2017–18 Season Week 5 Beethoven GRIEG
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Tunde Jegede
TUNDE JEGEDE SELECTED CREDITS KHARTOUM OFFSIDE (2019) THE EMIDY PROJECT (2018) (The Emidy Project was officially recognised by UNESCO as a world Slave Heritage Narrative of historical and cultural significance) THE FIRST GRADER (2010) 500 YEARS LATER (2005) FRANZ FANON: BLACK SKIN, WHITE MASK (1996) BIOGRAPHY Tunde Jegede is a composer, producer, cellist and kora player who has been steeped in the traditions of European and African Classical music for the last 30 years. From an early age, Tunde was uniquely schooled in both Western and African Classical Music. He attended the Purcell School of Music, UK's first specialist music school conservatoire and also studied the music of the Kora (African Harp-Lute) and the Griot tradition under the Gambian Master of the Kora, Amadu Bansang Jobarteh. From this unusual parallel education, Tunde gained a deep understanding and appreciation of both forms of music and their distinct legacies, and all these strands and influences have since informed his music and work as an instrumentalist, teacher, and international classical composer. As a child Tunde wrote poetry at the Keskidee Centre, where his father was the resident artist. There at the UK 's first Black Arts Centre, he was surrounded by singers, writers and poets such as Bob Marley, Linton Kwesi Johnson, Edgar White, Len Garrison and Walter Rodney. At the same time he was also a chorister in a boys’ choir that toured Cathedrals across the country and all these early influences contributed to his growing perception of music and the word. By the age of 15 Tunde had been exposed to various musical idioms and his love of Western and African Classical music, gave birth to a growing interest in Jazz and its related art-forms. -
Hyperreality in Radiohead's the Bends, Ok Computer
HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A Thesis Presented as Partial Fulfillment of the Requirements for the Attainment of the Sarjana Sastra Degree in English Language and Literature By: Azzan Wafiq Agnurhasta 08211141012 STUDY PROGRAM OF ENGLISH LANGUAGE AND LITERATURE DEPARTMENT OF ENGLISH LANGUAGE EDUCATION FACULTY OF LANGUAGES AND ARTS YOGYAKARTA STATE UNIVERSITY 2014 APPROVAL SHEET HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A THESIS By Azzan Wafiq Agnurhasta 08211141012 Approved on 11 June 2014 By: First Consultant Second Consultant Sugi Iswalono, M. A. Eko Rujito Dwi Atmojo, M. Hum. NIP 19600405 198901 1 001 NIP 19760622 200801 1 003 ii RATIFICATION SHEET HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A THESIS By: AzzanWafiqAgnurhasta 08211141012 Accepted by the Board of Examiners of Faculty of Languages and Arts of Yogyakarta State University on 14July 2014 and declared to have fulfilled the requirements for the attainment of the Sarjana Sastra degree in English Language and Literature. Board of Examiners Chairperson : Nandy Intan Kurnia, M. Hum. _________________ Secretary : Eko Rujito D. A., M. Hum. _________________ First Examiner : Ari Nurhayati, M. Hum. _________________ Second Examiner : Sugi Iswalono, M. A. _________________ -
Princeton Symphony Orchestra Features Violinist Stefan Jackiw
3/10/2020 Princeton Symphony Orchestra features violinist Stefan Jackiw - centraljersey.com Princeton Symphony Orchestra features violinist Stefan Jackiw By Submitted Content - March 6, 2020 1 / 3 ❮ ❯ The Princeton Symphony Orchestra presents concert performances of Beethoven’s Second Symphony with violinist Stefan Jackiw on March 21-22. at Princeton University.PHOTO COURTESY OF PSO The Princeton Symphony Orchestra presents concert performances of Beethoven’s Second Symphony with violinist Stefan Jackiw on March 21-22. The performance with Jackiw is set to take place on the Richardson Auditorium stage at Princeton University in Princeton. The concert on March 21 begins at 8 p.m. The performance on March 22 will kick off at 4 p.m. The PSO presents orchestral, pops, and chamber music programs