DOCSLIB.ORG

[email protected] ALAN GILBERT and the NEW YO

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Johnsonk@Nyphil.Org ALAN GILBERT and the NEW YO FOR IMMEDIATE RELEASE May 28, 2013 Contact: Katherine E. Johnson (212) 875-5718; [email protected] ALAN GILBERT AND THE NEW YORK PHILHARMONIC RELEASE NEW ALBUM OF WORLD PREMIERE RECORDINGS BY MAGNUS LINDBERG ON DACAPO RECORDS New Album Includes EXPO, Al largo, and Piano Concerto No. 2, Three Works Created During Mr. Lindberg’s Tenure as The Marie-Josée Kravis Composer-in-Residence at the New York Philharmonic The New York Philharmonic today releases a new album of World Premiere recordings of works by Finnish composer Magnus Lindberg. Released on Dacapo Records and distributed in the U.S. by the Naxos group, the album features works written for and performed by Music Director Alan Gilbert and the New York Philharmonic during Mr. Lindberg’s tenure as the Orchestra’s Marie- Josée Kravis Composer-in-Residence, 2009–12. The CD includes the live World Premiere performances of three New York Philharmonic commissions: EXPO, Al largo, and Piano Concerto No. 2 with pianist Yefim Bronfman, the last of which the New York Philharmonic co- commissioned with Amsterdam’s Royal Concertgebouw Orchestra and the Gothenburg Symphony. Performed on Opening Night of the 2009–10 season, EXPO ushered in both the start of the composer’s residency and Alan Gilbert’s tenure as Music Director. In addition, the Orchestra performed EXPO on both of that season’s international tours, Asian Horizons and EUROPE / WINTER 2010. Al largo brought that same season to a close; in the review of the work’s World Premiere The New York Times wrote: “Mr. Lindberg writes brilliantly for orchestra, and Mr. Gilbert and the Philharmonic made the most of it in this glittering, virtuosic performance.” The third featured work, Piano Concerto No. 2 — the fourth and final work Mr. Lindberg composed during his Philharmonic tenure — was written for and performed by Yefim Bronfman in the 2011–12 season and was described by ConcertoNet.com as “ravishingly beautiful.” The piece was also performed on the Philharmonic’s CALIFORNIA 2012 tour. With special permission from The Museum of Modern Art (MoMA), a detail of the painting Wounds and Absent Objects by Anish Kapoor, donated to MoMA by the Jacqueline Brody Fund and Harry Kahn Fund, is featured as the CD’s cover. The album is now available for purchase in the New York Philharmonic store (store.nyphil.org), Amazon.com, and other online music retailers. “I was so impressed by the quality of our collaboration with Dacapo Records on the first release in The Nielsen Project that they were my first choice to produce this new, ambitious recording,” said Music Director Alan Gilbert. “The technical expertise and artistic sensitivity of their team (more) New Album of Works by Magnus Lindberg / 2 will enrich the presentation of these works’ premieres. I couldn’t be more pleased with how the recording captures the excitement and brilliance of the New York Philharmonic’s performances of music by Magnus Lindberg, who developed a real affinity with the musicians during his three- year tenure.” “It is a great honor that the New York Philharmonic has wished to collaborate with Dacapo as the recording label for this high-profile Composer-in-Residence CD release,” said Henrik Rørdam, president of Dacapo Records. “It gives Dacapo a quite unique opportunity for further development of the close relationship with the orchestra that was initiated with The Nielsen Project.” “The three years I worked with Alan Gilbert and the New York Philharmonic was an outstanding time in my life,” said Magnus Lindberg. “In today’s world it is rare for a composer to have the opportunity to live with an orchestra and to get to know them so well that it affects what you write for them. The musicians and I became great friends, and I am excited that their performances of these works can be heard on this CD.” Dacapo Records was launched in 1989 in Denmark and is dedicated to producing music of the best international standards, with Danish music throughout 1,000 years as its point of departure. The label has received Gramophone and American Grammy Awards, as well as the Cannes Classical Award. Dacapo Records is also releasing The Nielsen Project, the New York Philharmonic’s critically acclaimed cycle of the complete symphonies and concertos of Carl Nielsen. For more information, visit www.dacapo-records.dk. * * * About the Composer Magnus Lindberg was born in Helsinki, Finland, in 1958. Following piano studies he entered the Sibelius Academy where his composition teachers included Einojuhani Rautavaara and Paavo Heininen. The latter encouraged his pupils to look beyond the prevailing Finnish conservative and nationalist aesthetics, and to explore the works of the European avant-garde. This led around 1980 to the founding of the informal grouping known as the Ears Open Society, which included Mr. Lindberg and his contemporaries Eero Hämeeniemi, Jouni Kaipainen, Kaija Saariaho, and Esa-Pekka Salonen and aimed to encourage a greater