele of roaring saxophonist, and the founding father of European free improvisation, Professor Mick Peake (Chair) Poppleton, Kath Davies, Victoria Firth, Peter Brötzmann, with German new music supergroup Ensemble Musikfabrik. Elsewhere, avant-garde composer and filmmaker Jennifer Walshe leads the Mark Bowden Karen O’Neill, Nigel & Richard Bates, The dance with the renowned Arditti Quartet, while Claudia Molitor continues to Andrew Kurowski Cedar Court Hotel, The Central Lodge offer new insights into the creative process, and non-conventional approaches Prof Liza Lim Hotel, Epicure Bar & Kitchen, The Elm to composition – creating large-scale works, rich in layers and depth – often constructed from fragments of sound. Equally inventive yet surprising is Mirjam Zegers Crest Guest House and The Briar Court American saxophonist Colin Stetson’s re-imagining of Gorecki’s classic Hotel. Symphony No 3 – drawing on noise, drone and even dark metal to transform, and FESTIVAL TEAM provide fresh insights to a heralded masterpiece. Graham McKenzie HUDDERSFIELD CONTEMPORARY The true purpose behind these musical experiments of course is to continue to Artistic Director & Chief Executive MUSIC FESTIVAL push boundaries, to break down barriers, and (mis)conceptions about music. Roisin Hughes Room CAM1/10 © John Bonner American critic Ben Ratliff in his recent book Every Song Ever writes Festival & Development Manager University of Huddersfield ‘What does it mean to listen in the digital era? Today, new technologies make it possible to roam instantly and Alexandra Richardson West Yorkshire HD1 3DH UK experimentally across musical languages and generations, from Detroit techno to jam bands to baroque opera. As Learning & Participation Officer Tel: +44 (0) 1484 472900 familiar subdivisions like “rock” and “jazz” matter less and less and music’s accessible past becomes longer and broader, listeners can put aside the intentions of composers and musicians and engage music afresh, on their own Lauren Day Email: [email protected] terms’. Festival Coordinator www.hcmf.co.uk Sheralyn Bonner Charity registration number 514614 I am also pleased to welcome Georg Friedrich Haas to Huddersfield as this year’s Composer in Residence. Anyone who was present at the UK premiere of in vain (hcmf// 2013) could not fail to be profoundly and deeply affected by the sheer Marketing Director & Regional power and force of this music. Now based in New York to take up a position at Columbia, Haas is artistically at the height PR Manager (Bonner & Hindley) PROGRAMME BOOK PRODUCTION of his powers. Yet, unlike many of his contemporaries, his academic position has not turned his artistic practice to look James Eaglesfield Abi Bliss Editor inwards – but rather the opposite – to reach out and engage with the very real issues facing the world today. This is certainly true of the works he brings to Huddersfield. Hyena deals with the trauma of addiction, with a powerful text and Digital & Social Media Manager Peter Davin Designer performance by Mollena Lee Williams-Haas, while I can’t breathe is the composer’s response to a Black Lives Matter (Bonner & Hindley) Marcus Netherwood Advertising Sales march going past his flat, in memory of Eric Garner, and in solidarity with the protesters. Faith Wilson Muso Communications Ltd All of the above is made possible with the support of our core partners and funders, and I would like to thank Arts National PR Manager Tel: + 44 [0] 161 638 5615 Council England, Kirklees Council, and the University of Huddersfield. The international programme is supported by the Tim Garbutt & Adam Long www.musocommunications.com Swiss Arts Council Pro Helvetia, the Adam Mickiewicz Institute as part of the Polska Music Programme, and Goethe- Production Managers Printed by Axis Printing Institut London.
Load more

Recommended publications
  • Tenor Saxophone Mouthpiece When
    MAY 2014 U.K. £3.50 DOWNBEAT.COM MAY 2014 VOLUME 81 / NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter,
    [Show full text]
  • Where to Study Jazz 2019
    STUDENT MUSIC GUIDE Where To Study Jazz 2019 JAZZ MEETS CUTTING- EDGE TECHNOLOGY 5 SUPERB SCHOOLS IN SMALLER CITIES NEW ERA AT THE NEW SCHOOL IN NYC NYO JAZZ SPOTLIGHTS YOUNG TALENT Plus: Detailed Listings for 250 Schools! OCTOBER 2018 DOWNBEAT 71 There are numerous jazz ensembles, including a big band, at the University of Central Florida in Orlando. (Photo: Tony Firriolo) Cool perspective: The musicians in NYO Jazz enjoyed the view from onstage at Carnegie Hall. TODD ROSENBERG FIND YOUR FIT FEATURES f you want to pursue a career in jazz, this about programs you might want to check out. 74 THE NEW SCHOOL Iguide is the next step in your journey. Our As you begin researching jazz studies pro- The NYC institution continues to evolve annual Student Music Guide provides essen- grams, keep in mind that the goal is to find one 102 NYO JAZZ tial information on the world of jazz education. that fits your individual needs. Be sure to visit the Youthful ambassadors for jazz At the heart of the guide are detailed listings websites of schools that interest you. We’ve com- of jazz programs at 250 schools. Our listings are piled the most recent information we could gath- 120 FIVE GEMS organized by region, including an International er at press time, but some information might have Excellent jazz programs located in small or medium-size towns section. Throughout the listings, you’ll notice changed, so contact a school representative to get that some schools’ names have a colored banner. detailed, up-to-date information on admissions, 148 HIGH-TECH ED Those schools have placed advertisements in this enrollment, scholarships and campus life.
