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City Research Online
City Research Online City, University of London Institutional Repository Citation: Pace, I. (2017). Michael Finnissy - The Piano Music (10 and 11) - Brochure from Conference 'Bright Futures, Dark Pasts'. This is the other 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/17523/ 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] BRIGHT FUTURES, DARK PASTS Michael Finnissy at 70 Conference at City, University of London January 19th-20th 2017 Bright Futures, Dark Pasts Michael Finnissy at 70 After over twenty-five years sustained engagement with the music of Michael Finnissy, it is my great pleasure finally to be able to convene a conference on his work. This event should help to stimulate active dialogue between composers, performers and musicologists with an interest in Finnissy’s work, all from distinct perspectives. It is almost twenty years since the publication of Uncommon Ground: The Music of Michael Finnissy (Aldershot: Ashgate, 1998). -
PUCCINI International Opera Composition Course Summer
Summer Seminar 2020 July 6 th to 18 th - Lucca, Italy Come and study how to write opera in Lucca, the city of Giacomo Puccini Cluster – Compositori interpreti del presente in collaboration with: Fondazione Giacomo Puccini Fondazione Cassa di Risparmio di Lucca Fondazione Banca del Monte di Lucca Teatro del Giglio di Lucca EMA Vinci Produzioni discografiche (audio-video), editoriali ed artistiche. Present PUCCINI International Opera Composition Course Summer Seminar 2020 July 6 th to 18 th - Lucca, Italy Come and study how to write opera in Lucca, the city of Giacomo Puccini PROJECT The PUCCINI International Opera Composition Course is addressed to composers (both with or without an academic degree) willing to investigate thoroughly all compositional techniques in use in opera writing today, focusing both on the Italian tradition and on the genre’s contemporary international developments. The course’s aim is to hand down the great opera tradition, having as a target the creation of new operas, bridging the past and the future in a new and enthralling vision. COURSE GOALS Participants will get to a deeper understanding of the various aspects of composing for opera theatre. - At the end of the course, each participant must submit a complete pre-project for a new chamber opera, writing a section or a full score for voice and piano (at least 25 minutes) - The best projects will be selected to be performed as mise-en-scene at the ‘PUCCINI Chamber Opera Festival 2021’ in collaboration with Teatro del Giglio of Lucca - All scores produced will be published and recorded video/audio by EMA Vinci APPLICANTS SELECTION Applicants must submit the following materials for selection: - CV - Project scheme of a chamber opera for max 1 voice and piano - Full score and audio file of an orchestral or chamber composition* - Full score or voice/piano score and audio file of a vocal composition* *midi files can be accepted All materials must be e-mailed to [email protected] Submission deadline April, 30th 2020 Eligible composers will be contacted by May, 15th 2020. -
Points in Recent History
San Francisco Contemporary Music Players Performers: Points in Recent History Tod Brody, flute Monday, November 8, 2010, 8 pm Peter Josheff, clarinet Herbst Theatre Jacob Zimmerman, saxophone David Tanenbaum, guitar Michael Seth Orland, piano Dominique Leone, keyboard JÉRÔME COMBIER Regina Schaffer, keyboard Essere pietra (To Be Stone) (2004) Loren Mach, percussion (Combier) (Approximate duration: 6 minutes) William Winant, percussion (Cage, Glass) Susan Freier, violin Heurter la lumière encore (To Hit the Light Again) (2005) Nanci Severance, viola United States premiere Stephen Harrison, cello (Approximate duration: 5 minutes) 2 JOHN CAGE Robert Shumaker, Recording Engineer Seven (1988) San Francisco Contemporary Music Players Co-Commission 2 This project has been made possible by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius. (Approximate duration: 20 minutes) Tonight’s performance is supported in part by the National Endowment for the Arts and the Wells Fargo Foundation. Intermission Tonight’s performances of Heurter la lumière encore and Essere pietra are sup- ported in part by The French-American Fund for Contemporary Music, a program of FACE with support from Cultural Services of the French Embassy, CulturesFrance, SACEM and the Florence Gould Foundation. GABRIELE VANONI Space Oddities (2008) Tonight’s performance of music by Gabriele Vanoni is made possible in part West Coast premiere by the generaous support of the Istituto Italiano de Cultura. (Approximate duration: 8 minutes) Tod Brody, flute PHILIP GLASS Music in Similar Motion (1969) (Approximate duration: 15 minutes) Program Notes (b. 1947) best known for his nature-inspired sculptures and mixed- media work. Two other artists of Combier’s own generation also had JÉRÔME COMBIER (b. -
