SEPTEMBER, 2009 La Casa De Cristo Lutheran Church
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Design Competition Brief
Design Competition Brief The Museum of the 20th Century Berlin, June 2016 Publishing data Design competition brief compiled by: ARGE WBW-M20 Schindler Friede Architekten, Salomon Schindler a:dks mainz berlin, Marc Steinmetz On behalf of: Stiftung Preußischer Kulturbesitz (SPK) Von-der-Heydt-Straße 16-18 10785 Berlin Date / as of: 24/06/2016 Design Competition Brief The Museum of the 20th Century Part A Competition procedure ..............................................................................5 A.1 Occasion and objective .......................................................................................... 6 A.2 Parties involved in the procedure ........................................................................... 8 A.3 Competition procedure .......................................................................................... 9 A.4 Eligibility ............................................................................................................... 11 A.5 Jury, appraisers, preliminary review ...................................................................... 15 A.6 Competition documents ....................................................................................... 17 A.7 Submission requirements ...................................................................................... 18 A.8 Queries ................................................................................................................. 20 A.9 Submission of competition entries and preliminary review ................................. -
Ar204 Art and Interpretation
AR204 ART AND INTERPRETATION Art and Aesthetics Module: Art Objects and Experience Fall 2019 Seminar Leader: Geoff Lehman Course Times: Wednesday, 9:00- 10:30 and Friday, 10:45-12:15 (9:00-12:15 for museum visits) Email: [email protected] Office Hours: Tuesdays, 14:00-16:00 Course Description Describing a painting, the art historian Leo Steinberg wrote: “The picture conducts itself the way a vital presence behaves. It creates an encounter.” In this course, we will encounter works of art to explore the specific dialogue each creates with a viewer and the range of interpretive possibilities it offers. More specifically, the course will examine various interpretive approaches to art, including formal analysis, iconography, social and historical contextualism, aestheticism, phenomenology, and psychoanalysis. Most importantly, we will engage interpretation in ways that are significant both within art historical discourse and in addressing larger questions of human experience and (self- )knowledge, considering the dialogue with the artwork in its affective (emotional) as well as its intellectual aspects. The course will be guided throughout by sustained discussion of a small number of individual artworks, with a focus on pictorial representation (painting, drawing, photography), although sculpture and installation art will also be considered. We will look at works from a range of different cultural traditions, and among the artists we will focus on are Xia Gui, Giorgione, Bruegel, Mirza Ali, Velázquez, Hokusai, Manet, Picasso, Man Ray, Martin, and Sherman. Readings will focus on texts in art history and theory but also include philosophical and psychoanalytic texts (Pater, Wölfflin, Freud, Merleau-Ponty, Barthes, Clark, and Krauss, among others). -
Selected Organ Works of Joseph Ahrens: a Stylistic Analysis of Freely Composed Works and Serial Compositions
Selected Organ Works of Joseph Ahrens: A Stylistic Analysis of Freely Composed Works and Serial Compositions A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Studies Division of the College-Conservatory of Music 2013 by Eun Hye Kim MM, University of Cincinnati, 2007 MM, Hansei University, 2004 BA, Seoul Jangsin University and Theological Seminary, 2002 Committee Chair: Roberta Gary, DMA Committee Member: John Deaver, DMA Committee Member: David Berry, PhD Abstract Joseph Ahrens (1904–97) was a twentieth-century German composer, virtuoso organist, and teacher. He was a professor of church music at the Berlin Academy of Music (Berlin Hochschule für Musik), organist at the Cathedral of St. Hedwig, and choir director and organist at the Salvator Church in Berlin. He contributed to twentieth-century church music, especially of the Roman Catholic Church, and composed many works for organ and various choral forces. His organ pieces comprise chorale-based pieces, free (non-chorale) works, liturgical pieces, and serial compositions. He was strongly influenced by twentieth-century German music trends such as the organ reform movement, neo-baroque style, and, in his late period, serial techniques. This document examines one freely composed work and two serial compositions by Joseph Ahrens: Canzone in cis (1944), Fantasie und Ricercare (1967), and Trilogia Dodekaphonica (1978). The purpose is to demonstrate that Ahrens’s style developed throughout his career, from a post-Wagnerian harmonic language to one that adopted twentieth-century techniques, including serialism, while retaining the use of developed thematic material and a connection to neo-baroque characteristics in terms of forms and textures. -