awareness of mainstream modernism. Mr. Lindberg made a decisive move in 1981, traveling to Paris for studies with Vinko Globokar and Gérard Grisey. During this time he also attended Franco Donatoni’s classes in Siena, and made contact with Brian Ferneyhough, Helmut Lachenmann, and Karl Höller. Mr. Lindberg’s compositional breakthrough came with two large-scale works, Action-Situation- Signification (1982) and Kraft (1983–85), which were inextricably linked with his founding with Mr. Salonen of the experimental Toimii Ensemble. After a period in which his works combined experimentalism, complexity, and primitivism, in the late 1980s his music transformed itself toward a new modernist classicism, in which many of the communicative ingredients of a vibrant musical language were re-interpreted afresh for the post-serial era. His output has positioned him at the forefront of orchestral composition, including the concert-opener Feria (1997); large-scale statements such as Fresco (1997), Cantigas (1999), Concerto for Orchestra (2002–03), and Sculpture (2005); and concertos for cello (1999), clarinet (2002), and violin (2006). Recent (more) New Album of Works by Magnus Lindberg / 3 works include Seht die Sonne (2007), commissioned by the Berlin Philharmonic under Simon Rattle and the San Francisco Symphony, and his first choral-orchestral work, GRAFFITI, premiered in Helsinki in May 2009. His music has been recorded on the Deutsche Grammophon, Sony, Ondine, and Finlandia labels. In 2003 Mr. Lindberg was awarded the prestigious Wihuri Sibelius Prize. He is published by Boosey & Hawkes. Magnus Lindberg was The Marie-Josée Kravis Composer-in-Residence of the New York Philharmonic between 2009 and 2012, with new works premiered by the Orchestra including the concert opener EXPO, premiered in September 2009 to launch Alan Gilbert’s tenure as the Orchestra’s Music Director. The Philharmonic performed the World Premieres of Al largo for orchestra and Souvenir for ensemble in 2010, and Piano Concerto No. 2 in 2012 with Yefim Bronfman as soloist. Mr. Lindberg was the pianist when Alan Gilbert and the New York Philharmonic gave the New York Premiere of Kraft in 2010. About the Artists Music Director Alan Gilbert began his tenure at the New York Philharmonic in September 2009, launching what New York magazine called “a fresh future for the Philharmonic.” The first native New Yorker in the post, he has introduced the positions of The Marie-Josée Kravis Composer-in-Residence and The Mary and James G. Wallach Artist-in-Residence, an annual multi-week festival, and CONTACT!, the new-music series, and he has sought to make the Orchestra a point of civic pride for the city and country. In 2012–13, Alan Gilbert conducts world premieres; presides over a cycle of Brahms’s complete symphonies and concertos; leads the EUROPE / SPRING 2013 tour; and continues The Nielsen Project, the multiyear initiative to perform and record the Danish composer’s symphonies and concertos, the first release of which was named by The New York Times as among the Best Classical Music Recordings of 2012. The season concludes with Gilbert’s Playlist, four programs showcasing themes he has introduced, including the season finale: a theatrical reimagining of Stravinsky ballets with director/designer Doug Fitch and New York City Ballet Principal Dancer Sara Mearns. Last season’s highlights included tours of Europe and California, several world premieres, Mahler symphonies, and Philharmonic 360, the Philharmonic and Park Avenue Armory’s acclaimed spatial-music program featuring Stockhausen’s Gruppen, about which The New York Times said: “Those who think classical music needs some shaking up routinely challenge music directors at major orchestras to think outside the box. That is precisely what Alan Gilbert did.” Mr. Gilbert is Director of Conducting and Orchestral Studies and holds the William Schuman Chair in Musical Studies at The Juilliard School. Conductor Laureate of the Royal Stockholm Philharmonic Orchestra and Principal Guest Conductor of Hamburg’s NDR Symphony Orchestra, he regularly conducts leading orchestras around the world. He made his acclaimed Metropolitan Opera debut conducting John Adams’s Doctor Atomic in 2008, the DVD of which received a Grammy Award. Renée Fleming’s recent Decca recording Poèmes, on which he conducted, received a 2013 Grammy Award. In May 2010 Mr. Gilbert received an Honorary Doctor of Music degree from The Curtis Institute of Music and in December 2011, Columbia University’s Ditson Conductor’s Award for his “exceptional commitment to the performance of works by American composers and to contemporary music.” (more) New Album of Works by Magnus Lindberg / 4 Yefim Bronfman is widely regarded as one of the world’s most talented virtuoso pianists, winning critical acclaim and enthusiastic audiences worldwide. His 2012–13 season includes concerts with the Berlin Philharmonic (conducted by Simon Rattle) in Berlin, Salzburg, and the London Proms, followed by appearances with Zurich’s Tonhalle Orchestra (with David Zinman) and London’s Philharmonia Orchestra.