    [Show full text]
  • Ron Mcclure • Harris Eisenstadt • Sackville • Event Calendar
    NEW YORK FebruaryVANGUARD 2010 | No. 94 Your FREE Monthly JAZZ Guide to the New ORCHESTRA York Jazz Scene newyork.allaboutjazz.com a band in the vanguard Ron McClure • Harris Eisenstadt • Sackville • Event Calendar NEW YORK We have settled quite nicely into that post-new-year, post-new-decade, post- winter-jazz-festival frenzy hibernation that comes so easily during a cold New York City winter. It’s easy to stay home, waiting for spring and baseball and New York@Night promising to go out once it gets warm. 4 But now is not the time for complacency. There are countless musicians in our fair city that need your support, especially when lethargy seems so appealing. To Interview: Ron McClure quote our Megaphone this month, written by pianist Steve Colson, music is meant 6 by Donald Elfman to help people “reclaim their intellectual and emotional lives.” And that is not hard to do in a city like New York, which even in the dead of winter, gives jazz Artist Feature: Harris Eisenstadt lovers so many choices. Where else can you stroll into the Village Vanguard 7 by Clifford Allen (Happy 75th Anniversary!) every Monday and hear a band with as much history as the Vanguard Jazz Orchestra (On the Cover). Or see as well-traveled a bassist as On The Cover: Vanguard Jazz Orchestra Ron McClure (Interview) take part in the reunion of the legendary Lookout Farm 9 by George Kanzler quartet at Birdland? How about supporting those young, vibrant artists like Encore: Lest We Forget: drummer Harris Eisenstadt (Artist Feature) whose bands and music keep jazz relevant and exciting? 10 Svend Asmussen Joe Maneri In addition to the above, this month includes a Lest We Forget on the late by Ken Dryden by Clifford Allen saxophonist Joe Maneri, honored this month with a tribute concert at the Irondale Center in Brooklyn.
    [Show full text]
  • Brazilian/American Trio São Paulo Underground Expands Psycho-Tropicalia Into New Dimensions on Cantos Invisíveis, a Global Tapestry That Transcends Place & Time
    Bio information: SÃO PAULO UNDERGROUND Title: CANTOS INVISÍVEIS (Cuneiform Rune 423) Format: CD / DIGITAL Cuneiform Promotion Dept: (301) 589-8894 / Fax (301) 589-1819 Press and world radio: [email protected] | North American and world radio: [email protected] www.cuneiformrecords.com FILE UNDER: JAZZ / TROPICALIA / ELECTRONIC / WORLD / PSYCHEDELIC / POST-JAZZ RELEASE DATE: OCTOBER 14, 2016 Brazilian/American Trio São Paulo Underground Expands Psycho-Tropicalia into New Dimensions on Cantos Invisíveis, a Global Tapestry that Transcends Place & Time Cantos Invisíveis is a wondrous album, a startling slab of 21st century trans-global music that mesmerizes, exhilarates and transports the listener to surreal dreamlands astride the equator. Never before has the fearless post-jazz, trans-continental trio São Paulo Underground sounded more confident than here on their fifth album and third release for Cuneiform. Weaving together a borderless electro-acoustic tapestry of North and South American, African and Asian, traditional folk and modern jazz, rock and electronica, the trio create music at once intimate and universal. On Cantos Invisíveis, nine tracks celebrate humanity by evoking lost haunts, enduring love, and the sheer delirious joy of making music together. São Paulo Underground fully manifests its expansive vision of a universal global music, one that blurs edges, transcends genres, defies national and temporal borders, and embraces humankind in its myriad physical and spiritual dimensions. Featuring three multi-instrumentalists, São Paulo Underground is the creation of Chicago-reared polymath Rob Mazurek (cornet, Mellotron, modular synthesizer, Moog Paraphonic, OP-1, percussion and voice) and two Brazilian masters of modern psycho- Tropicalia -- Mauricio Takara (drums, cavaquinho, electronics, Moog Werkstatt, percussion and voice) and Guilherme Granado (keyboards, synthesizers, sampler, percussion and voice).