September Newsletter
American Guild of Organists Newsletter Utah Valley Chapter 2008-2009 September 2008 No. 3 Chapter Officers Dean’s Message Dean Mike Carson [email protected] Like you, I am looking forward with great anticipation to our chapter’s Opening Gala on September 11. Our dear friend and colleague, Dr. Parley Belnap, will receive a Sub-Dean Lifetime Service Award for his dedicated service and distinguished achievements in Gayle Farnsworth organ education. Parley is a charter member of our chapter and served as dean from [email protected] 2000-2002. In addition, we are honored to have as our guest speaker Dr. John Secretary Longhurst, a Fellow of the American Guild of Organists and long-time Tabernacle Trudy Barnes Organist from 1977 to 2007. [email protected] The semi-formal event will be held at The Chillon in Spanish Fork with a reception Newsletter Editor Carol Dean, CAGO beginning at 6:30 p.m. and a buffet dinner being served at 7:15. Lella Pomeroy will [email protected] oversee the installation of the new chapter officers for 2008-2010, followed by the presentation of the Lifetime Service Award and remarks by our guest speaker. Treasurer/Registrar Joan Barnett All members and friends of the chapter are invited to attend with their guests. [email protected] RSVP to Joan Barnett with payment of $17.50 per person by August 28. Please Website Editor call or e-mail me with questions. If for some reason you did not receive your DeeAnn Stone invitation, please forgive me and come anyway! [email protected] Historian Best regards, Florence Hawkinson [email protected] Education Mike Carson, Dean Joan Barnett, Treasurer The Chillon Lori Serr, CAGO 796-6293 (home) 621 E. -
Fiberartoral00lakyrich.Pdf
University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Gyongy Laky FIBER ART: VISUAL THINKING AND THE INTELLIGENT HAND With an Introduction by Kenneth R. Trapp Interviews Conducted by Harriet Nathan in 1998-1999 Copyright 2003 by The Regents of the University of California has been Since 1954 the Regional Oral History Office interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Gyongy Laky, dated October 21, 1999. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. -
May 2012 Pp. 2-19.Indd
his second wife, the violinist Nelly Söregi soprano solo, and organ, is based on the with approximately 100 faculty members Wunderlich, in 2004. He is survived by tune Nettleton, with a new text that and 500 students. Its more than 4,000 three daughters and a stepson. celebrates the cycles of life and spirit (15 graduates work in Russia and in many Wunderlich’s early study was with his pp., softbound 8½ x 11). For informa- countries around the world. The Allen father and the local church organist. At tion: 805/682-5727; Fruhauf Music Pub- organ was installed in the newly dedicat- the age of sixteen, he was admitted to the lications, P.O. Box 22043, Santa Barbara, ed Great Hall of the conservatory. The Academy of Music in Leipzig, where he CA 93121-2043; <[email protected]>; three-manual console was fi nished to was the youngest student. While he was <www.frumuspub.net>. match the stage’s fl oor and shell, which studying with Karl Straube and Johann forms a tightly joined wooden chamber. Nepomuk David, his lifelong interest in Hal Leonard Books has published The organ also provides modern mu- the music of Max Reger began. Despite Microphones & Mixers ($39.99) by Bill sical sounds through Vista NavigatorTM. growing up and living in the tumultu- Gibson. The book is an updated sec- Other electronic musical instruments ous time between the First and Second ond edition of Book 1 in the 6-book Hal can also be fed into the organ’s audio World Wars, he held prestigious posi- Leonard Recording Method series and system by the external Expanded Audio tions and became well known for his includes a DVD ROM and online me- Capabilities (EACTM) system. -
The Diapason an International Monthly Devoted to the Organ and the Interests of Organists
THE DIAPASON AN INTERNATIONAL MONTHLY DEVOTED TO THE ORGAN AND THE INTERESTS OF ORGANISTS Sixty-fourth Year~ No. 7 - Whole No. 763 J UNE. 19i3 Subscriptions .