Load more

Recommended publications
  • PROGRAM NOTES Witold Lutosławski Concerto for Orchestra
    PROGRAM NOTES by Phillip Huscher Witold Lutosławski Born January 25, 1913, Warsaw, Poland. Died February 7, 1994, Warsaw, Poland. Concerto for Orchestra Lutosławski began this work in 1950 and completed it in 1954. The first performance was given on November 26, 1954, in Warsaw. The score calls for three flutes and two piccolos, three oboes and english horn, three clarinets and bass clarinet, three bassoons and contrabassoon, four horns, four trumpets, four trombones and tuba, timpani, snare drum, side drums, tenor drum, bass drum, cymbals, tam-tam, tambourine, xylophone, bells, celesta, two harps, piano, and strings. Performance time is approximately twenty-eight minutes. The Chicago Symphony Orchestra's first subscription concert performances of Lutosławski's Concerto for Orchestra were given at Orchestra Hall on February 6, 7, and 8, 1964, with Paul Kletzki conducting. Our most recent subscription concert performance was given November 7, 8, and 9, 2002, with Christoph von Dohnányi conducting. The Orchestra has performed this concerto at the Ravinia Festival only once, on June 28, 1970, with Seiji Ozawa conducting. For the record The Orchestra recorded Lutosławski's Concerto for Orchestra in 1970 under Seiji Ozawa for Angel, and in 1992 under Daniel Barenboim for Erato. To most musicians today, as to Witold Lutosławski in 1954, the title “concerto for orchestra” suggests Béla Bartók's landmark 1943 score of that name. Bartók's is the most celebrated, but it's neither the first nor the last work with this title. Paul Hindemith, Walter Piston, and Zoltán Kodály all wrote concertos for orchestra before Bartók, and Witold Lutosławski, Michael Tippett, Elliott Carter, and Shulamit Ran are among those who have done so after his famous example.
    [Show full text]
  • Einojuhani Rautavaara(B. 1928)
    1020 booklet 22.4.03 13:35 Sivu 2 Einojuhani Rautavaara (b. 1928) True & False Unicorn 46:41 III Snare and Delusion A Tapestry of Voices (1971/2000) 12 12. In the heart of the desert the silence is pearcing 3:02 Poems by James Broughton 13 13. The Unicorn, wounded 5:04 I Before the Arras IV “Mon Seul Désir” 14 14. The Unicorn reaches a temple in a clearing 1:53 2 1 1. The Unicorn questions the nature of the chase 1:40 3 2 2. The Lion, reading 3:28 15 15. Sigmund of Vienna 1:41 3 3. Sigmund of Vienna 3:24 16 16. The Lion 2:57 44. The Unicorn 2:07 17 17. The Unicorn 1:51 18 18. Tom Fool 0:44 II Horn and Hounds 19 19. The Virgin’s Lullaby 1:48 5 5. Entering the wilderness the Unicorn is beset by voices 1:32 20 20. The Unicorn 3:44 6 6. Young Sagittarius 1:30 © Schirmer 7 7. A Virgin, waiting 2:36 8 8. The Empress of Byzantium 1:12 Finnish Radio Chamber Choir 99. Queen Victoria 2:28 Finnish Radio Symphony Orchestra 10 10. His Honor the Mayor 1:10 Timo Nuoranne, conductor 11 11. Big Black Sambo 2:40 Reciters: Jaakko Kortekangas, baritone (3, 15), Säde Rissanen, alto (8), Petteri Salomaa, baritone (10) 1020 booklet 22.4.03 13:35 Sivu 2 Einojuhani Rautavaara (b. 1928) True & False Unicorn 46:41 III Snare and Delusion A Tapestry of Voices (1971/2000) 12 12. In the heart of the desert the silence is pearcing 3:02 Poems by James Broughton 13 13.