of the highest artistic quality, supported by lectures and related events that supplement the concert experience. “I am incredibly excited to welcome this formidable artist to our stage. He truly is one of the extraordinary violinists active today,” PSO Executive Director Marc Uys said. According to PSO officials, ticket prices range from $30 to $100. Jackiw will perform Felix Mendelssohn’s Violin Concerto in E Minor on a program with the US premiere of Princeton-based compose Julian Grant’s work and Ludwig Van Beethoven’s Symphony No. 2 in D Major, Op. 36 in honor of the composer’s 250th birthday. Mendelssohn’s Violin Concerto was written for his friend and fellow musician German violinist Ferdinand David in 1844, and considered his last great work. Grant has composed 20 operas which have been performed by English National Opera, The Royal Opera, Almeida Opera, Mecklenburgh Opera, and Tétè-a-Tétè, and has won the https://centraljersey.com/2020/03/06/princeton-symphony-orchestra-concert-features-violinist-stefan-jackiw/ 1/2 3/10/2020 Princeton Symphony Orchestra features violinist Stefan Jackiw - centraljersey.com National Opera Association of America’s New Opera prize and been nominated for an Olivier Award. -
Nights Not Spent Alone
ALSO AVAILABLE... NIGHTS NOT SPENT ALONE 1 4 9 9 0 0 D D C C R R H H C C THIS OTHER EDEN: MENDELSSOHN: COMPLETE KITTY WHATELY SONGS VOL.2 A LANDSCAPE OF ENGLISH POETRY MALCOLM MARTINEAU & SONG Champs Hill Records is delighted to “This is a terrific debut disc from Kitty release the second volume in Malcolm Whately, a wonderfully satisfying recital, Martineau’s series presenting the complete beautifully sung and with poetry readings songs of Felix and Fanny Mendelssohn that are very fine.” alongside each other. The Classical Reviewer Showing the rich variety and distinctive “Her singing is excellent and expressive while voice of both composers, Martineau brings her care for the words – in every sense – is together a wealth of imaginative young exemplary. ” vocal talent in Sophie Bevan, Robin Musicweb International Tritschler, Jonathan McGovern, Mary Bevan, “Whately is a captivating live performer… Kitty Whately and Benjamin Appl. In an age of glossily interchangeable international artists, this one isn’t afraid “... the brilliant collaboration of Martineau, to tell us her story. I, for one, want to first-rate sound, and with enchanting hear more.” singing, this second volume is a KITTY WHATELY Gramophone thorough delight.” American Record Guide SIMON LEPPER FOREWORD I am so delighted to have been given the opportunity to return to the beautiful Champs Hill, and work with this fantastic team again to produce my second album. Having been a huge fan of Jonathan Dove's work for a long time, I was thrilled when BBC Radio 3 commissioned him to write me a song cycle during my time on their New Generation Artists scheme. -
25 Years of the London Jazz Festival
MUSIC FROM OUT THERE, IN HERE: 25 YEARS OF THE LONDON JAZZ FESTIVAL Emma Webster and George McKay MUSIC FROM OUT THERE, IN HERE: 25 YEARS OF THE LONDON JAZZ FESTIVAL Emma Webster and George McKay Published in Great Britain in 2017 by University of East Anglia, Norwich NR4 7TJ, UK as part of the Impact of Festivals project, funded by the Arts and Humanities Research Council, under the Connected Communities programme. impactoffestivals.wordpress.com ACKNOWLEDGEMENTS This book is an output of the Arts and Humanities Research Council collaborative project The Impact of Festivals (2015-16), funded under the Connected Communities Programme. The authors are grateful for the research council’s support. At the University of East Anglia, thanks to project administrators CONTENTS Rachel Daniel and Jess Knights, for organising events, picture 1 FOREWORD 50 CHAPTER 4. research, travel and liaison, and really just making it all happen JOHN CUMMING OBE, THE BBC YEARS: smoothly. Thanks to Rhythm Changes and CHIME European jazz DIRECTOR, EFG LONDON 2001-2012 research project teams for, once again, keeping it real. JAZZ FESTIVAL 50 2001: BBC RADIO 3 Some of the ideas were discussed at jazz and improvised music 3 INTRODUCTION 54 2002-2003: THE MUSIC OF TOMORROW festivals and conferences in London, Birmingham, Cheltenham, 6 CHAPTER 1. 