$4.00 a year - 40 cents a copy UNION SEMINARY SCHOOL OF METHODIST MUSICIANS SACRED MUSIC CONCLUDES TO MEET IN FLORIDA WITH MAY FESTIVAL SERVICE The biennial convention of the Fel· A festival service of thanksgi\,jng for Imvship of United Methodist Musicians the School of Sacred Music was held at will be held from Aug. 5 through Aug, Union Theological Seminary in New II at the Florida Southern College, York City on Sunday evening. May 6, Lakeland. Florida. The campus will pro· at 7:30 p.m. The school. which was \'ide a stimulating setting for thc con· founded in 1928 by Clarence Dickinson, l'emion. for it has become famous for concluded its distinguished forty-five its buildings designed by Frank Lloyd )'car history of training professional mu Wright. sicians for the church aher graduating Featured on this year's program will this year's class. be a con,"ocation 011 "Music and Archi· At the service, a choir of O\'er 250 tecture" under the dircction of architcct ,'Dices sang music by Parry, Brahms, Nils Schweizer, a studcnt of Frank Lloyd Haydn. Dickinson, Vaughan \\Tilliams, Wright. The com'ocation will divide in· Fc1ciano, Handel. and Bach. Since one to six groups following Mr, Schwe:zer's of the most important aspects of an ed talk. to tour six of the campus buildings. ucation at Union has been the respon· In cach building will be Ih'c music and sibility of each student to coordinate the interpreth'e slides. -
For Immediate Release George Condo
FOR IMMEDIATE RELEASE GEORGE CONDO: NEW WORKS OPENING RECEPTION: APRIL 27, 6-8PM 20 East 79th Street, New York Skarstedt is pleased to present George Condo: New Works, an exhibition of new sculptures and paintings on view from April 27 – June 24, 2017 at Skarstedt Upper East Side, 20 East 79th Street, New York, NY 10075. In December 2014 Condo began working on Origin, a small wood sculpture he hand-painted, cut, and glued together. Origin soon became the subject of three larger-scaled variations in bronze. These variations represent a return to methods of sculpting that the artist first took up with his earliest three-dimensional works in the late 1980s—using wood, clay, plaster, paint, fabric, and found objects to create bronze sculptures that incorporate both figurative and abstract elements. Here we see Condo’s concept of the “simulated found object,” which he explored in his earliest exhibited paintings in the 1980s, combined with the use of real found objects from his studio into entirely new figurative forms in bronze. Condo cuts, screws, and hinges together flat surfaces of plywood into angular figurative representations then applies layers of plaster, clay and paint squeezed directly from the tube, “knowing that once cast in bronze all of my markings will remain present and be reinvigorated in the patinated surfaces,” the artist says. Writing in 2015 on the subject of what he referred to as Condo’s “unedited human disasters,” Simon Baker described his sculptures as having: “the barest suggestion of anatomical specificity barely distinguishable from the raw materials from which they were produced, but as with Condo’s work in every medium, openly manifesting a dramatic and irrepressible joy in the process of production.” (Simon Baker, Painting Reconfigured, pg. -
Karl Straube, Old Masters and Max Reger a Study in 20Th Century Performance Practice
Karl Straube, Old Masters and Max Reger A Study in 20th Century Performance Practice By Bengt Hambraeus In 1904, the German organist Karl Straube published Alte Meister, an anthology in two volumes of organ music from the 17th and early 18th centuries (Peters 3065 a/b). The second of these volumes was replaced in 1929 with two new ones, with the same title (Peters 4301 a/b). The 3065a volume, which is still available, bears the dedication “Dem jungen Meister Max Reger”, This dedication can be understood in two ways. Either: to a young master composer being on a par with his classical colleagues from past centuries; or: to a young promising composer (Reger, by then 31 years old, had already written many of his most important organ works). We do not have to speculate about the intention of the dedication as such, only observe it in relation to three facts: (i) Both Straube and Reger were born in the same year (1873) and thus belong to the same generation; Reger died in 1916, Straube in 1950; since 1903 Straube had held different positions at the Thomas Church in Leipzig, until 1918 as an organist, and subsequently as choral director; furthermore he had been teaching the organ at the Leipzig Music Conservatory since 1907. (2) Since the beginning of the century, Straube had published a few practical editions of old and more recent organ music. Among the latter, we find his alternative versions to some already printed organ works by Reger. His various editions can easily allow us to understand how he himself may have performed the music, and how and why his interpretations became trendsetters for many of his students. -
AR204 Art and Interpretation