    [Show full text]
  • Downbeat.Com April 2011 U.K. £3.50
    £3.50 £3.50 U.K. PRIL 2011 DOWNBEAT.COM A D OW N B E AT MARSALIS FAMILY // WOMEN IN JAZZ // KURT ELLING // BENNY GREEN // BRASS SCHOOL APRIL 2011 APRIL 2011 VOLume 78 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Maureen Flaherty ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz,
    [Show full text]
  • Genevieve Lacey Recorder Genevieve Lacey Is a Recorder Virtuoso
    Ancient and new! Traversing a thousand years of music for recorder, leading Australian performer Genevieve Lacey weaves together an enticing program of traditional tunes, baroque classics and newly composed music. Genevieve Lacey Recorder Genevieve Lacey is a recorder virtuoso. Her repertoire spans ten centuries, and she collaborates on projects as diverse as her medieval duo with Poul Høxbro, performances with the Black Arm Band, and her role in Barrie Kosky’s production of Liza Lim’s opera ‘The Navigator’. Genevieve has a substantial recording history with ABC Classics, and her newest album, ‘weaver of fictions’, was released in 2008. As a concerto soloist Genevieve has appeared with the Australian Chamber Orchestra, Australian Brandenburg Orchestra, Academy of Ancient Music (UK), English Concert (UK), Malaysian Philharmonic Orchestra and the Melbourne, West Australian, Tasmanian and Queensland Symphony Orchestras. Genevieve has performed at all the major Australian arts festivals and her European festival appearances have included the Proms, Klangboden Wien, Copenhagen Summer, Sablé, Montalbane, MaerzMusik, Europäisches Musikfest, Mitte Europa, Spitalfields, Cheltenham, Warwick, Lichfield and Huddersfield. Genevieve is strongly committed to contemporary music and collaborations on new works include those with composers Brett Dean, Erkki‐Sven Tuur, Moritz Eggert, Elena Kats‐ Chernin, James Ledger, John Rodgers, Damian Barbeler, Liza Lim, John Surman, Maurizio Pisati, Jason Yarde, Steve Adam, Max de Wardener, Bob Scott and Andrew Ford. As Artistic Director, Genevieve will direct the 2010 and 2012 Four Winds Festivals. In 2009, she will also design a composer mentorship/residency program for APRA‐AMCOS, and program a season of concerts for the 3MBS inaugural Musical Portraits series.
    [Show full text]
  • Impact Report 2019 Impact Report
    2019 Impact Report 2019 Impact Report 1 Sydney Symphony Orchestra 2019 Impact Report “ Simone Young and the Sydney Symphony Orchestra’s outstanding interpretation captured its distinctive structure and imaginative folkloric atmosphere. The sumptuous string sonorities, evocative woodwind calls and polished brass chords highlighted the young Mahler’s distinctive orchestral sound-world.” The Australian, December 2019 Mahler’s Das klagende Lied with (L–R) Brett Weymark, Simone Young, Andrew Collis, Steve Davislim, Eleanor Lyons and Michaela Schuster. (Sydney Opera House, December 2019) Photo: Jay Patel Sydney Symphony Orchestra 2019 Impact Report Table of Contents 2019 at a Glance 06 Critical Acclaim 08 Chair’s Report 10 CEO’s Report 12 2019 Artistic Highlights 14 The Orchestra 18 Farewelling David Robertson 20 Welcome, Simone Young 22 50 Fanfares 24 Sydney Symphony Orchestra Fellowship 28 Building Audiences for Orchestral Music 30 Serving Our State 34 Acknowledging Your Support 38 Business Performance 40 2019 Annual Fund Donors 42 Sponsor Salute 46 Sydney Symphony Under the Stars. (Parramatta Park, January 2019) Photo: Victor Frankowski 4 5 Sydney Symphony Orchestra 2019 Impact Report 2019 at a Glance 146 Schools participated in Sydney Symphony Orchestra education programs 33,000 Students and Teachers 19,700 engaged in Sydney Symphony Students 234 Orchestra education programs attended Sydney Symphony $19.5 performances Orchestra concerts 64% in Australia of revenue Million self-generated in box office revenue 3,100 Hours of livestream concerts
    [Show full text]
  • Michael Finnissy Singular Voices