59 2004-2007: THE Edinburgh, San Sebastian, Europe Jazz Network Wroclaw and THE EARLY YEARS OF JAZZ FESTIVAL GROWS Ljubljana, and Amsterdam. Some of the ideas and interview AND FESTIVAL IN LONDON 63 2008-2011: PAST, material have been published in the proceedings of the first 7 ANTI-JAZZ PRESENT, FUTURE Continental Drifts conference, Edinburgh, July 2016, in a paper 8 EARLY JAZZ FESTIVALS 69 2012: FROM FEAST called ‘The role of the festival producer in the development of jazz (CULTURAL OLYMPIAD) in Europe’ by Emma Webster. -
Sona Jobarteh Sona Jobarteh Vocals, Kora Derek Johnson Guitar, Vocals
2019 20:00 19.11.Salle de Musique de Chambre Mardi / Dienstag / Tuesday Autour du monde Sona Jobarteh Sona Jobarteh vocals, kora Derek Johnson guitar, vocals Mamadou Sarr percussion, vocals Sidiki Jobarteh balafon Andi McLean bass, vocals Westley Joseph cajón, vocals ~90’ without intermission De Kamelleknécheler Martin Fengel Sona Jobarteh, la kora au féminin Vincent Zanetti L’influence du grand frère Au départ, c’est l’histoire de deux enfants, frère et sœur métisses nés de pères différents. Onze ans les séparent, mais ils partagent un même don évident pour la musique. L’aîné s’appelle Tunde Jegede, il est le fils d’Emmanuel Taiwo Jegede, un artiste nigérian en résidence au Keskidee Center de Londres, le premier centre de culture négro-africaine de Grande-Bretagne. Environnement propice pour cet enfant au talent précoce, qui y fait la rencontre de personnalités aussi marquantes que Bob Marley et Angela Davis, entre autres. Il en retire une vraie passion pour les musiques africaines, tandis que de son grand-père maternel, organiste d’église, il hérite l’amour de l’œuvre de Jean-Sébastien Bach. La cadette s’appelle Maya Sona, elle est la fille de Sanjally Jobarteh, un griot gambien virtuose de la kora, dont le propre père se trouve être Amadu Bansang Jobarteh, un des plus fameux maîtres de cet instrument en Gambie. C’est auprès de lui, justement, que le jeune Tunde Jegede s’initie à la kora depuis l’âge de dix ans. La petite fille grandit à Londres, mais dès sa plus tendre enfance, elle établit un lien très fort avec sa famille gambienne qu’elle visite régulièrement avec son frère. -
Dollins, Jordan
A NEW DIRECTION IN BRITISH CHORAL COMPOSITION: JONATHAN DOVE AND BOB CHILCOTT A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF MUSIC BY JORDAN DOLLINS DR. ANDREW CROW – ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA MAY 2014 1 An oft-repeated maxim declares that Britain did not produce any great composers between Henry Purcell and Benjamin Britten. British music, especially choral music, suffered from an apparent creative atrophy between the time of Purcell (1659-95) and Britten (1913-76), a favorite British son. However, it would be hardly appropriate to say that no great composers worked during the 200-year span. Composers like Charles Villiers Stanford (1852-1924), Edward Elgar (1857-1943), Ralph Vaughn Williams (1872-1958), Herbert Howells (1892-1983), along with Britten, produced high-quality examples of musical creativity in a country that has always had a strong tradition of choral singing. Following in the tradition of choral music of the British Isles, new composers have aimed for prominence in the latter half of the twentieth- and early twenty-first centuries. Two composers on the current British musical scene have each contributed greatly to the growth and prominence of choral repertoire from Britain. Jonathan Dove and Bob Chilcott, despite their seeming differences in background and focus, compose new choral music in a similar style. The style can perhaps be described as romantic minimalism, in which the voice parts seem sparse, pointed, or even disjunct from one another but are used to create a dramatic texture, color, and sound. Tonally, neither composer limits himself to the confines of conventional tonality and tonal movement. -
