DOCSLIB.ORG

A Guildhall School of Music & Drama Prospectus

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Guildhall School of Music & Drama Prospectus Guildhall School of Music & Drama Prospectus 2O19 a b Introduction 5 About Guildhall School 6 Where we are 9 Our partners 12 How we support you Acting 18 About Acting 20 BA in Acting and MA in Acting 24 Acting alumni Music 28 About Music 31 Performance 36 BMus 38 MMus/MPerf in Performance (Guildhall Artist Masters) 40 MMus/MPerf in Performance (Guildhall Artist Masters): Orchestral Artistry 43 MMus/MComp in Composition (Guildhall Artist Masters) 44 MA in Opera Making and Writing 46 MA in Music Therapy 47 Artist Diploma 48 Principal Study Strings, Harp & Guitar 51 Principal Study Wind, Brass & Percussion 54 Principal Study Keyboard 56 Principal Study Vocal Studies 60 Principal Study Opera Studies 62 Principal Study Historical Performance 64 Principal Study Chamber Music 66 Principal Study Composition 70 Principal Study Electronic Music 73 Principal Study Jazz 76 Music alumni Production Arts 80 About Production Arts 84 BA in Production Arts 88 BA in Video Design for Live Performance 92 MA in Collaborative Theatre Production and Design 94 Production Arts alumni Creative Learning 98 BA in Performance and Creative Enterprise Research and Teaching 104 PGCert in Performance Teaching 106 Research Degrees Further information 110 After Guildhall 113 Applications, auditions and interviews 114 Fees, funding and scholarships 116 Youth and Adult Learning 119 Senior staff/Getting in touch 120 How to find us 2 3 4 At Guildhall School, we lead students We benefit from, and contribute to, through the transformative journey the incredibly exciting cultural life of of training in music, acting and London as a global city. We are situated production arts. If you join us on that right next to the Barbican Centre in the journey, it will be a demanding, intense City of London, with easy access to the and committed process. But in return, city’s major cultural institutions and to the craft, creativity and learning that London’s lively East End. you receive will empower you to develop your unique potential – and to put We enjoy some of the best facilities your talent to work at the forefront of for training in performance arts and cultural change. production anywhere in the world. The completion of our Milton Court site Our training will equip you to adds a world-class concert hall, two make your mark as an accomplished theatres, studios and large rehearsal performing artist, composer, theatre rooms to our facilities at Silk Street, maker, production professional, creative within the Barbican complex. entrepreneur or teacher. Guildhall graduates consistently succeed at the Collaboration is central to what we do. highest levels of their profession. Some Our partnerships – between departments become household names; others work and with external organisations – create behind the scenes to bring state-of-the- outstanding opportunities to learn from art performance to stage and screen. the leading edge of creative practice. Our professional partners include the As a Guildhall School student, you Barbican Centre, the London Symphony are challenged to work to professional Orchestra, the BBC Symphony standards in a world-class context. You Orchestra, the Royal Opera House and will draw on the insight and skills of the Academy of Ancient Music. internationally-renowned artists and practitioners, working with you as Active engagement with diverse directors, designers, conductors, coaches communities keeps us constantly alive to and tutors. the unique potential of performing arts to provide pathways to self-expression ABOUT Of the 950 students across our and positive social change. Our Creative programmes, 40% come from outside Learning programme trains students Britain, representing more than to work in communities across East 70 nationalities and bringing a truly London and beyond to offer inspiring arts global outlook and relevance to what experiences for everyone. We also run a we do. We welcome diversity, and vibrant programme of youth and adult encourage applications from anyone learning, harnessing creativity and the with talent, regardless of background; desire to learn among children and young our scholarship fund provides over people, business leaders and professionals. £2 million to support students each year. Above all, at Guildhall School of Music Our diversity extends to the art forms & Drama, we believe in the power of that we cover. We are one of the few performing arts to transform people’s major European conservatoires to lives, and to radically enrich the world combine schools of music, drama around us. We invite you to join us in and production arts. Working across transforming your own life, and to disciplines frees us to break down serving the wider world as we embark, boundaries across traditional art forms, together, on the challenge and change to nurture invention, and to cross- of the 21st century. fertilise ideas and methods. Founded in 1880, our historic roots go deep, but the way that we teach and learn has always tested conventions. We value innovation and experiment, and will encourage you to explore the big questions that affect you as an artist today, and that will impact us all in the 21st century. 