DOCSLIB.ORG

Run Time Error Simon Steen-Andersen JACK Quartet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Run Time Error Simon Steen-Andersen JACK Quartet Miller Theatre at Columbia University 2015-16 | 27th Season Opening Night Run Time Error Simon Steen-Andersen JACK Quartet Thursday, September 17, 8:00 p.m. From the Executive Director This September we begin Miller Theatre’s 2015-16 season with three incredible collaborations. Tonight you’ll see Danish composer and performer Simon Steen- Andersen join with one of our favorite ensembles, the JACK Quartet, on a very special project. Run Time Error, the video work that opens and closes this evening, invites us to broaden our sense of both sonic and spatial musical possibility, and it does so in a very personal way: by turning the theatre itself into an instrument. Throughout this new season, Miller Theatre will present performances that bring contemporary classical music out of the formal settings of a concert hall, and Steen-Andersen’s work makes for an exhilarating kick-off. Run Time Error is one of several new works created start-to-finish at Miller this month. As part of an annual collaboration with Deborah Cullen, director and chief curator of Columbia’s Miriam and Ira D. Wallach Art Gallery, this is our third time co- commissioning a visual artist to use our lobby as their canvas. This season, Scherezade Garcia has transformed the space with an amazing new work, inviting anyone who steps inside our doors to activate their imagination. Our largest artistic residency is just about to begin: Morningside Lights! A week of free arts workshops for participants of all ages begins this Saturday, and culminates in a magnificent illuminated procession through Morningside Park on September 26. Miller Theatre and the Arts Initiative first partnered with Alex Kahn and Sophia Michahelles of the Processional Arts Workshop four years ago, and it has been an honor to see this beloved tradition grow. Each year, the passion of Alex and Sophia and the joy of a hands- on creative process bring together an amazing community for Morningside Lights. Whether you join us to create lanterns from day one or see them for the first time as they light up the park on the final night, I’m sure you’ll feel that there’s something magical at work. While Miller Theatre has made a name for itself as a leading presenter of new music, our mission is to support and share the work of all kinds of contemporary artists. It is a thrill to start off the new season with three amazing projects that wholeheartedly embrace that goal. Thank you for joining us! I hope to see you again soon. Melissa Smey Executive Director Miller Theatre at Columbia University 2015-16 | 27th Season Opening Night Thursday, September 17, 8:00 p.m. Run Time Error Simon Steen-Andersen, composer and performer JACK Quartet Simon Steen-Andersen (b. 1976) Run Time Error at Miller Theatre featuring JACK Quartet, version 1 (2015) world premiere, Miller Theatre commission Study for String Instrument No. 1 (2007) Obstruction Study No. 1 (2012) United States premiere Study for String Instrument No. 2 (2009) Half a Bit of Nothing Integrated (2007-15) New York premiere Obstruction Study No. 2 (2012) United States premiere String Quartet No. 2 (2012) New York premiere Obstruction Study No. 3 (2012) United States premiere Study for String Instrument No. 3 (2011) New York premiere Run Time Error, version 2 (2015) This program runs approximately 1 hour and 15 minutes, with no intermission. Presented with the friendly support of with additional support from the Consulate General of Denmark Please note that photography and the use of recording devices are not permitted. Remember to turn off all cellular phones and pagers before tonight’s performance begins. Miller Theatre is ADA accessible. Large print programs are available upon request. For more information or to arrange accommodations, please call 212-854-7799. About the Program Dynamic, driven, clear in its sights while taking in information from all over the place, the work of Simon Steen-Andersen has been one of music’s boldest entrants this century. It is music that refuses to be just music, music that focuses the eyes as well as the ears – on how it is played, the body language, the grip on fiber or metal, the action, the intensity, and precision of that action. It is music made for performance, in real time, within a certain space, but often open to elsewheres of time and space, by means of quotation, reference, recording, and film. Steen-Andersen (b. 1976) studied in his native Denmark with Karl Aage Rasmussen, and also with Matthias Spahlinger in Freiburg and Gabriel Valverde in Buenos Aires. By the time he completed his studies in Copenhagen with Hans Abrahamsen and Bent Sørensen, in 2006, he already had a strong output behind him, including the remarkable rerendered (2003), which has a pianist at the keyboard joined by two assistants working on the