    Michael Finnissy Singular Voices 1 Lord Melbourne †* 15:40 2 Song 1 5:29 3 Song 16 4:57 4 Song 11 * 3:02 5 Song 14 3:11 6 Same as We 7:42 7 Song 15 7:15 Beuk o’ Newcassel Sangs †* 8 I. Up the Raw, maw bonny 2:21 9 II. I thought to marry a parson 1:39 10 III. Buy broom buzzems 3:18 11 IV. A’ the neet ower an’ ower 1:55 12 V. As me an’ me marra was gannin’ ta wark 1:54 13 VI. There’s Quayside fer sailors 1:19 14 VII. It’s O but aw ken weel 3:17 Total Duration including pauses 63:05 Clare Lesser soprano David Lesser piano † Carl Rosman clarinet * Michael Finnissy – A Singular Voice by David Lesser The works recorded here present an overview of Michael Finnissy’s continuing engagement with the expressive and lyrical possibilities of the solo soprano voice over a period of more than 20 years. It also explores the different ways that the composer has sought to ‘open-up’ the multiple tradition/s of both solo unaccompanied song, with its universal connotations of different folk and spiritual practices, and the ‘classical’ duo of voice and piano by introducing the clarinet, supremely Romantic in its lyrical shadowing of, and counterpoints to, the voice in Song 11 (1969-71) and Lord Melbourne (1980), and in an altogether more abrasive, even aggressive, way in the microtonal keenings and rantings of the rarely used and notoriously awkward C clarinet in Beuk O’ Newcassel Sangs (1988).
    [Show full text]
  • Constellation
    CONSTELLATION La critica musicale ha spesso identificato alcuni generi musicali con le città nelle quali si erano sviluppati, arrivando a far coincidere musica e toponomastica come nel caso del Canterbury sound o del Madchester. In realtà di solito si è trattato di un tentativo di semplificare la realtà per rendere intelligibili fenomeni la cui complessità sarebbe stata di difficile comprensione alla maggioranza dei lettori delle varie riviste del settore; basti pensare alla San Francisco psichedelica, al country di Nashville, all'elettronica berlinese, alla Seattle grunge o a Londra per il punk, ecc. Detto ciò, in pochi avrebbero immaginato che nel novero di queste “capitali” musicali sarebbe apparso il nome di Montreal, principale città del Quebec canadese. Eppure se dovessimo cercare una città con la quale identificare il post- rock degli anni Duemila non potremmo che guardare verso questa metropoli di più di un milione e mezzo di abitanti, se non altro per l’etichetta discografica indipendente Constellation records che vi ha sede. Nata nel 1997, la Constellation si è fin da subito caratterizzata per le “ostiche” scelte musicali e di marketing, dimostrando negli anni un'ammirevole coerenza che le ha permesso di intercettare le espressioni più avanzate e innovative del movimento post-rock canadese – ovvero il meglio del post-rock tout-court –, distinguendosi commercialmente dalle tante etichette indipendenti grazie a confezioni in digipack dominate da colori tenui e da un’originalità grafica e iconografica che diventa determinante nel trasmettere anche visivamente i contenuti musicali. Ma forse per comprendere il percorso qui proposto occorre partire dall’inizio, ovvero dalla definizione di Post-rock.
    [Show full text]
  • Delusion by Laurie Anderson
    CAL PERFORMANCES PRESENTS PROGRAM NOTES Friday, May 7, 2010, 8pm Saturday, May 8, 2010, 8pm Zellerbach Hall Delusion by Laurie Anderson with Special Guest Musicians Colin Stetson & Doug Wieselman Production Credits Laurie Anderson Music Text & Visual Design Colin Stetson Special Guest Musician Doug Wieselman Special Guest Musician Amy Khoshbin Video Design & Live Mix Rus Snelling Production & Lighting Dave Cook Front-of-House Audio Anderson Laurie Maryse Alberti Video Director of Photography Toshiaki Ozawa Additional Video ELUSION is a meditation on life and language. Bob Currie Story Team DConceived as a series of short mystery plays, Rande Brown Story Team Delusion jump-cuts between the everyday and the mythic. Combining violin, electronic puppetry, Shane Koss Audio Rig Design music and visuals, Delusion tells its story in the col- Konrad Kaczmarek Audio Software Design orful and poetic language that has become Laurie Ned Steinberger Violin Design Anderson’s trademark. Brad Hampton Tour Management “The electronically altered voice I have used for many years, the one that turns my voice into a World Premiere February 17, 2010, Cultural Olympiad, male voice, has been gradually evolving from a stock Vancouver, British Columbia voice of authority into a more nuanced one,” says Ms. Anderson. “I have written Delusion as a conver- sation between that voice and my own.” Delusion was commissioned by Vancouver 2010 Cultural Olympiad, Vancouver, and barbicanbite10, London. The stories inDelusion come from ma ny worlds — technical, scientific, personal and mythic—and from Additional support provided by BAM for the 2010 Next Wave Festival; Cal Performances; various states of consciousness, dream and medita- Stanford Lively Arts; and the generosity of Sarah Ratchye and Ed Frank.