5 Our city: London opportunities with our Culture Mile partners. We are also right on the edge Guildhall School is located in the heart of East London, with all its creative of London, one of the most exciting cities bustle and energy. And nestled between in the world. Training in performing the popular areas of Shoreditch and arts in this culturally-rich and dynamic Clerkenwell, we are close to some of environment is a unique experience. London’s most famous landmarks, With West End theatres, the Southbank including St Paul’s Cathedral, the Centre, Tate Modern and Covent Garden’s Gherkin and the Shard. Royal Opera House all close by, studying at Guildhall means you have an array of Our facilities: Silk Street, world-renowned cultural institutions Milton Court and Sundial Court on your doorstep. As a student, you will be entitled to concessions on Our facilities include the Grade II-listed virtually all entertainment tickets, plus Silk Street building, part of the discounts in shops and restaurants and distinctive and architecturally-renowned on underground, train and bus travel. If Barbican complex, and Milton Court, our you are coming from abroad, we provide new site just across the road. Housing guided tours and special excursions to world-class performance and training help you find your way around. And you spaces, Milton Court includes a state-of- will find other major European cities the-art concert hall, a lyric theatre, easily accessible by train or plane. a studio theatre and several major rehearsal rooms. Silk Street offers a more Our neighbourhood: Culture Mile intimate music hall, a dedicated lecture recital room, and a completely flexible theatre, theatrical workshops and labs, Our campus is situated in Culture Mile, electronic music studios, recording and a vibrant cultural hotspot in the City sound studios, and over 40 teaching and of London. This major destination for practice rooms. We also have an annexe culture and creativity stretches from with a further 44 teaching and practice Guildhall School and our immediate WHERE rooms, and our Sundial Court Hall of neighbour the Barbican Centre to the Residence (see page 15). Barbican’s new cinemas, LSO St Luke’s and the Museum of London. It offers a When it comes to showcasing students’ range of impressive performance and work, Guildhall School has five public exhibition spaces all within walking performance venues with exceptional distance, and exciting collaborative acoustic properties and extensive seating capacity. And of course, we also offer space where you can study and relax, with a library, two student common rooms, two cafés and a peaceful lakeside terrace. 6 7 8 Much of who we are and what we do is for many years, the LSO now helps to shaped by collaboration. We are always deliver the Orchestral Artistry specialism looking for ways to collaborate, and we within the Guildhall Artist Masters are proud to have established robust, programme, an exciting course of study purposeful partnerships with five key for instrumentalists seeking a career organisations. These organisations in orchestral playing (see page 40). It contribute significantly to our also provides a range of performance programmes of study and provide opportunities for other Guildhall music Guildhall students with many exciting students, including the highly-regarded opportunities. Indeed, through these concert series LSO Platforms: Guildhall unique partnerships you will meet some Artists, which sees Guildhall musicians of the world’s most renowned artists, take part in rush-hour concerts on the experience some of London’s finest Barbican stage before LSO performances. venues, and receive the very best In 2017, the LSO’s new Music Director preparation for your chosen career. Sir Simon Rattle became Artist in Association with Guildhall School, further cementing this partnership. Barbican Centre The Barbican Centre is Europe’s largest BBC Symphony Orchestra multi-arts and conference centre. It pushes the boundaries of all major art forms The BBC Symphony Orchestra (BBCSO) including dance, film, music, theatre and is one of the UK’s finest orchestras, visual arts and is situated immediately performing extensively as Associate next door to Guildhall School within the Orchestra of the Barbican and forming iconic Barbican Estate. The Barbican and the backbone of the BBC Proms. Guildhall the School enjoy
Load more

Recommended publications
  • Report Template
    Committee: Date: Board of Governors of the Guildhall School 23 July 2018 of Music & Drama Subject: Principal’s Public Report Public Report of: The Principal For Information 1. Quality of learning and teaching environment The School has been rated Gold in the recent Teaching Excellence Framework (TEF3). This is testament to the commitment of all of our staff, both academic and administrative, who have worked extremely hard continuously to improve elements of our teaching and learning environment. In its statement about awarding Guildhall its highest possible rating, the Office for Students, noted that ‘continuation rates are consistent with the provider’s benchmark, that progression to highly skilled employment or further study is outstanding and that student satisfaction with academic support is exceptionally high and above the provider’s benchmark.’ The TEF panel noted the high contact hours and intensive one-to-one tuition Guildhall students receive, the personalised nature of learning, strong student representation and engagement, and outstanding physical and digital resources, as well as Guildhall’s strategic commitment to attracting students from diverse backgrounds. This award came in the same week that Guildhall was ranked as the UK’s top conservatoire in the Guardian’s University Guide 2019 for Music, and third among all UK higher education institutions for Music. We have now received confirmation of the success of our PIP bid to the City Corporation for £150K to support a new initiative within Production Arts. Our Multimedia Business Unit - Video Projection Mapping proposal was well received by the recent Resource and Allocation Sub Committee on July 5. The School continues to have critical success in the area of video mapping and live events and this funding will allow us to build on this success and transform our ability to offer more professional opportunities to students in these expanding areas of industry practice.
