Portfolio of Original Compositions a Thesis Submitted to the University Of
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THE TWENTY-FIFTH HOUR COMPOSER’S NOTE the same musical stuff, as if each were a THE CHAMBER MUSIC OF THOMAS ADÈS (b. 1971) different view through a kaleidoscope. ‘Six of Nearly twenty years separate the two string the seven titles’, he has noted, ‘evoke quartets on this record, and all I have been able various vanished or vanishing “idylls”. The Piano Quintet (2001) * to discover over this time is that music only gets odd-numbered are all aquatic, and would splice 1 I [11.43] more and more mysterious. I am very grateful if played consecutively.’ 2 II [4.35] for this enjoyable collaboration to Signum, Tim 3 III [3.00] Oldham, Steve Long at Floating Earth, and my In the first movement the viola is a gondolier friends the Calder Quartet. poling through the other instruments’ moonlit The Four Quarters (2011) World Premiere Recording 4 I. Nightfalls [7.06] water, with shreds of shadowy waltz drifting 5 II. Serenade: Morning Dew [3.12] Thomas Adès, 2015 in now and then. Next, under a quotation 6 III. Days [3.50] from The Magic Flute (‘That sounds so 7 IV. The Twenty-Fifth Hour [3.51] The Chamber Music delightful, that sounds so divine’ sing of Thomas Adès Monostatos and the slaves when Papageno Arcadiana (1993) plays his bells), comes a song for the cello 8 I. Venezia notturno [2.39] These three works are not only in classic under glistening harmonics. The music is 9 II. Das klinget so herrlich, das klinget so schon [1.22] genres but themselves becoming classics, with stopped twice in its tracks by major chords, 0 III. -
Thomas Adès and the Baroque12.1O.2013
12718_dnw1314_2_ades_PRO_4C 2 12718_dnw1314_2_ades_PRO_4C 01.10.13 09:01 01.10.13 THOMAS ADÈS AND THE BAROQUE 12.1O.2013 THOMAS ADÈS AND THE BAROQUE Du musst dir die großen Komponisten als Freunde vorstellen. Furchteinflößende Freunde vielleicht, aber immerhin Freunde. 04 KONZERT Thomas Adès 05 „STANLEY KUBRICK DER NEUEN MUSIK“? THOMAS ADÈS MEETS PURCELL & COUPERIN 09 BIOGRAFIEN 11 VORSCHAU 12718_dnw1314_2_ades_PRO_4C 3 01.10.13 09:01 12718_dnw1314_2_ades_PRO_4C 4 01.10.13 09:01 SAMSTAG, 12.10.2013 THOMAS ADÈS NDR, ROLF-LIEBERMANN-STUDIO HENRY PURCELL ( 16 59 – 169 5 ) Fantazias (1680) 19 UHR | Einführung bearbeitet für Streichquartett mit Ilja Stephan Nr. 4 g-Moll Nr. 5 B-Dur 20 UHR | Konzert Nr. 6 F-Dur Nr. 7 c-Moll KELLER QUARTETT: ANDRÁS KELLER, Violine ( 16 6 8 – 173 3 ) ZSÓFIA KÖRNYEI, Violine FRANÇOIS COUPERIN Les lis naissans (Modérément et uniment) ZOLTÁN GÁL, Viola aus dem Troisième livre de Pièces de clavecin – JUDIT SZABÓ, Violoncello Treizième ordre (1722) WOLFGANG KUBE, Oboe La marche des Gris-vêtus BERND KÜNKELE, Horn (Pesamment, sans lenteur) LOUIS LORTIE, Klavier und Cembalo aus dem Premier livre de Pièces de clavecin – THOMAS ADÈS MEETS PURCELL & COUPERIN Quatrième ordre (1713) THOMAS ADÈS (*1971) 04 Arcadiana – Streichquartett op. 12 (1994) 05 KONZERT Venezia notturno „STANLEY KUBRICK DER NEUEN MUSIK“? — Pause — THOMAS ADÈS Das klinget so herrlich, das klinget so schön Thomas Adès, der eigentlich Konzertpianist werden wollte, für Kammerensemble sowie das von Kent Nagano am 12. Sep- Auf dem Wasser zu singen AND THE BAROQUE gelang der Aufstieg zum gefeierten Starkomponisten der briti- tember 1996 aus der Taufe gehobene Orchesterstück „These Et … (tango mortale) schen Gegenwartsmusik in Rekordzeit: Die „Süddeutsche Zei- Premises are Alarmed“. -