AR204 Art and Interpretation Art and Aesthetics Module: Art Objects and Experience Fall 2018 Seminar Leader: Geoff Lehman Course Times: Wednesday,14:00- 15:30 and Friday, 14:00-15:30 (until 17:15 for museum visits) Email: [email protected] Office Hours: Tuesdays, 14:00-16:00 Course Description Describing a painting, the art historian Leo Steinberg wrote: “The picture conducts itself the way a vital presence behaves. It creates an encounter.” In this course, we will encounter works of art to explore the specific dialogue each creates with a viewer and the range of interpretive possibilities it offers. More specifically, the course will examine various interpretive approaches to art, including formal analysis, iconography, social and historical contextualism, aestheticism, phenomenology, and psychoanalysis. Most importantly, we will engage interpretation in ways that are significant both within art historical discourse and in addressing larger questions of human experience and (self- )knowledge, considering the dialogue with the artwork in its affective (emotional) as well as its intellectual aspects. The course will be guided throughout by sustained discussion of a small number of individual artworks, with a focus on pictorial representation (painting, drawing, photography), although sculpture and installation art will also be considered. We will look at works from a range of different cultural traditions, and among the artists we will focus on are Xia Gui, Giorgione, Bruegel, Mirza Ali, Velázquez, Hokusai, Manet, Picasso, Man Ray, Martin, and Sherman. Readings will focus on texts in art history and theory but also include philosophical and psychoanalytic texts (Pater, Wölfflin, Freud, Merleau-Ponty, Barthes, Clark, and Krauss, among others). -
Press Kit 2019
1. Mrs. Bénédicte Vigner, French Cultural Attaché 2. Fr. Pierre Najem, President of Notre-Dame University (NDU) - Louaize 3. Br. Riccardo Ceriani, co-director of SOL Festival and Superintendent of Terra Sancta Organ Festival SPEAKERS 4. Mr. Bassam Saba, Director of Lebanese National Higher Conservatory of Music 5. Fr. Khalil Rahmeh, Founder and Director of SOL Festival and NDU School of Music Notre Dame University-Louaize (NDU) and Terra Sancta International Organ Festival The Lebanese Pipe Organ Week is a (Custody of Holy Land) have the pleasure to present the fourth edition of the SOL Festival co-production of Notre Dame University (Semaine de l’Orgue au Liban - Lebanese Pipe Organ Week) from February 2 till 10, 2019; and Terra Sancta International Organ featuring a selection of world top organists from Paris, Gdansk,´ Berlin, Rome, Barcelona, Festival. The festival is made possible Budapest, and Vienna. thanks to the availability of different venues, the patronage of Ministry of Culture and the Custody of holy Land, The Lebanese Pipe Organ Week is the sole Lebanese festival to highlight this monumental the collaboration with the Lebanese instrument, played by renowned international organists. The festival takes place in different National Higher Conservatory of Music, churches and venues, giving the audience the opportunity to explore all these different the support of the Institut Français du textures during a one-week course. Free admission to all concerts. Liban, the Italian Cultural Institute, the Embassy of Spain in Beirut, Marc- PRESS RELEASE The opening concert of the Festival will feature the French organist Frédéric Blanc Henri Mainguy foundation, BEMO (February 2, Collège Sacré Coeur – Gemmayzeh, in the occasion of the 125th anniversary of Bank, Commercial Insurance, Saint the institution), former titular of the great Cavaillé-Coll organ´ of Notre-Dame d’Auteuil church, Charbel Phoenicia foundation, along improvising on the soundtrack of a 60-minutes version of Interstellar movie of Christopher with Giovanni Tamburini organ builders Nolan. -
Picasso's Sculpture Head of a Woman
PICASSO’S SCULPTURE HEAD OF A WOMAN (FERNANDE) 1909: A COLLABORATIVE TECHNICAL STUDY Renzo Leonardi • Derek Pullen • Colloque Picasso Sculptures • 25 mars 2016 Laser equipment, scan, photogrammetry and data elab- oration by: Erica Nocerino, Fabio Menna, Belen Jime- nez Fernandez-Palacios, Alessandro Rizzi, (Fondazione Bruno Kessler 3DOM Lab, Trento, Dir. F. Remondino). today is known as Head of a Woman (Fernande), or simply Fernande. According to his own inscription he two plaster sculptures that are the main sub- on the back of a photograph,3 Picasso modelled the Tject of this essay were first exhibited together in sculpture in the studio of his friend, the sculptor October 2003 at the National Gallery, Washington Manolo (Manuel Hugué). But it was sometime later, DC. (fig 1) In her seminal essay “Process and Tech- at an unknown date, (Fletcher suggests “in or soon nique in Picasso’s Head of a Woman (Fernande)” in after September 1910”), that the art dealer Ambroise the catalogue of the exhibition1, Dr Valerie Fletcher, Vollard purchased the model from Picasso, together chief curator at the Hirshhorn Museum, qualified her with the rights of reproduction. insights into the sculptures with, “bear in mind that Even in the absence of detailed documentation, it is no scientific analyses have been done on any of the possible to outline the probable steps by which the works discussed—perhaps my efforts will engender original model was transformed into the first bronze. such examinations in the near future”. We describe The clay4 model was probably destroyed (washed how we accepted her challenge and, drawing on her out from a plaster “waste” mold) during the process initial research, investigated the two plaster casts and of making the master or primary plaster.