    [Show full text]
  • The Hanseatic League in England
    Journal of Accountancy Volume 53 Issue 5 Article 6 5-1932 Herrings and the First Great Combine, Part II: The Hanseatic League in England Walter Mucklow Follow this and additional works at: https://egrove.olemiss.edu/jofa Part of the Accounting Commons Recommended Citation Mucklow, Walter (1932) "Herrings and the First Great Combine, Part II: The Hanseatic League in England," Journal of Accountancy: Vol. 53 : Iss. 5 , Article 6. Available at: https://egrove.olemiss.edu/jofa/vol53/iss5/6 This Article is brought to you for free and open access by the Archival Digital Accounting Collection at eGrove. It has been accepted for inclusion in Journal of Accountancy by an authorized editor of eGrove. For more information, please contact [email protected]. The Herrings and the First Great Combine PART II The Hanseatic League in England By Walter Mucklow The Site From the earliest times the German merchants had a depot behind Cannon street station, near the foot of the narrow Dow­ gate hill bordering the west side of the station. Apparently this neighborhood had for centuries been a centre of activities, for in few London streets have there been found more Roman remains than in Thames street, along a part of which ran the old Roman river wall, built on oak piles, overlaid by a stratum of chalk and stone and covered with hewn sandstone set in cement. In places this wall is twenty feet thick and some of the beams were 18 inches square. The Easterlings, as the early German merchants were called, first settled here and occupied the Hall of the Easterlings: later the merchants of Cologne held a part of Dowgate: and subse­ quently these two united, being then known as the “Merchants of Almaigne” and owned the “Dutch Guildhall.” The site was important, for in early times Dowgate was the only city gate opening to the river; therefore, it controlled foreign traffic and was of great value to the Germans in their efforts to govern this important business.
    [Show full text]
  • Guildhall School Gold Medal 2020 Programme
    Saturday 26 September 7pm Gold Medal 2020 Finalists Soohong Park Ben Tarlton Ke Ma Guildhall Symphony Orchestra Richard Farnes conductor Guildhall School of Music & Drama Founded in 1880 by the City of London Corporation Chairman of the Board of Governors Vivienne Littlechild Principal Lynne Williams am Vice Principal & Director of Music Jonathan Vaughan Please visit our website at gsmd.ac.uk Guildhall School is part of Culture Mile: culturemile.london Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation Gold Medal 2020 Saturday 26 September, 7pm The Gold Medal, Guildhall School’s most prestigious award for musicians, was founded and endowed in 1915 by Sir H. Dixon Kimber Bt MA Guildhall Symphony Orchestra Finalists Richard Farnes conductor Soohong Park piano During adjudication, Junior Guildhall Rachmaninov Piano Concerto No 2 in violinist Leia Zhu performs Ravel’s C minor Op 18 Tzigane with pianist Kaoru Wada. Leia’s Ben Tarlton cello performance was recorded in January 2020. Elgar Cello Concerto in E minor Op 85 The presentation of the Gold Medal will Ke Ma piano take place after Leia’s performance. Tchaikovsky Piano Concerto No 1 in B-flat minor Op 23 The Jury Jonathan Vaughan Vice-Principal & Director of Music Richard Farnes Conductor Emma Bloxham Editor, BBC Radio 3 Nicholas Mathias Director, IMG Artists Performed live on Friday 25 September and recorded and produced live by Guildhall School’s Recording and Audio Visual department. Gold Medal winners