Calder Quartet
CAL PERFORMANCES PRESENTS PROGRAM Sunday, October 2, 2011, 3pm Franz Liszt (1811–1886) Petrarch Sonnet No. 123 (I’ vidi in terra angelici Hertz Hall costumi) from Années de Pèlerinage, Deuxième Année: Italie for Piano (1845) Calder Quartet Adès The Four Quarters for String Quartet (2010) Nightfalls Benjamin Jacobson violin Serenade: Morning Dew Andrew Bulbrook violin Days Jonathan Moerschel viola The Twenty-fifth Hour Eric Byers cello with Adès Quintet for Piano and String Quartet, Thomas Adès, piano Op. 20 (2000) PROGRAM Cal Performances’ 2011–2012 season is sponsored by Wells Fargo. Igor Stravinsky (1882–1971) Three Pieces for String Quartet (1914) Dance: Quarter note = 126 Eccentric: Quarter note = 76 Canticle: Half note = 40 Thomas Adès (b. 1971) Mazurkas for Piano, Op. 27 (2009) Moderato, molto rubato Prestissimo molto espressivo Grave, maestoso Adès Arcadiana for String Quartet (1994) Venezia notturna Das klinget so herrlich, das klinget so schön Auf dem Wasser zu singen Et... (tango mortale) L’Embarquement O Albion Lethe INTERMISSION 6 CAL PERFORMANCES CAL PERFORMANCES 7 PROGRAM NOTES PROGRAM NOTES Igor Stravinsky (1882–1971) music at the time. He later explained the move- prominence—the piano solos Still Sorrowing American premiere at Santa Fe Opera in July Three Pieces for String Quartet ment’s inspiration in an interview with Robert and Darknesse Visible, the song cycles Five Eliot 2006 and has been announced for the 2012– Craft: “I had been fascinated by the movements Landscapes and Life Story, Catch and Living Toys 2013 Metropolitan Opera season. Composed in 1914. Premiered on November 8, of Little Tich, whom I had seen in London in for chamber orchestra—and in 1993 he was ap- The distinguished critic Andrew Porter 1915, in Chicago by the Flonzaley Quartet. -
Review Volume 14 (2014) Page 1
H-France Review Volume 14 (2014) Page 1 H-France Review Vol. 14 (May 2014), No. 77 Deborah McGrady and Jennifer Bain, eds., A Companion to Guillaume de Machaut. Leiden and Boston: Brill, 2012. xx + 414 pp. Tables, figures, examples, bibliography, and index. €159.00 (hb); $218.00 U.S. (hb). ISBN 978-9004-22581-7. Review by Jared C. Hartt, Oberlin College Conservatory of Music. The current state of Machaut studies is at an all-time high. With the recent publication of the monograph Guillaume de Machaut: Secretary, Poet, Musician by Elizabeth Eva Leach, the ongoing project “Machaut in the Book” spearheaded by Deborah McGrady and Benjamin Albritton, and the in-progress edition of Machaut’s complete musical and poetic oeuvre led by R. Barton Palmer and Yolanda Plumley, it is fitting—and extremely well-timed—that a companion to this magisterial figure of the Ars Nova be compiled.[1] Editors Deborah McGrady and Jennifer Bain have set an ambitious goal for themselves in this volume of eighteen essays: “As the first collection to propose itself as an introduction to Guillaume de Machaut that would endeavor to provide the non-specialist with a broad overview of his corpus and its treatment in modern research, the present Companion also strives to sketch out new avenues of scholarly inquiry” (p. 7). The contributors, many of whom are Machaut specialists, are thus challenged with providing on the one hand an accessible overview for scholars new to Machaut—and given the book’s title, A Companion, this ought to be its primary objective—while on the other hand providing stimulating dialogue for scholars already fluent in Machaut’s musical and literary language. -