    [Show full text]
  • Pizzazz on the Podium
    Montage Art, books, diverse creations 14 Open Book 15 Bishop Redux 16 Kosher Delights 17 And the War Came 18 Off the Shelf 19 Chapter and Verse 20 Volleys in F# Major places this orchestra square- ly at the center of cultural and intellectual discourse.” The Philharmonic sounds better than it has in decades, too, because Gilbert has im- proved morale, changed the seating plan, and worked on details of tone and balance— even the much-reviled acoustics of Avery Fisher Hall at Lincoln Center sound Alan Gilbert less jagged now. The conducting conductor is also pre- CHRIS LEE the New York Pizzazz on the Podium Philharmonic pared to be surprised: at Avery Fisher to him, his job is both Alan Gilbert’s music that should be heard Hall in Lincoln to lead and take in Center what the musicians by richard dyer are offering. The unexpected hit of his first season ike his celebrated predecessor as diverse as György Ligeti and Wynton was Ligeti’s avant-garde opera, Le Grand Leonard Bernstein ’39, D.Mus. Marsalis, named a composer-in-residence Macabre, in a staging by visual artist Doug ’67, Alan Gilbert ’89 seems to en- (Magnus Lindberg), and started speaking Fitch ’81, a friend who had tutored art in joy whipping up a whirlwind and informally to the audience, as Bernstein Adams House when Gilbert was in col- then taking it for an exhilarating sometimes did. His programs are full of lege. To publicize the opera, Gilbert ap- L ride. Though only in his second year on interconnections and his seasons add peared in three homespun videos that the the job, the second Harvard-educated mu- up; Gilbert has said that every piece tells Philharmonic posted on YouTube; Death, sic director of the New York Philharmonic a story, and every program should, too.
    [Show full text]
  • Leevi Madetoja (1887–1947) Symphony No
    Leevi Madetoja (1887–1947) Symphony No. 2 / Kullervo / Elegy 1. Kullervo, Symphonic Poem, Op. 15 14:13 Symphony No. 2, Op. 35 2. I. Allegro moderato – 13:23 LEEVI MADETOJA II. Andante 13:36 SYMPHONY NO. 2 III. Allegro non troppo – 9:39 KULLERVO IV. Andantino 4:53 ELEGY 3. Elegy, Op. 4/1 (First movement from the Symphonic Suite, Op. 4) 5:53 –2– Leevi Madetoja To be an orchestral composer in Finland as a contemporary of Sibelius and nevertheless create an independent composer profile was no mean feat, but Leevi Madetoja managed it. Though even he was not LEEVI MADETOJA completely immune to the influence of SYMPHONY NO. 2 his great colleague, he did find a voice for KULLERVO ELEGY himself where the elegiac nature of the landscape and folk songs of his native province of Ostrobothnia merged with a French elegance. Madetoja’s three symphonies did not follow the trail blazed by Sibelius, and another mark of his independence as a composer is that his principal works include two operas, Pohjalaisia (The Ostrobothnians, 1924) and Juha (1935), a genre that Sibelius never embraced. Madetoja emerged as a composer while still a student at the Helsinki Music Institute, when Robert Kajanus conducted his first orchestral work, elegy (1909) for strings, in January 1910. The work was favourably received and was given four further performances in Helsinki that spring. It is a melodically charming and harmonically nuanced miniature that betrays the influence of Tchaikovsky in its achingly tender tones. Later, Madetoja incorporated Elegia into his four-movement Sinfoninen sarja (Symphonic Suite, 1910), but even so it is better known as a separate number.