    [Show full text]
  • OPENINGSCONCERT: the GARDEN ASKO|SCHÖNBERG / SLAGWERK DEN HAAG 5 September 2018 - 20:30
    OPENINGSCONCERT: THE GARDEN ASKO|SCHÖNBERG / SLAGWERK DEN HAAG 5 september 2018 - 20:30 Grote Zaal: Openingsspeech: Henk Heuvelmans, directeur Gaudeamus Muziekweek Pauline Pisa, Utrechts Stadsdichtersgilde 50: (The Garden) (2018, 55’00) wereldpremière in opdracht van Asko|Schönberg en London Sinfonietta Componist Richard Ayres (GBR 1965) jurylid Gaudeamus Award 2018 door Asko|Schönberg o.l.v. Bas Wiegers Martha Colburn - visuals Joshua Bloom - basbariton Op de roltrap: Follow and Listen (2018, 7’00) wereldpremière Componist Georgia Nicolaou (CYP 1990) door Slagwerk Den Haag Hertz: flieht wie ein Schatten (2016, 7’00) Componist William Kuo (CAN 1990) genomineerd Gaudeamus Award 2018 door Asko|Schönberg o.l.v. Bas Wiegers the new normal (2016, 8’00) Componist William Dougherty (USA 1988) genomineerd Gaudeamus Award 2018 door Asko|Schönberg o.l.v. Bas Wiegers Asko|Schönberg Bas Wiegers - dirigent Ned McGowan - fluit, piccolo, basfluit Marieke Schut - hobo David Kweksilber - klarinet, basklarinet Anna voor de Wind - basklarinet, contrabasklarinet Amber Mallee - fagot, contrafagot Wim Timmermans - hoorn Eline Beumer - trompet, piccolotrompet Koen Kaptijn - trombone, euphonium Pauline Post - piano, keyboard Joey Marijs - slagwerk Joseph Puglia - viool Marijke van Kooten - viool Liesbeth Steffens - altviool Sebastiaan van Halsema - cello Quirijn van Regteren Altena - contrabas Lauge Dideriksen - audio sampler Tatiana Rosa - video operator Slagwerk Den Haag Antonio Bove Antonio Josselin Gabriele Segantini Frank Wienk The Garden is mede mogelijk
    [Show full text]
  • C.V. De Carlos Gálvez Taroncher Copia
    CURRICULUM VITAE CARLOS GÁLVEZ TARONCHER (Valencia, 15-10-1976) Ibarrolaburu enparantza 2, 2. esk. 20120 Hernani (Gipuzkoa) Tel.: 644 203 601 [email protected] PERFIL El interés de Carlos por el clarinete bajo despertó gracias a la influencia de su hermano Miguel, compositor. Después de realizar los estudios de clarinete en Madrid, se trasladó a Ámsterdam donde se especializó en clarinete bajo con Harry Sparnaay y obtuvo los títulos de Bachelor y Master (2ª Fase) en dicha disciplina. Durante los últimos 25 años, Carlos ha trabajado con los más prestigiosos ensembles, grupos de cámara y orquestas europeas. También ha estrenado numerosas obras como solista, entre ellas, en estrecha colaboración y bajo la supervisión del propio Pierre Boulez, el estreno mundial de la versión para clarinete bajo de Dialogue de l´ombre double. Ha participado, así mismo, en una de las últimas grabaciones supervisadas por el maestro György Ligeti para la casa discográfica Teldec, en colaboración con el ASKO/ Schoenberg Ensemble de Ámsterdam. Y en 2004 fue invitado por el Nieuw Ensemble para estrenar la polémica ópera Shadowtime de Brian Ferneyhough en Munich, París, Bochum, New York y Londres. Este trabajo directo con compositores y grupos de vanguardia y su consiguiente filosofía, hacen que las herramientas de enseñanza de Carlos sean únicas y así se ha demostrado en su experiencia docente. Residió en Ámsterdam entre 1995 y 2018, año en el que se traslada a Hernani, Gipuzkoa. FORMACIÓN 2001-2005: Estudios de clarinete bajo con H. Sparnaay en el Conservatorio de Ámsterdam (Master-2ª Fase). 1995-2000: Estudios de clarinete bajo con H.