Machaut's Balade Ploures Dames (B32) in the Light of Real Modality
Sonderdrucke aus der Albert-Ludwigs-Universität Freiburg CHRISTIAN BERGER Machaut‘s Balade Ploures dames (B32) in the Light of Real Modality Originalbeitrag erschienen in: Machaut’s Music : New Interpretations / Herausgegeben von Elizabeth Eva LEACH. Woodbridge : Boydell Press, 2003 (Studies in Medieval and Renaissance Music ; 1), S. 193-204 13 Machaut‘s Balade Ploures dames (B32) in the Light of Real Modality 1 ______________________________________________________________________ Christian Berger Wulf Arlt zum 65. Geburtstag The most reliable basis for our analytical approach to musical works of the late Middle Ages is via their transmisison as written texts. Since these texts are themselves part of an earlier culture, reading them as instructions by which to reproduce the music of this culture requires that we study the presuppositions of this cultural system – the ‚webs of significance’ in which any individual is suspended. As Geertz stresses, to explore this webs does not need ‚an experimental science in search of law but an interpretive one in search of meaning.’2 Music history thus relies not only upon musical texts, but also upon the background of elementary music teaching against which to view the assumptions upon which those texts are based. The consequences of such an assumption may be demonstrated by means of a short example of chant repertory.3 Figure 13.1 represents two versions of ‘et porta coeli’, an excerpt from the responsory ‘Terribilis est’, distinguished only by the leap of a fifth at the beginning.4 At about 1100 John of Afflighem criticised this leap as a corruption of chant resulting from ‘the ignorance of the fools’.and the evidence of further testimonies upholds his opinion. -
CIM/CWRU Joint Music Program Wednesday, Octoberdecember 5, 7,2016 2016
CIM/CWRU Joint Music Program Wednesday, OctoberDecember 5, 7,2016 2016 La Fonteinne amoureuse CarlosCWRU Salzedo Medieval (1885–1961) Ensemble Tango Ross W. Duffin, director Grace Cross & Grace Roepke, harp with CWRU Early Music Singers, ElenaPaul Hindemith Mullins, (1895–1963) director from Sonate für Harfe Sehr langsam Grace Cross ProgramCarlos Salzedo Chanson dans la nuit Grace Cross & Grace Roepke Kyrie from La Messe de Nostre Dame Guillaume de Machaut (ca.1300–77) Caroline Lizotte (b. 1969) from Suite Galactique, op. 39 Early Music Singers Exosphère Gracedirected Roepke by Elena Mullins Pierre Beauchant (1885–1961) Triptic Dance Douce dame Machaut Grace Cross & Grace Roepke Nathan Dougherty, voice withSylvius Medieval Leopold WeissEnsemble (1687–1750) from Lute Sonata no. 48 in F-sharp minor (arr. for guitar by A. Poxon) I. Allemande Lucas Saboya (b. 1980) from Suite Ernestina I. Costurera Quarte estampie royale II. DeAnonymous Algún Modo (Manuscrit du Roy) AllisonBuddy Johnson Monroe, (1915-1977) vielle • Karin Cuellar,Since rebec I Fell for You Laura(arr. for Osterlund, guitar by A. recorderPoxon) • Margaret Carpenter Haigh, harp Andy Poxon, guitar Agustín Barrios (1885–1944) Vals, op. 8, no. 4 Comment qu’a moy lonteinne Machaut J. S. Bach (1685–1750) from Sonata no. 3 in C major, BWV 1005 Margaret Carpenter Haigh, voice IV. Allegro assai Heitorwith ensemble Villa-Lobos (1887–1959) Etude no. 7 Year Yoon, guitar Portrait of Helen Sears, 1895. John Singer Sargent (American, 1856–1925). Oil on canvas; 167.3 x 91.4 cm. Museum of Fine(continued Arts, Boston Gift of Mrs. onJ. D. Cameron reverse) Bradley 55.1116. -