    [Show full text]
  • 11 JANUARY WEDNESDAY SERIES 9 Helsinki Music Centre at 7 Pm
    11 JANUARY WEDNESDAY SERIES 9 Helsinki Music Centre at 7 pm Sakari Oramo, conductor Jukka Harju, horn József Hárs, horn Markus Maskuniitty, horn Esa Tapani, horn Magnus Lindberg: Al largo 25 min Robert Schumann: Konzertstück in F Major for Four Horns and Orchestra, Op. 86 21 min I Lebhaft II Romance (Ziemlich langsam, doch nicht schleppend) III Sehr lebhaft INTERVAL 20 MIN Felix Mendelssohn: Symphony No. 4 in A Major, Op. 90, “The Italian” 30 min I Allegro vivace II Andante con moto III Con moto moderato IV Saltarello (Presto) Interval at about 7.55 pm. The concert ends at about 9 pm. Broadcast live on YLE Radio 1 and the Internet (yle.fi/rso). 1 MAGNUS LINDBERG up and present us with the next, equal- ly dazzling landscape. Structurally, Al lar- (1958–): AL LARGO go falls into two broad sections, “that both begin very vigorously and end as slow mu- The avoidance of anything slow was for a sic”. Dominating the first half are numerous long time a fundamental feature of the mu- brass fanfares that vary in their details, sup- sic of Magnus Lindberg. Even if the tempo ported by a seething brew in the rest of the marking was somewhat on the slow side, orchestra. After a big climax the music sud- the texture would seethe and bubble like denly becomes introspective, borne alone a piping-hot broth and, what is more, with by a delightful string texture. The return of an energy little short of manic. In this res- the fanfares leads to a new build-up and ul- pect it is exciting to hear what awaits in the timately to a mighty oboe solo on which the orchestral work he wrote last year, for as music muses for a good while.
    [Show full text]
  • PROKOFIEV Hannu Lintu Piano Concertos Nos
    Olli Mustonen Finnish Radio Symphony Orchestra PROKOFIEV Hannu Lintu Piano Concertos Nos. 2 & 5 SERGEI PROKOFIEV (1891–1953) Piano Concerto No. 2 in G minor, Op. 16 33:55 1 I Andantino 11:57 2 II Scherzo. Vivace 2:59 3 III Intermezzo. Allegro moderato 7:04 4 IV Finale. Allegro tempestoso 11:55 Piano Concerto No. 5 in G major, Op. 55 23:43 5 I Allegro con brio 5:15 6 II Moderato ben accentuato 4:02 7 III Toccata. Allegro con fuoco 1:58 8 IV Larghetto 6:27 9 V Vivo 6:01 OLLI MUSTONEN, piano Finnish Radio Symphony Orchestra HANNU LINTU, conductor 3 Prokofiev Piano Concertos Nos. 2 and 5 Honestly frank, or just plain rude? Prokofiev was renowned for his uncompromisingly direct behaviour. On one occasion he berated a famous singer saying – within the hearing of her many admirers – that she understood nothing of his music. Seeing her eyes brim, he mercilessly sharpened his tongue and humiliated her still further: ‘All of you women take refuge in tears instead of listening to what one has to say and learning how to correct your faults.’ One of Prokofiev’s long-suffering friends in France, fellow Russian émigré Nicolas Nabokov, sought to explain the composer’s boorishness by saying ‘Prokofiev, by nature, cannot tell a lie. He cannot even say the most conventional lie, such as “This is a charming piece”, when he believes the piece has no charm. […] On the contrary he would say exactly what he thought of it and discuss at great length its faults and its qualities and give valuable suggestions as to how to improve the piece.’ Nabokov said that for anyone with the resilience to withstand Prokofiev’s gruff manner and biting sarcasm he was an invaluable friend.