    [Show full text]
  • Sound & Score Seminar
    Sound & Score Seminar Orpheus Research Centre in Music [ORCiM] December 15‐16, 2010 Ghent, Belgium As an art form based upon sound, music deals with complex semiotic translations and interactions between different perceptual senses and systems of signification: sound, score, meaning. Primarily, music has to do with the invisible, with forces that cannot be seen but that touch listeners in very compelling ways. However, in many cultures ‐ Western and non‐Western ‐ music has been codified in notated form, originating complex written artefacts ‐ the score ‐. Here, different signs and symbols not only allow for the retention and transmission of certain elements of the musical fabric but also liberate forces that are not conceivable without graphic representations. This seminar introduces the act of notating as an important and pivotal activity within the rich array of activities that constitute musical practice. The two‐day international seminar aims at exploring the intimate relation(s) between sound and score and the artistic possibilities that this relationship yields for performers, composers and listeners. Three main perspectives will be adopted: a conceptual approach that allows for contributions from other fields of enquiry (history, musicology, semiotics, etc.), a practical one that takes the skilled body as its point of departure and finally an experimental approach that challenges state‐of‐the‐art practices. Orpheus Research Centre in Music [ORCiM] The Orpheus Research Centre in Music is based at the Orpheus Instituut 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.
    [Show full text]
  • “Contemporary Compositional Techniques and Openmusic” Rozalie Hirs, Bob Gilmore, Editors Delatour 2009
    “Contemporary compositional techniques and OpenMusic” Rozalie Hirs, Bob Gilmore, editors Delatour 2009 Part One of the book presents extended analytical articles on works by Claude Vivier, Gérard Grisey and Tristan Murail that seek to illuminate their underlying compositional techniques. In an interview specially conducted for this book Murail talks about his use of computers in composing, both as regards to sound synthesis and the actual writing of the score. Rozalie Hirs's article on Murail’s Le Lac (2001) seeks to explain its frequency‐based compositional techniques and the use of OpenMusic during the compositional process, and gives a detailed account of some of the patches used. Bob Gilmore's article on Claude Vivier's Lonely Child (1980) explores the composer's introduction of the compositional principle known as “l'addition des fréquences” into instrumental writing, a process developed without the use of computer technology but one which could easily be formalised in algorithmic terms. Jean‐Luc Hervé's article discusses the compositional techniques and poetic ideas underlying Gérard Grisey's Quatre Chants pour Franchir le Seuil (1997‐1998). The authors provide detailed analyses of these works, focusing on the frequency‐based techniques and compositional processes employed by the composers. The second part of the book originated in ‘OpenMusic and Contemporary Compositional Techniques’, a series of lectures and workshops given by Rozalie Hirs and guest professors Tristan Murail, Mikhail Malt, Benjamin Thigpen, Marco Stroppa, and Niels Bogaards at the Conservatorium van Amsterdam during the 2005/06 academic year. An extensive essay on Tristan Murail’s compositional ideas and frequency‐based techniques originated in the lecture series given by Rozalie Hirs.
    [Show full text]
  • Festival of Contemporary Dutch Music: Calarts New Century Players
    Music Wednesdays that has contributed to the programming content of concerts presented by CalArts at their new theatre REDCAT at the Disney Hall complex. He currently curates a series called Classics at CalArts, a chamber music series presented annually at the Valencia campus. Michael Pisaro was born in Buffalo in 1961. He is a composer and guitarist, a member of the Wandelweiser Composers Ensemble and founder and director of the Experimental Music Workshop. His work is frequently performed in the U.S. and in Europe, in music festivals and in many smaller venues. It has been selected twice by the ISCM jury for performance at World Music Days festivals (Copenhagen, 1996; Manchester, 1998) and has also been part of festivals in Hong Kong (ICMC, 1998), Vienna (Wien Modern, 1997), Aspen (1991) and Chicago (New Music Chicago, 1990, 1991). He has had extended composer residencies in Germany (Künstlerhof Schreyahn, Dortmund University), Switzerland (Forumclaque/Baden), Israel (Miskenot Sha'ananmim), Greece (EarTalk) and in the U.S. (Birch Creek Music Festival/ Wisconsin). Concert-length portraits of his music have been given in Munich, Jerusalem, Los Angeles, Vienna, Merano (Italy), Brussels, New York, Curitiba (Brazil), Amsterdam, London, Tokyo, Berlin, Chicago, Düsseldorf, Zürich, Cologne, Aarau (Switzerland), and elsewhere. He is a Foundation for Contemporary Arts, 2005 and 2006 Grant Recipient. Most of his music of the last several years is published by Timescaper Music (Germany). Several CDs of his work have been released by Edition Wandelweiser Records, Compost and Height, Sound323, Nine Winds and others, including most recently transparent city, volumes 1–4, an unrhymed chord and harmony series (11–16).