    [Show full text]
  • Liza Lim Olga Neuwirth Serge Prokofiev Orchestre Symphonique Du Swr Baden-Baden & Freiburg Kazushi Ono William Barton, Gunhild Ott, Håkan Hardenberger
    LIZA LIM OLGA NEUWIRTH SERGE PROKOFIEV ORCHESTRE SYMPHONIQUE DU SWR BADEN-BADEN & FREIBURG KAZUSHI ONO WILLIAM BARTON, GUNHILD OTT, HÅKAN HARDENBERGER THÉÂTRE DU CHÂTELET O NOVEMBRE NMMP © David Young Liza Lim Souffles Olga Neuwirth Texte de Laurent Feneyrou Serge Prokofiev Ces œuvres nous racontent toutes trois une histoire, autour du souffle, de la trompe,desonembouchure,deslèvresquil’animentetdesimages,poétiques ou triomphantes, qu’elle évoque. Un égal souci de narration les traverse, em- Liza Lim pruntant à la tradition épique du symphonisme russe, ou au kalyuyuru du The Compass, désert australien – ce mot par lequel les aborigènes désignent le miroitement pour didgeridoo, flûte et orchestre de l’eau qui tombe sur des lits asséchés et la fluidité des chants entendus en rêve –, ou encore à un quotidien équivoque, hybride, menaçant, rendu à son Olga Neuwirth absurdité, tout en césures, proliférations et décalages impromptus. ...miramondo multiplo..., Endebrèvesscènesmusicales,suscitantbiendesimagesàl’écoute,...miramon- pour trompette et orchestre do multiplo... saisit toute l’hétérogénéité des résonances de la trompette, un instrument qu’Olga Neuwirth étudia dès sept ans. De la grandiloquence par- entracte foisvantardedesontimbreàl’orphéonauxéchosfelliniens,entrefiguresbaro- ques et autres lignes suaves, sorties de musiques de film, le vampirisme des ci- Serge Prokofiev tationsetleurmontagen’yexcluentnilatorsion,nilasalissureduson,nil’ironie, Sixième Symphonie, en mi bémol, ni même, en deçà, la douceur révolue des années d’enfance,
    [Show full text]
  • An Interview with Liza Lim Madeline Roycroft
    2017 © Madeline Roycroft, Context 42 (2017): 85–90. COMPOSER INTERVIEW The Ecology of Collaboration: An Interview with Liza Lim Madeline Roycroft Liza Lim is one of Australia’s leading composers. Born in Perth in 1966, she completed her BMus at the Victorian College of the Arts, MMus at the University of Melbourne and received her PhD from the University of Queensland. As Director of the Centre for Research in New Music at the University of Huddersfield from 2008–2017, Liza Lim established the highly regarded Divergence Press and CeReNeM Journals, as well as the Huddersfield Contempor- ary Records label. Now based in Melbourne, she maintains a part-time role at Huddersfield and from 2017 is Professor of Composition at the Sydney Conservatorium of Music. She is also Visiting Professor of Composition at the Shanghai Conservatory during 2017. Lim has been commissioned by some of the world’s pre-eminent orchestras, including the Los Angeles Philharmonic, BBC Symphony, and Bavarian Radio Orchestra, and she was composer in residence with the Sydney Symphony from 2005–2007. She has collaborated with ensembles such as MusikFabrik, Ensemble Intercontemporain and Ensemble Modern, and has been particularly associated with the ELISION Ensemble since the group’s inception. Lim has composed three operas: The Oresteia (1993), Moon Spirit Feasting (1999) and The Navigator (2008), all of which ELISION have performed in seasons across Melbourne, Brisbane, Adelaide, 85 86 Context 42 (2017) Tokyo, Moscow, Paris, Zurich and Berlin. Her fourth opera, Tree of Codes (2015), commissioned and presented by Cologne Opera, Musikfabrik and Hellerau in Cologne and Dresden, was described as ‘a major contribution to the music theatre of our time.’ Liza Lim connects her compositional practice to areas of thought and knowledge such as Australian Indigenous aesthetics, Asian ritual forms, Sufi poetics, and the textilic arts of weaving and knot-making.
    [Show full text]