    [Show full text]
  • Solo and Ensemble Concert Mae Zenke Orvis Auditorium July 17, 1967 8:00 P.M
    SOLO AND ENSEMBLE CONCERT MAE ZENKE ORVIS AUDITORIUM JULY 17, 1967 8:00 P.M. SOLO AND ENSEMBLE CONCERT Monday, July 17 Mae Zenke Orvis Auditorium 8:00 P.M. Program Ernst Krenek Piano Sonata No.3 (1943) Peter Coraggio, piano Allegretto piacevole Theme, Canons and Variations: Andantino Scherzo: Vivace rna non troppo Adagio First Performance in Hawaii Neil McKay Sonata for French Horn and Willard Culley, French horn Piano (1962) Marion McKay, piano Fanfare: Allegro Andante Allegro First Performance in Hawaii Chou Wen-chung Yu Ko (1965) Chou Wen-chung, conductor First Performance in Hawaii John Merrill, violin Jean Harling, alto flute James Ostryniec, English horn Henry Miyamura, bass clarinet Roy Miyahira, trombone Samuel Aranio, bass trombone Zoe Merrill, piano Lois Russell, percussion Edward Asmus, percussion INTERMISSION JOSe Maceda Kubing (1966) Jose Maceda, conductor Music for Bamboo Percussion and Men's Voices First Performance in Hawaii Jose Maceda Kubing (1966) Jose Maceda, conductor Music for Bamboo Percussion Charles Higgins and Men's Voices William Feltz First Performance in Hawaii Brian Roberts voices San Do Alfredo lagaso John Van der Slice l Takefusa Sasamori tubes Bach Mai Huong Ta buzzers ~ Ruth Pfeiffer jaw's harps Earlene Tom Thi Hanh le William Steinohrt Marcia Chang zithers Michael Houser } Auguste Broadmeyer Nancy Waller scrapers Hailuen } Program Notes The Piano Sonata NO.3 was written in 1943. The first movement is patterned after the classical model: expo­ sition (with first, second, and concluding themes), development, recapitulation, and coda. However, in each of these sections the thematic material is represented in musical configurations derived from one of the four basic forms of the twelve-tone row: original, inversion, retrograde, and retrograde inversion.
    [Show full text]
  • Season 2016-2017
    23 Season 2016-2017 Thursday, January 26, at 8:00 The Philadelphia Orchestra Friday, January 27, at 2:00 City of Light and Music: The Paris Festival, Week 3 Yannick Nézet-Séguin Conductor Choong-Jin Chang Viola Berlioz Harold in Italy, Op. 16 I. Harold in the Mountains (Scenes of melancholy, happiness, and joy) II. Pilgrims’ March—Singing of the Evening Hymn III. Serenade of an Abruzzi Mountaineer to his Sweetheart IV. Brigands’ Orgy (Reminiscences of the preceding scenes) Intermission Ravel Alborada del gracioso Ravel Rapsodie espagnole I. Prelude to the Night— II. Malagueña III. Habanera IV. Feria Ravel Bolero This program runs approximately 1 hour, 55 minutes. The January 26 concert is sponsored in memory of Ruth W. Williams. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit WRTI.org to listen live or for more details. 24 Steven Spielberg’s filmE.T. the Extra-Terrestrial has always held a special place in my heart, and I personally think it’s his masterpiece. In looking at it today, it’s as fresh and new as when it was made in 1982. Cars may change, along with hairstyles and clothes … but the performances, particularly by the children and by E.T. himself, are so honest, timeless, and true, that the film absolutely qualifies to be ranked as a classic. What’s particularly special about today’s concert is that we’ll hear one of our great symphony orchestras, The Philadelphia Orchestra, performing the entire score live, along with the complete picture, sound effects, and dialogue.
    [Show full text]
  • Magnus Lindberg 1
    21ST CENTURY MUSIC FEBRUARY 2010 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $96.00 per year; subscribers elsewhere should add $48.00 for postage. Single copies of the current volume and back issues are $12.00. Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. email: [email protected]. Typeset in Times New Roman. Copyright 2010 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Copy should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors are encouraged to submit via e-mail. Prospective contributors should consult The Chicago Manual of Style, 15th ed. (Chicago: University of Chicago Press, 2003), in addition to back issues of this journal.