    [Show full text]
  • Rodrigo Tascón Guerra - Compositor Curriculum Vitae
    Rodrigo Tascón Guerra - Compositor Curriculum vitae Lugar y fecha de nacimiento: Julio 29 1980, México D.F., México email: [email protected] Títulos académicos Posgrado en composición e informática musical IRCAM, París 2011 Maestría en composición musical Conservatorio de Amsterdam 2009 Licenciatura en composición musical Conservatorio de Amsterdam 2007 Asociado en teoría, critica y literatura musical Trinity College London 2004 Associate in music theory, literature and criticism Diploma de composición Centro Nacional de las Artes, México 2003 Cursos de perfeccionamiento 5to taller internacional para jóvenes compositores con el ‘ensemble aleph’ con Ensemble Aleph, David Lang, Richard Ayres y Par Lindgren Mazsalaca, Letonia 2010 Gaudeamus / Ereprijs Young Composer’s meeting Con Louis Andriessen and Richard Ayres Apeeldorrn, Países Bajos 2008 9x7 young composers con el ASKO Ensemble y el Conservatorio de Amsterdam Amsterdam, Países Bajos 2007 Curso avanzado de programación para electrónica en tiempo real STEIM Studio Amsterdam, Paises Bajos 2007 Hojas salvajes / Wilde Bloemen con La orquesta Nacional de Alientos / Nederlands Blazers Ensemble Amsterdam, Paises Bajos 2006 Curso básico de programación para electrónica en tiempo real STEIM Studios Amsterdam, Paises Bajos 2006 IRCAM/openMusic & Niuew ensemble IRCAM y Amsterdam Conservatorio con Tristan Murail, Marco Stroppa, Mihail Malt and Rozalie Hirs Amsterdam, Países Bajos 2005 - 2006 Gaudeamus / Young Composer’s meeting con Theo Loevendie y Het Trio CIEM, México D.F. 2003 Taller de composición contemporánea con Mario Lavista, Stefanno Scodanibio y Paul Barker Centro Nacional de las Artes México D.F. 2001 Taller de revisión de partituras contemporáneas para clarinete con Harry Spaarnay Universidad Nacional Autónoma de México México D.F.
    [Show full text]
  • Joël Bons E C | P Music1 Air#3In C Contextair#4 Air#0 Air#1 Air#2 Joël Bons
    Joël Bons E C | P Music1 air#3in C contextair#4 air#0 air#1 air#2 Joël Bons Invitation / 3 The international music world is increasingly shaped by music from diverse cultures. However, almost no structural research has been performed into the impact this has, or might have in the future, on musicians in training. air#3 That the distinction between composition and performance differs according to culture is also an area of interest. The Amsterdam Conservatory has invited Joël Bons to investi- gate the opportunities arising from the combination of differ- ent music cultures, for both composition and performance prac- tice. Particular attention will be given to bringing these two practices closer to one another. Where possible he will, in response to his findings, advise the Board on the selection of guest tutors and other teaching air#4 staff, the development and reform of the curriculum, and the programming of the Composition Department. In addition, the Amsterdam Conservatory has asked Joël Bons to investigate the feasibility of a Centre of Excellence at the Conservatory devoted to various aspects of non-Western music, namely knowledge, research, composition and performance. air#0 air#1 From the letter of appointment air#2 Joël Bons Joël Bons studied guitar and composition at the Sweelinck Conservatory in 4 5 Amsterdam. After completion of his composition studies, he attended summer Winds courses by Franco Donatoni in Siena and the Darmstädter Ferienkurse für Neue Musik. In 1982 he resumed his composition studies, with Brian Ferneyhough in Freiburg. and Strings At the beginning of the 1980s, Joël Bons co-founded the Nieuw Ensemble, a leading 3 international ensemble for contemporary music that is pioneering in its programming (02–2005) / and innovative in its repertoire.