strings and body of the instrument, with the possibility also of a fourth performer, to conduct. The assistants assist, of course, in making complex amalgams of noise, pitch, and harmonics, but they also alter. The pianist is beset, too, by the requirement to play extremely quietly, with amplification bringing forward a music of shuffling and zigzaging brilliance, chiming repetition, and gradual decay. Steen- Andersen further suggests the performance be monitored by a camera over the piano and projected on to a screen above. Thus estranging the means, and engaging technology – amplification and projection – to reconnect, this piece gave Steen-Andersen a productive direction to pursue. He also began gaining important commissions, notably from the Ensemble Modern (Chambered Music, for twelve instruments and sampler, 2007) and ensemble recherche (Nothing Integrated, for extremely amplified clarinet, percussion, cello, and live video, 2007). In 2008, he joined the faculty at the music academy in Århus, where he had begun his training a decade before. Among his recent pieces is a piano concerto (with sampler and video) written for last year’s Donaueschingen Festival, and Black Box Music, a multimedia work recently performed at the Southbank Centre by the London Sinfonietta. This and many other works can be found online via YouTube or on his own site. Run Time Error: version 1 (2015) The composer here becomes solo performer; the building, his instrument. Two normal categories of human agents and hardware are thus collapsed into singletons: one musician, one environment-instrument, which the composer-performer runs through, creating sounds as he goes using only objects found on site, while making an audio- visual recording. For Steen-Andersen, the site-specific nature of the piece is key. Each time it is performed – first in Brussels in 2009, then many times elsewhere in Europe – it grows and changes. For this evening’s performance, featuring a new version created here at Miller Theatre, he is joined by the four musicians of the JACK Quartet, who will be encountered again in the rest of the program. All this – the running and the sounding and the video-recording – will all have happened in advance to make two streams to be played back on a split screen. These streams relate to one another on the model of a two-part invention. One stream may follow the other after a delay, copy it in slow motion, or reverse it, exemplifying the classical techniques of imitation, augmentation, and retrogradation, but with material that is thoroughly non-classical and, too, chosen to make these techniques unusually apparent, since they operate on the visual plane as well as the aural. The remixing happens live, via two joysticks manipulated by the composer. Performance art meets venerable form. Study for String Instrument No. 1 (2007) “Movement of the sound or sound of the movement?” Steen-Andersen begins his note on this piece, the first of three Studies for String Instrument, with a question raised by almost any of his compositions. Run Time Error is music-making made vividly visual; his Second String Quartet creates a new demeanor of performance as much as a new, unsuspected galaxy of sounds. He goes on: “One simple ‘sample’ is repeated over and over, and is slowly broken down into its individual elements in a process of autonomizing the movements themselves. The piece is notated only as movements (and can therefore be played on any string instrument and maybe even on other instruments), and it is just as much a choreography for the player as it is a sounding piece for the instrument. A choreographic game – or even a kind of dance, accompanying itself.” In a further correspondence with Run Time Error, the first study evolves into a kind of two-part invention – the two hands mimicking each other – with parts in this first study being played by the bowing arm and by the left hand sliding up and down the strings. Quickly combining at first to make continuous glissando waves, these actions become dislocated from one another, and other actions intervene. The piece may be played as a solo or by several musicians simultaneously, as it is this evening. Obstruction Study No. 1 (2012) For the 2012 festival of new chamber music in Witten, in north-west Germany, Steen- Andersen worked with the JACK not only on his Second String Quartet but also on three video recordings, his Obstruction Studies. These change the nature of string- quartet performance differently from how the Second Quartet does, and to a degree more drastically. That work, for all its strangeness, is an original composition, a positive achievement, whereas the Obstruction Studies are deliberately made as defective versions of found music, which they, indeed, obstruct. In each of them, the musicians are discommoded; in the case of this first piece by having the ends of their bows restrained by rubber bands and weights that will interfere with muscular control.