Jamie Barton in Conversation Program
THE NATIONA OPERA AMERICA’S CONVERSATIONS PRESENTS JAMIE BARTON In conversation with OPERA America President/CEO Marc A. Scorca The National Opera Center December 8, 2016 | 7:00 p.m. L OPERA AM ER CENTER ICA Jamie Barton appears courtesy of the Metropolitan Opera. FAY FOX FAY American mezzo-soprano Jamie Barton has Ježibaba in Rusalka, opposite Kristine Opolais been described by The Guardian as “a great in the title role. The new production will be artist, no question, with an imperturbable simulcast to cinemas around the globe via the steadiness of tone and a nobility of utterance Met’s Live in HD series, as will Barton’s house that invites comparison not so much with role debut as Fenena in Nabucco. This season her contemporaries as with mid-20th-century she also sings her first Princess Eboli in Don greats such as Kirsten Flagstad.” The Grammy- Carlo in her Deutsche Oper Berlin debut, makes nominated singer won the 2015 Richard Tucker her New York Philharmonic debut as Fricka in Award, the 2014 Marian Anderson Award, the Das Rheingold, and returns to Houston Grand 2014 International Opera Award in the Young Opera as Waltraute and the Second Norn Singer category, and both the Main and the in Götterdämmerung. In November, Delos Song Prizes at the 2013 BBC Cardiff Singer of Music released Barton’s first solo album, the World Competition. She was also a winner All Who Wander, featuring songs by Mahler, of the 2007 Metropolitan Opera National Dvorak and Sibelius. Council Auditions. Barton’s recent operatic performances include Barton’s 2016–2017 season offers many Adalgisa (Norma) at the Metropolitan Opera, chances for fans to hear her sing the lush Los Angeles Opera and San Francisco Opera; melodies of Wagner, Verdi, Mahler and Dvorak. -
Kafaldsbylur
Kafaldsbylur Söngbók búin til á www.guitarparty.com Söngbók búin til á www.guitarparty.com Bls. 2 Efnisyfirlit (Sittin' On) The Dock of the Bay . 17 A Place In The Sun . 18 Aicha . 19 Alelda . 20 All The Pretty Girls . 21 Alone . 22 American Pie . 23 And It Stoned Me . 25 Back in black . 26 Because The Night . 27 Before You Accuse Me . 28 Bittersweet Symphony . 29 Black Hole Sun . 30 Black Magic Woman . 31 Blower’s daughter . 32 Blowing In The Wind . 33 Boulevard of broken dreams . 34 Breaking the Girl . 35 Bridge Over Trouble Water . 36 Bring It On Home To Me . 37 Söngbók búin til á www.guitarparty.com Bls. 3 Brown Eyed Girl . 38 Candy . 39 Can’t take my eyes off you . 40 Cats In The Cradle . 41 Chandelier . 42 Dancing in the dark . 43 Daniel . 44 Das Model . 45 Daylight . 46 De Smukke Unge Mennesker . 47 Dead Flowers . 48 Desperado . 49 Dolphin's Cry . 50 Don't Know Why . 51 Don't stop me now . 52 Donna . 53 Don’t Stop Believing . 54 Down Under . 55 Down to the River to Pray . 56 Electric Avenue . 57 Englishman In New York . 58 Söngbók búin til á www.guitarparty.com Bls. 4 Enjoy The Silence . 59 Every breath you take . 60 Everybody hurts . 61 Exit Music (For a Film) . 62 Falling . 63 Fire Water Burn . 64 Foolish Games . 65 Forever Young . 66 Fortunate Son . 67 Free Bird . 68 Free Fallin' . 69 Freedom . 70 Friday i'm in love . 71 Fuck her gently . 72 Gimme Hope Joanna . -
ECCO Programme 2016 Final
ECCO featuring the Sturm und Klang Ensemble Brussels, 16 February 2016 PROGRAMME The European Commission support for the production of this publication does not constitute endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein. THE EUROPEAN CONTEMPORARY COMPOSERS ORCHESTRA (ECCO) ECCO is an ECSA project dedicated to performing and promoting contemporary art music and to reaching new audiences. It operates as a network of active ensembles, orchestras and young professionals, supporting creative dialogue between composers and performers and offering young professionals the opportunity to develop their skills with ensembles experienced in performing contemporary music on an international level. In 2015, ECCO presented two very successful