    [Show full text]
  • For Release: Tk, 2013
    FOR RELEASE: January 23, 2013 SUPPLEMENT CHRISTOPHER ROUSE, The Marie-Josée Kravis COMPOSER-IN-RESIDENCE WORLD PREMIERE of SYMPHONY NO. 4 at the NY PHIL BIENNIAL New York Premiere of REQUIEM To Open Spring For Music Festival at Carnegie Hall New York Premiere of OBOE CONCERTO with Principal Oboe Liang Wang RAPTURE at Home and on ASIA / WINTER 2014 Tour Rouse To Advise on CONTACT!, the New-Music Series, Including New Partnership with 92nd Street Y ____________________________________ “What I’ve always loved most about the Philharmonic is that they play as though it’s a matter of life or death. The energy, excitement, commitment, and intensity are so exciting and wonderful for a composer. Some of the very best performances I’ve ever had have been by the Philharmonic.” — Christopher Rouse _______________________________________ American composer Christopher Rouse will return in the 2013–14 season to continue his two- year tenure as the Philharmonic’s Marie-Josée Kravis Composer-in-Residence. The second person to hold the Composer-in-Residence title since Alan Gilbert’s inaugural season, following Magnus Lindberg, Mr. Rouse’s compositions and musical insights will be highlighted on subscription programs; in the Philharmonic’s appearance at the Spring For Music festival; in the NY PHIL BIENNIAL; on CONTACT! events; and in the ASIA / WINTER 2014 tour. Mr. Rouse said: “Part of the experience of music should be an exposure to the pulsation of life as we know it, rather than as people in the 18th or 19th century might have known it. It is wonderful that Alan is so supportive of contemporary music and so involved in performing and programming it.” 2 Alan Gilbert said: “I’ve always said and long felt that Chris Rouse is one of the really important composers working today.
    [Show full text]
  • Magnus Lindberg Al Largo • Cello Concerto No
    MAGNUS LINDBERG AL LARGO • CELLO CONCERTO NO. 2 • ERA ANSSI KARTTUNEN FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU MAGNUS LINDBERG (1958) 1 Al largo (2009–10) 24:53 Cello Concerto No. 2 (2013) 20:58 2 I 9:50 3 II 6:09 4 III 4:59 5 Era (2012) 20:19 ANSSI KARTTUNEN, cello (2–4) FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU, conductor 2 MAGNUS LINDBERG 3 “Though my creative personality and early works were formed from the music of Zimmermann and Xenakis, and a certain anarchy related to rock music of that period, I eventually realised that everything goes back to the foundations of Schoenberg and Stravinsky – how could music ever have taken another road? I see my music now as a synthesis of these elements, combined with what I learned from Grisey and the spectralists, and I detect from Kraft to my latest pieces the same underlying tastes and sense of drama.” – Magnus Lindberg The shift in musical thinking that Magnus Lindberg thus described in December 2012, a few weeks before the premiere of Era, was utter and profound. Lindberg’s composer profile has evolved from his early edgy modernism, “carved in stone” to use his own words, to the softer and more sonorous idiom that he has embraced recently, suggesting a spiritual kinship with late Romanticism and the great masters of the early 20th century. On the other hand, in the same comment Lindberg also mentioned features that have remained constant in his music, including his penchant for drama going back to the early defiantly modernistKraft (1985).
    [Show full text]
  • BèLa Bartã³k's Concerto for Orchestra
    BELA BART6K'S CONCERTO FOR ORCHESTRA WORLDS CONTENDING: BELA, BARTOK'S'" CONCERTO FOR ORCHESTRA By REBECCA LEE GREEN, B.A.(Hons.Mus.) A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University September 1987 MASTER OF ARTS (1987) McMASTER UNIVERSITY (Music Criticism) Hamilton, Ontario TITLE: Worlds Contending: Bela Bart6k's Concerto for Orchestra AUTHOR: Rebecca Lee Green, B.A.(Hons.Mus.) (University of Western Ontario) SUPERVISOR: Professor Paul Rapoport NUMBER OF PAGES: ix, 192 ii Abstract Although the Concerto for Orchestra is Bart6k's largeS~ ! orchestral composition and one of the last works, it has received comparatively little attention in the scholarly literature. One reason for this may be the suggestion that it is artistically inferior, a compromise for the sake of financial success and public acceptance. This position is challenged through an examination of the circumstances surrounding the commission of the work, and its relation to Bart6k's biography. The main body of the thesis deals with the music itself in a comparison of the strengths and weaknesses of nine analytical approaches--the extent of serious criticism on the Concerto. Some of these analyses are more successful than others in discussing the work in a meaningful way. More importantly, the interaction of these analytical methods allowE for the emergence of a pattern in the music which is not evident to the same degree in any of the individual analyses. The interaction of these diverse approaches to the Concerto, which both confirm and contradict each other at various times, provides a wider analytical perspective through which it becomes possible to suggest that the Concerto for Orchestra is characterized by a dynamic principle of conflict or "Worlds Contending," from the title of a poem by Bartbk.
    [Show full text]