Load more

Recommended publications
  • Newsletter 02/10 • Springthema 2010 Contents News New Website — 4 New Editor's Report — 5 the Gustav Mahler Blog — 5
    16 Cristóbal Halffter Premio Fronteras del Conocimiento en Música Contemporéana for his life's work 13 Pierre Boulez Boulez celebrates his 85th birthday on 26 March 21 Manfred Gurlitt Nana at the Theater Erfurt 30 Franz Schreker Die Gezeichneten – US-première of reduced version at the LA Opera 33 Alban Berg 2010 – a Lulu-year Jay Schwartz World première of Music for Eight Double Basses in Frankfurt 1 newsletter 02/10 • springthema 2010 Contents nEws New website — 4 New editor's report — 5 The Gustav Mahler Blog — 5 coMposErs Borisova-Ollas — 7 Wilson — 7 Cerha — 8 Luke Bedford — 8 Haas — 9 Pärt — 10 Schwartz — 10 Rihm — 11 Baltakas — 12 Sotelo — 12 Boulez — 13 Sawer — 14 Birtwistle — 14 Staud — 15 Sotelo — 15 Lentz — 15 Halffter — 16 Kurtág — 17 Feldman — 17 Stockhausen — 18 Meale — 18 Berio — 19 Gurlitt — 21 Ligeti — 22 Liebermann — 22 Schnittke — 22 Weill — 23 Krenek — 24 Milhaud — 24 Casella — 24 Martin — 25 Braunfels — 25 = world première Bartók — 26 2 contents 02/2010 Kodály — 26 Martin� — 27 Shostakovich — 28 Delius — 28 Szymanowski — 29 Dear Readers, Schmidt — 29 Schreker — 30 Zemlinsky — 31 In this modern age it is comforting Webern — 32 to rediscover the excellent radio Berg — 33 programming that is still going Schönberg — 34 strong. France Musique’s Lundis de Mahler — 35 la contemporaine, the BBc’s Hear Janá�ek — 36 and Now, SWR2’s JetztMusik, orF’s Haydn — 37 Zeit-Ton and wDr3’s Studio Neue Musik are just some of the excel- lent programmes available. With all major radio stations now online worlD prEMièrEs — 38 - 39 (i.e.
    [Show full text]
  • Holland Festival Luigi Nono: Trilogie Van Het Sublieme
    LUIGI NONO: TRILOGIE VAN HET SUBLIEME VAN TRILOGIE LUIGI NONO: HOLLAND FESTIVAL PROGRAMMA / PROGRAMME do 19.6 / thu 19.6 vr 20.6 / fri 20.6 za 21.6 / sat 21.6 zo 22.6 / sun 22.6 lunchconcerten symposium / conference symposium / conference tentoonstelling / exhibition Rijksmuseum, Passage Universiteitstheater Transformatorhuis Westergasfabriek Luigi Nono 1924–1990 Nono Interventions “... Hay que caminar ...” “... Hay que caminar ...” Maestro di suoni e silenzi Luigi Nono’s musical paths between politics Luigi Nono’s musical paths between politics and art and art tentoonstelling / exhibition concert Westergasfabriek Gashouder Westergasfabriek Gashouder tentoonstelling / exhibition Luigi Nono 1924–1990 Westergasfabriek Gashouder Caminantes … Ayacucho Maestro di suoni e silenzi Kyrie uit from Sacrae Symphoniae Luigi Nono 1924–1990 No hay caminos, hay que caminar … Andrej Maestro di suoni e silenzi Tarkowski concert Gloria uit from Sacrae Symphoniae Westergasfabriek Gashouder concert Prometeo. Tragedia dell’ascolto Westergasfabriek Gashouder Il canto sospeso Non consumiamo Marx Como una ola de fuerza y luz concert Westergasfabriek Gashouder La lontananza nostalgica utopica futura 2 3 INHOUD CONTENT programma context programme context Prometeo Tentoonstelling Prometeo Exhibition Info, credits, programma 6 Luigi Nono 1924–1990 Info, credits, programme 6 Luigi Nono 1924–1990 Toelichting 8 Maestro di suoni e silenzi Programme notes 10 Maestro di suoni e silenzi Info en credits 76 Info and credits 76 Il canto sospeso Il canto sospeso Info, credits, programma 12 Luigi Nono: symposium Info, credits, programme 12 Luigi Nono: symposium Toelichting 14 “... Hay que caminar ...” Programme notes 17 “... Hay que caminar ...” Info, programma 77 Info, programme 77 La lontonanza nostalgica Samenvattingen 78 La lontonanza nostalgica Abstracts 82 utopica futura utopica futura Info, credits, programma 20 Info, credits, programme 20 Toelichting 22 Programme notes 23 Caminantes ..