concerts given by Sturm und Klang and the BBC Singers. At tonight’s concert, Sturm und Klang conducted by Thomas Van Haeperen will perform six pieces by different European composers selected by the ECCO Artistic Committee. Pieces are received via a call to all ECSA member societies and are carefully selected to reflect the cultural and aesthetical diversity of the European art musicin the 21st century. The ECCO concert, and other cultural projects organized by ECSA, are aimed at increasing the visibility of ECSA and all the issues connected to the status of contemporary musiccreators. Sturm und Klang, conducted by Thomas Van Haeperen, will tonight perform works by six composers: Michael Berkeley, Moritz Eggert, Olli Virtaperko, JulianGrant, Peter Helmut Lang, and Philippe Leroux. 1 THE EUROPEAN COMPOSER AND SONGWRITER ALLIANCE (ECSA) The European Composer and Songwriter Alliance (ECSA) represents over 30,000 professional composers and songwriters in 24 European countries. -
Digitalcommons@Cedarville
Cedarville University DigitalCommons@Cedarville The Ohio ndeI pendent Baptist 9-1983 September 1983 (Vol. 55, No. 7) Follow this and additional works at: https://digitalcommons.cedarville.edu/ ohio_independent_baptist Part of the Christian Denominations and Sects Commons, and the Organizational Communication Commons Recommended Citation "September 1983 (Vol. 55, No. 7)" (1983). The Ohio Independent Baptist. 467. https://digitalcommons.cedarville.edu/ohio_independent_baptist/467 This Newsletter is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Ohio ndeI pendent Baptist by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Cedarvilie O Li or ary OFFICIAL ORGAN Cedarv ills, 0 h 10^453^ ^ ft? V-*- CU Cl. O fo ft « < < O k io ^Association o^\ H- -P~- r—* I—1 Ui h 1 H OJ (t> (t> v-w lAec^uiar ba p tist C^Lu. - t o O o t-1 n> CTQ (D C H- CT Annual Conference— October 17-18-19- Emmanuel—To ft 03 ft Em m anuel % M ion- , Baptist C hurch * r Ernest F.v^ung, i n u Pastor 4207 Laskey Road Elementary School Toledo, Ohio 43623 (419)473-3280 Church (419)473-3280 ■ High School (419)885-3558 This column on the front page? Are we that destitute for news? No, not really. "...the gift o f God is eternal life through Jesus Christ our Lord. ’' romans 6: Editors, o f course, can take advantage (at least for one issue). I thought I would put this column on the tront page so all o f you would see my new picture. -
Mason Bates/Mark Campbell
Mason Bates/Mark Campbell FOR YOUR INFORMATION Do you want more information about upcoming events at the Indiana University Jacobs School of Music? There are several ways to learn more about our recitals, concerts, lectures, and more! Events Online Visit our online events calendar at music.indiana.edu/events: an up-to-date and comprehensive listing of Jacobs School of Music performances and other events. Events to Your Inbox Subscribe to our weekly Upcoming Events email and several other electronic communications through go.iu.edu/24K1. Stay “in the know” about the hundreds of events the Jacobs School of Music offers each year, most of which are free! In the News Visit our website for news releases, links to recent reviews, and articles about the Jacobs School of Music: music.indiana.edu/news. 2018-19 Opera and Ballet Theater Season Learn more about this year’s season, and reserve your seats by visiting music.indiana.edu/operaballet. Musical Arts Center The Musical Arts Center (MAC) Box Office is open M - F, 11:30 a.m. – 5:30 p.m. Call 812-855-7433 for information and ticket sales. Tickets are also available at the box office three hours before any ticketed performance. In addition, tickets can be ordered online at music.indiana.edu/boxoffice. Entrance: The MAC lobby opens for all events one hour before the performance. The MAC auditorium opens one half hour before each performance. Late Seating: Patrons arriving late will be seated at the discretion of the management. Parking Valid IU Permit Holders access to IU Garages EM-P Permit: Free access to garages at all times.