Adès: Asyla, Tevot, Polaris, Brahms
Thomas Adès (b 1971) Page Index Asyla, Op 17 (1997) Tevot (2005–6) 3 Programme Notes 6 Notes de programme Polaris [Voyage for Orchestra] (2010) 9 Einführungstexte Brahms (2001) 12 Sung text Thomas Adès conductor 13 Composer / conductor biography London Symphony Orchestra 16 Soloist biography 18 Orchestra personnel lists (1997) Asyla, Op 17 22 LSO biography / Also available on LSO Live 1 I. 5’50’’ 2 II. 6’34’’ 3 III. Ecstasio 6’35’’ 4 IV. Quasi leggiero 5’02’’ 5 Tevot (2005–6) 20’19’’ 6 Polaris [Voyage for Orchestra] (2010) 13’30’’ 7 Brahms, Op 21 (2001) 5’05’’ Total time 62’55’’ Recorded live in DSD 128fs, 9 March (Tevot, Polaris, Brahms) & 16 March (Asyla) 2016, at the Barbican, London James Mallinson producer Classic Sound Ltd recording, editing and mastering facilities Jonathan Stokes for Classic Sound Ltd balance engineer, audio editor, mixing and mastering engineer Neil Hutchinson for Classic Sound Ltd recording engineer Booklet notes / Notes de programme / Einführungstexte © Paul Griffiths Translation into French / Traduction en français – Claire Delamarche Translation into German / Übersetzung aus dem Englischen – Elke Hockings © 2016 London Symphony Orchestra, London UK P 2016 London Symphony Orchestra, London UK 2 Programme Notes Next comes a slow movement, whose descents upon descents are begun by Thomas Adès (b 1971) keyed instruments and soon spread through the orchestra, led at first by bass Asyla, Op 17 (1997) oboe. There may be the sense of lament, or chant, echoing in some vast space – though a central section is more agitated and dynamic. There follows the club Asyla are places of safety. -
Chapter 3: the Ars Nova: Musical Developments in the Fourteenth Century I. Early Fourteenth Century A. Introduction 1. Changes I
Chapter 3: The Ars Nova: Musical Developments in the Fourteenth Century I. Early Fourteenth Century A. Introduction 1. Changes in notation in the thirteenth century allowed for musical experimentation in the early fourteenth century. 2. The evidence that tells us that fourteenth-century composers understood that they were doing something different can be found in two treatises: The Ars novae musicae by Jehan de Murs and the Ars nova by Philippe de Vitry. B. Music from Mathematics 1. During the fourteenth century, mathematics expanded beyond the boundaries previously seen in European thought. Music, the discipline so closely coupled with mathematics, followed suit. a. A fourfold system existed for musical time. Each of those listed is a subdivision of the previous: Maximodus, Modus, Tempus, and Prolatio. b. Each of these could be divided into two or three parts. 1) The first two are essentially theoretical concepts, and practical use resided in the latter two. 2) These possibilities yield, in modern terms: 9/8, 3/4; 6/8, 2/4. 2. Not everyone liked the innovations of the Ars nova. a. One example of disapproval is Jacobus de Liege’s Speculum musicae. 1) He dismissed the complexity and innovation as superfluous. C. Music about Music 1. Another new idea in the Ars nova concerns a growing realization of self- awareness as composers of art. 2. Music composition is seen as an art, not a craft. D. Establishing the Prototype: The Roman de Fauvel 1. The earliest surviving pieces in the Ars nova style are found in the Roman de Fauvel. a. Compiled around 1317, poem by Gervais du Bus, this manuscript includes 126 musical compositions (different genres). -