    [Show full text]
  • Timeline: Music Evolved the Universe in 500 Songs
    Timeline: Music Evolved the universe in 500 songs Year Name Artist Composer Album Genre 13.8 bya The Big Bang The Universe feat. John The Sound of the Big Unclassifiable Gleason Cramer Bang (WMAP) ~40,000 Nyangumarta Singing Male Nyangumarta Songs of Aboriginal World BC Singers Australia and Torres Strait ~40,000 Spontaneous Combustion Mark Atkins Dreamtime - Masters of World BC` the Didgeridoo ~5000 Thunder Drum Improvisation Drums of the World Traditional World Drums: African, World BC Samba, Taiko, Chinese and Middle Eastern Music ~5000 Pearls Dropping Onto The Jade Plate Anna Guo Chinese Traditional World BC Yang-Qin Music ~2800 HAt-a m rw nw tA sxmxt-ib aAt Peter Pringle World BC ~1400 Hurrian Hymn to Nikkal Tim Rayborn Qadim World BC ~128 BC First Delphic Hymn to Apollo Petros Tabouris The Hellenic Art of Music: World Music of Greek Antiquity ~0 AD Epitaph of Seikilos Petros Tabouris The Hellenic Art of Music: World Music of Greek Antiquity ~0 AD Magna Mater Synaulia Music from Ancient Classical Rome - Vol. 1 Wind Instruments ~ 30 AD Chahargan: Daramad-e Avval Arshad Tahmasbi Radif of Mirza Abdollah World ~??? Music for the Buma Dance Baka Pygmies Cameroon: Baka Pygmy World Music 100 The Overseer Solomon Siboni Ballads, Wedding Songs, World and Piyyutim of the Sephardic Jews of Tetuan and Tangier, Morocco Timeline: Music Evolved 2 500 AD Deep Singing Monk With Singing Bowl, Buddhist Monks of Maitri Spiritual Music of Tibet World Cymbals and Ganta Vihar Monastery ~500 AD Marilli (Yeji) Ghanian Traditional Ghana Ancient World Singers
    [Show full text]
  • September 2019 Catalogue Issue 41 Prices Valid Until Friday 25 October 2019 Unless Stated Otherwise
    September 2019 Catalogue Issue 41 Prices valid until Friday 25 October 2019 unless stated otherwise ‘The lover with the rose in his hand’ from Le Roman de la 0115 982 7500 Rose (French School, c.1480), used as the cover for The Orlando Consort’s new recording of music by Machaut, entitled ‘The single rose’ (Hyperion CDA 68277). [email protected] Your Account Number: {MM:Account Number} {MM:Postcode} {MM:Address5} {MM:Address4} {MM:Address3} {MM:Address2} {MM:Address1} {MM:Name} 1 Welcome! Dear Customer, As summer gives way to autumn (for those of us in the northern hemisphere at least), the record labels start rolling out their big guns in the run-up to the festive season. This year is no exception, with some notable high-profile issues: the complete Tchaikovsky Project from the Czech Philharmonic under Semyon Bychkov, and Richard Strauss tone poems from Chailly in Lucerne (both on Decca); the Beethoven Piano Concertos from Jan Lisiecki, and Mozart Piano Trios from Barenboim (both on DG). The independent labels, too, have some particularly strong releases this month, with Chandos discs including Bartók's Bluebeard’s Castle from Edward Gardner in Bergen, and the keenly awaited second volume of British tone poems under Rumon Gamba. Meanwhile Hyperion bring out another volume (no.79!) of their Romantic Piano Concerto series, more Machaut from the wonderful Orlando Consort (see our cover picture), and Brahms songs from soprano Harriet Burns. Another Hyperion Brahms release features as our 'Disc of the Month': the Violin Sonatas in a superb new recording from star team Alina Ibragimova and Cédric Tiberghien (see below).