    [Show full text]
  • New Music After Grisey
    ART, Koch International, Mode, Musicworks, Nexus, oodiscs, SYR, Toshiba EMI, and New World, labels among others. After some early compositional attempts in the 1960s, Wolfgang von Schweinitz studied in 1968–76 with Esther Ballou at the American University in Washington, D.C., with Ernst Gernot Klussmann and György Ligeti at the Music Academy in Hamburg, and with John Chowning at the Center for Computer Research in Music and Acoustics (CCRMA) at the Stanford Artifi cial Intelligence Laboratory in California. There he composed the orchestral piece Mozart- Variations, which made his name in Germany in 1977. Returning from traveling in Mexico and Guatemala, he fi rst lived in Munich (1977–78), and then on study at the Villa Massimo in Rome (1978–79). In 1980 he was invited to lecture at the International Summer Courses for New Music in Darmstadt. Having stayed for two years in Berlin, he moved out to the countryside of northern Germany in 1981, where he spent twelve years in quiet seclusion. In 1993 he returned to Berlin. From 1994 to 1996 he worked as a guest professor for composition at the music academy in Weimar. Then he lived in Berlin again, and since September 2007 he is based in southern California, in the western tip of the Mojave Desert, about 30 miles north of CalArts (California Institute of the Arts), where he was invited to assume the succession of James Tenney (Roy E. Disney Family Chair in Musical Composition). LES ESPACES ACOUSTIQUES AND BEYOND: During 1977–96 he composed chamber music for strings and winds as well as a piano trio (Franz & Morton), a number of songs (“Die Brücke”, “Papiersterne”, “O-Ton, Automne— NEW MUSIC AFTER GRISEY Linguistikherbst”), a concert mass, a large-scale piece for music theatre (PATMOS, after the Apocalypse of John) and a symphonic cycle for cello and orchestra (wir aber singen).
    [Show full text]
  • Openmusic Nieuw Ensemble
    OpenMusic Nieuw Ensemble dirigent Lucas Vis musici fluit Harrie Starreveld hobo Ernest Rombout (bas)klarinet Arjan Kappers mandoline Martine Sikkenk gitaar Helenus de Rijke harp Ernestine Stoop piano John Snijders slagwerk Herman Halewijn viool Marin Mars altviool Julie Barnes cello Robert Putowski contrabas Rozemarie Heggen cursus OpenMusic Rozalie Hirs gastlezingen Mikhail Malt Benjamin Thigpen Niels Bogaards Marco Stroppa Tristan Murail leiding practicum Joël Bons gastdocenten Richard Ayres Stefano Bellon Wim Henderickx Fabio Nieder Richard Rijnvos concertdatum vrijdag 9 juni 2006 Amsterdam Paradiso 20.30 Dit concert vindt plaats in het kader van de serie Wilde Bloesem, die mede dankzij financiële ondersteuning van het Amsterdams Fonds voor de Kunst, Prins Bernhard Cultuurfonds en Paradiso tot stand komt. Het concert is daarnaast onderdeel van Hutspot, het eindexamenfestival compositie van het Conservatorium van Amsterdam. Het programma wordt door de Concertzender opgenomen voor uitzending op een nader te bepalen tijdstip. 2 OpenMusic slotconcert compositiepracticum Nieuw Ensemble Conservatorium van Amsterdam dirigent Lucas Vis première programma Rodrigo Tascón Potential landscape Daniel Gutierrez Berumen Whispers in a Dutch sky Ignacio Fernández Bollo Eclosión Andrzej Kwiecinski nr 27,1950 pauze Justin Christensen She said I could Chikage Imai Vectorial projection I Miguelángel Clerc Parada La Raíz Lanzada al Aire Ernesto Illescas Peláez Rituales improbables alle werken zijn ontstaan tijdens het compositiepracticum OpenMusic en geschreven voor het Nieuw Ensemble 3 Inleiding De computer heeft in het leven van het gros van de wereldbevolking een centrale plaats ingenomen. Zo ook in dat van componisten. De nieuwste muziek komt veelvuldig met behulp van de computer tot stand. Maar op de Nederlandse conservatoria wordt geavanceerde technologie nog nauwelijks onderwezen.
    [Show full text]