    [Show full text]
  • City, University of London Institutional Repository
    City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2021). New Music: Performance Institutions and Practices. In: McPherson, G and Davidson, J (Eds.), The Oxford Handbook of Music Performance. Oxford, UK: Oxford University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/25924/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] New Music: Performance Institutions and Practices Ian Pace For publication in Gary McPherson and Jane Davidson (eds.), The Oxford Handbook of Music Performance (New York: Oxford University Press, 2021), chapter 17. Introduction At the beginning of the twentieth century concert programming had transitioned away from the mid-eighteenth century norm of varied repertoire by (mostly) living composers to become weighted more heavily towards a historical and canonical repertoire of (mostly) dead composers (Weber, 2008).
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Pace, I. (2014). Book Review: Music in Germany Since 1968 by Alastair Williams. Tempo (London, 1939): a quarterly review of modern music, 68(268), pp. 116-121. doi: 10.1017/S0040298213001940 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/4732/ Link to published version: http://dx.doi.org/10.1017/S0040298213001940 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Tempo 68 (268) 1–5 © 2014 Cambridge University Press 1 1 2 3 4 books 5 6 7 Music in Germany Since 1968 by Alastair Williams. Constructing Musicology;1 Williams does not 8 Cambridge: Cambridge University Press, 2013. match the dialectical oppositions within the 9 £60.00. field of enquiry with much of a dialectical sens- 10 ibility of his own. The result is a ‘history’ 11 Musicology has faced many challenges in recent which is in large measure a study of two ‘great 12 decades, including critiques of canons and the men’, Lachenmann and Wolfgang Rihm, with 13 exclusive focus upon ‘great composers’ and other composers and issues viewed relative to 14 autonomous ‘works’, the centrality of Western their work and world-view.
    [Show full text]
  • 2015/16 Season Preview and Appeal
    2015/16 SEASON PREVIEW AND APPEAL SEASON PREVIEW 2015/16 01 THANK YOU WELCOME THE WIGMORE HALL TRUST WOULD LIKE TO ACKNOWLEDGE AND THANK THE FOLLOWING INDIVIDUALS AND ORGANISATIONS FOR THEIR GENEROUS SUPPORT THROUGHOUT THE 2014/15 SEASON: HONORARY PATRONS DONORS AND SPONSORS Audiences and artists have been coming together at Wigmore Hall for Aubrey Adams Mr Eric Abraham* Charles Green Rothschild André and Rosalie Hoffmann Neville and Nicola Abraham Barbara and Michael Gwinnell Ruth Rothbarth* nearly 115 years. In its intimate and welcoming environment, enthralling Sir Ralph Kohn FRS and Lady Kohn Elaine Adair Mr and Mrs Rex Harbour* The Rubinstein Circle performances of supreme musical works are experienced with a unique Mr and Mrs Paul Morgan Tony and Marion Allen* Haringey Music Service The Sainer Charity The Andor Charitable Trust Havering Music School The Sampimon Trust immediacy. As we look forward to the 2015/16 Season, the Hall is SEASON PATRONS David and Jacqueline Ansell* The Headley Trust Louise Scheuer Aubrey Adams* Arts Council England The Henry C Hoare Charitable Trust Julia Schottlander* delighted to present some of the greatest artists in the world today, as well American Friends of Wigmore Hall Anthony Austin Nicholas Hodgson Richard Sennett and Saskia Sassen* Karl Otto Bonnier* The Austin & Hope Pilkington Trust André and Rosalie Hoffmann The Shoresh Charitable Trust as talented emerging artists who explore repertoire with skill, curiosity and Cockayne‡ Ben Baglio and Richard Wilson Peter and Carol Honey* Sir Martin and
    [Show full text]
  • Iris Ter Schiphorst Assange - Fragmente Einer Unzeit 2019 20 Min for Voice (Female), Ensemble and Sampler 1.1.1.1-1.1.1.0-Perc(2)-2Pft-Strings(1.1.1.2.1)
    Iris ter Schiphorst Assange - Fragmente einer Unzeit 2019 20 min for voice (female), ensemble and sampler 1.1.1.1-1.1.1.0-perc(2)-2pft-strings(1.1.1.2.1) World Premiere: 07 Nov 2019 Muziekgebouw aan't IJ, Amsterdam, Netherlands Sarah Maria Sun, voice; Ensemble Modern Conductor: Enno Poppe Availability: This work is available from Boosey & Hawkes for the world Iris ter Schiphorst photo © Bettina Stoess Aung 2011 30 min ENSEMBLE AND CHAMBER WITH VOICE(S) for singer/performer, ensemble and electronics ...meine-keine lieder / die aufgabe von musik 1.1.1.1-1.1.1.0-perc(2)-harp-pft-strings-electronics für inge müller World Premiere: 01 Oct 2011 2014 20 min The Royal Danish Academy of Music, Studio Hall, Copenhagen, Denmark Scene for voice and ensemble Anna Clementi, soprano; BIT20 Ensemble Conductor: Baldur Brönnimann voice(ampl)-bcl-sample kbd-pft Availability: This work is available from Boosey & Hawkes for the world World Premiere: 14 Mar 2015 Staatliche Hochschule für Musik und Darstellende Kunst, Konzertsaal, Stuttgart, German LIVE (aus: Androgyn) (with Helmut Oehring) Salome Kammer, voice; Sebastian Manz, bass clarinet / Akiko Okabe, piano 1997 23 min Availability: This work is available from Boosey & Hawkes for the world 18 songs from the poem LIVE by Anne Sexton A.N. (evita-che guevara-madonna) (with Helmut Oehring) voice-prepared pft(=kbd sampler)-vln.vlc-live electronics 1998 15 min World Premiere: 26 Apr 1997 for 2 voices, 8 instruments and live electronics Witten, Germany Salome Kammer; New Music Chamber Ensemble basset hn.bcl-tuba-pft-kbd-viola
    [Show full text]
  • AUGUST 2013 LIST BLU-RAY NEW RELEASES Other Special Offers Still Available…
    tel 0115 982 7500 fax 0115 982 7020 AUGUST 2013 LIST See inside for valid dates Dear Customer Times are tough in many businesses at the moment, and this has been reflected in the record industry recently with the demise of some large distributors around the world. Harmonia Mundi’s Spanish arm and Qualiton in the US are two names that have sadly folded, but it is the loss of Codaex in Europe that has now affected the UK market due to the knock on consequences to Codaex UK. Although technically a separate company, several labels unfortunately became nervous and ‘jumped ship’, meaning that they had to take the difficult decision to cease trading in mid-July. Codaex UK have long supplied many independent labels including Haenssler, MDG and Pentatone, plus most of the popular historical labels such as Archipel, Andromeda, Gala, Myto, Preiser and Australian Eloquence. They provided us with excellent service over the years and will be sorely missed. Some of these labels already have new arrangements in place, and we hope that the rest will follow very soon. Watch this space... On a brighter note, we have managed to find plenty of special offers to present you with this month! See our Chandos Sale on pp.7-9, great reductions on Karajan recordings on p.10, plus much more from labels such as Orfeo, Audite, Naxos, Decca and DG. New releases are a little slim on the ground, but Harmonia Mundi certainly aren’t holding back, releasing brand new discs from both Isabelle Faust and Stile Antico - both can be found on p.2.
    [Show full text]
  • Biographic Sketch and Work Catalogue
    Biographic Sketch and Work Catalogue Jörg Widmann was born on 19 June 1973 in Munich, the son of a physicist and a teacher and textile artist. His younger sister is the violinist and violin professor Carolin Widmann. He began clarinet lessons at age 7, completing his education with Gerd Starke at the Munich Music Academy and with Charles Neidich at the Juilliard School in New York. His studies in composition began with Kay Westermann when he was 11 years old; they were continued in 1994-1996 with Wilfried Hiller and Hans Werner Henze and concluded in 1997-1999 with Heiner Goebbels and Wolfgang Rihm. Since the fall of 2001, Widmann has been teaching as professor of clarinet at the Musikhochschule Freiburg; eight years later the same institution additionally named him professor of composition. As a clarinetist, Widmann champions chamber music. He concertizes regularly with partners like the oboist Heinz Holliger, the violists Tabea Zimmermann and Kim Kashkashian, the pianists András Schiff and Hélène Grimaud, and the soprano Christine Schäfer. Moreover, he is celebrated at home and abroad as a soloist in clarinet concertos, and several contem- porary composers have dedicated works for or with clarinet to him. Thus he premiered Wolfgang Rihm’s Music for Clarinet and Orchestra in 1999, Aribert Reimann’s Cantus in 2006, Heinz Holliger’s Rechant in 2009, and Peter Ruzicka’s Three Pieces for Clarinet Solo in 2012. In the course of the years 1993 to 2013, i.e., the two decades between his twentieth and his fortieth birthdays, Widmann has written more than eighty compositions.
    [Show full text]
  • 2016/17 Season Preview and Appeal
    2016/17 SEASON PREVIEW AND APPEAL The Wigmore Hall Trust would like to acknowledge and thank the following individuals and organisations for their generous support throughout the THANK YOU 2015/16 Season. HONORARY PATRONS David and Frances Waters* Kate Dugdale A bequest from the late John Lunn Aubrey Adams David Evan Williams In memory of Robert Easton David Lyons* André and Rosalie Hoffmann Douglas and Janette Eden Sir Jack Lyons Charitable Trust Simon Majaro MBE and Pamela Majaro MBE Sir Ralph Kohn FRS and Lady Kohn CORPORATE SUPPORTERS Mr Martin R Edwards Mr and Mrs Paul Morgan Capital Group The Eldering/Goecke Family Mayfield Valley Arts Trust Annette Ellis* Michael and Lynne McGowan* (corporate matched giving) L SEASON PATRONS Clifford Chance LLP The Elton Family George Meyer Dr C A Endersby and Prof D Cowan Alison and Antony Milford L Aubrey Adams* Complete Coffee Ltd L American Friends of Wigmore Hall Duncan Lawrie Private Banking The Ernest Cook Trust Milton Damerel Trust Art Mentor Foundation Lucerne‡ Martin Randall Travel Ltd Caroline Erskine The Monument Trust Karl Otto Bonnier* Rosenblatt Solicitors Felicity Fairbairn L Amyas and Louise Morse* Henry and Suzanne Davis Rothschild Mrs Susan Feakin Mr and Mrs M J Munz-Jones Peter and Sonia Field L A C and F A Myer Dunard Fund† L The Hargreaves and Ball Trust BACK OF HOUSE Deborah Finkler and Allan Murray-Jones Valerie O’Connor Pauline and Ian Howat REFURBISHMENT SUMMER 2015 Neil and Deborah Franks* The Nicholas Boas Charitable Trust The Monument Trust Arts Council England John and Amy Ford P Parkinson Valerie O’Connor The Foyle Foundation S E Franklin Charitable Trust No.
    [Show full text]
  • Vendredi 10 Février Ensemble Intercontemporain Ensemble In
    Roch-Olivier Maistre, Président du Conseil d’administration Laurent Bayle, Directeur général Vendredi 10 février Ensemble intercontemporain Dans le cadre du cycle Des pieds et des mains Du 10 au 12 février Vendredi 10 février 10 Vendredi | Vous avez la possibilité de consulter les notes de programme en ligne, 2 jours avant chaque concert, à l’adresse suivante : www.citedelamusique.fr Ensemble intercontemporain Ensemble intercontemporain Cycle Des pieds et des mains L’Ensemble intercontemporain présente deux concerts dans le cadre du cycle Des pieds et des mains à la Cité de la musique. Inori (un mot japonais qui signie « invocation, adoration ») est une expérience totale. La mimique quasi dansée des deux « solistes » emprunte le code de ses gestes de prière à diverses religions du monde. À chaque mouvement des mains correspond une note : Inori est en 1974 l’une des premières pièces de Stockhausen à se fonder sur une « formule », sorte d’hyper-mélodie qui non seulement est entendue comme telle mais se retrouve pour ainsi dire étirée à l’échelle de l’œuvre dans son entier, dont elle dicte et caractérise les diérentes parties. Enn, chacune des sections d’Inori se concentre sur un aspect du discours musical – dans l’ordre : rythme, dynamique, mélodie, harmonie et polyphonie –, si bien que la partition, selon le compositeur, « se développe comme une histoire de la musique » reparcourue en accéléré, depuis l’origine jusqu’à nos jours. Dans le saisissant Pas de cinq de Mauricio Kagel, composé en 1965, les cinq exécutants, munis d’une canne, parcourent et sillonnent une surface délimitée en forme de pentagone couvert de diérents matériaux.
    [Show full text]