La Synth`Ese Sonore En Composition Musicale Assistée Par Ordinateur
UNIVERSITE PARIS VI – PIERRE ET MARIE CURIE Ecole Doctorale d’Informatique, T´el´ecommunications et Electronique de Paris Th`ese de Doctorat en Informatique Jean BRESSON La synth`ese sonore en composition musicale assist´ee par ordinateur Mod´elisation et ´ecriture du son Th`ese dirig´ee par Carlos AGON tel-00807656, version 1 - 4 Apr 2013 tel-00807656, version 1 - 4 Soutenue le 30 Novembre 2007 Jury : - M. Philippe DEPALLE (Rapporteur) - M. Miller PUCKETTE (Rapporteur) - M. Carlos AGON - M. G´erard ASSAYAG - M. Michel BEAUDOUIN-LAFON - M. Claude CADOZ - M. Jean-Dominique POLACK tel-00807656, version 1 - 4 Apr 2013 tel-00807656, version 1 - 4 Apr 2013 tel-00807656, version 1 - 4 Th`ese pr´epar´ee `al’IRCAM – CNRS UMR 9912 Equipe Repr´esentations Musicales 1, place Igor Stravinsky 75004 Paris http ://www.ircam.fr tel-00807656, version 1 - 4 Apr 2013 R´esum´e Cette th`ese porte sur la question de la repr´esentation et de la cr´eation du son par la synth`ese dans le contexte de la composition musicale. Si de nombreux travaux ont ´et´er´ealis´es dans le domaine de la synth`ese sonore, in- troduisant des ouvertures significatives li´ees `ala production des sons par le calcul, peu d’entre eux permettent cependant de d´etacher r´eellement le son de son caract`ere physique (en tant que signal) pour en proposer une repr´esentation plus “musicale”. L’utilisation des outils correspondants n´ecessite g´en´eralement la maˆıtrise de syst`emes dont le param´etrage, en vue de la production des sons de synth`ese, s’ins`ere difficilement dans les pratiques et pr´eoccupations des compositeurs. -
Live and Interactive Electronic Vocal Compositions: Trends and Techniques for the Art of Performance
Live and Interactive Electronic Vocal Compositions: Trends and Techniques for the Art of Performance • Julieanne Klein F acuIty of Music McGill University, Montreal January 2007 A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements of the degree of Doctor of Music. r © Julieanne Klein 2007 • Abstract This thesis deals with technological, compositional and performance-practice aspects of computer-based live and interactive electronic vocal music. Live performance-based electronic music indicates a composition by which the vocal, instrumental and/or electronic sounds are processed in real time. By surveying historical developments, technological advances, aesthetics, and important figures, this document intends to assist singers in gaining a global perspective of the field in hopes of facilitating interest in the performing and commissioning of live electronic vocal compositions. An important element of this thesis is an annotated appendix of computer-based live and interactive electronic vocal music detailing instrumentation, technical requirements, texts, performance notes and publisher contact information. In order to assist in the study and performance of these works, relevant performance issues are explored, and a methodology and step-by-step checklist for learning contemporary and electronic vocal music is included. An analysis of three vocal works in this genre is presented: En Écho by Philippe Manoury, Erba nera che cresci segno nero tu l!il!i by Mauro Lanza, and a new work commissioned especially for this study, Avant la lawe by David Adamcyk. Cette thèse traite des aspects technologiques et compositionnels ainsi que de l'interprétation d'oeuvres pour voix et traitement électronique interactif en temps réel. -
The Spaces of the Electronic Music in Louis Andriessen's Writing to Vermeer and Luca Francesconi's Quartett
THE SPACES OF THE ELECTRONIC MUSIC IN LOUIS ANDRIESSEN'S WRITING TO VERMEER AND LUCA FRANCESCONI'S QUARTETT Fabio Monni Freelance composer based in Malmö, Sweden Abstract: This paper aims to look inside the operatic works of two living composers, discovers the strategies behind the use of electroacoustic music into a drama and answer a few questions related to the space that electroacoustic music occupies in a codified instrumental/vocal music language. Keywords: Opera, Electronics, Space, Louis Andriessen, Luca Francesconi. Introduction The present paper is not intended to be a systematic study over different uses of the electroacoustic music in lyric operas, rather it consists in a series of considerations, reflexions from a composer's perspective. These considerations will eventually be personal and subjective. Nevertheless, I will bring music examples to clarify and support the following statements. The paper will start from a generic description of the phenomenon space, it will continue with an overview of the two chosen operas, comment the observed peculiarities and arrive to final conclusions. A prologue about space Any kind of activity takes place in a specific space. A physical space is where we interact with other people and where we emotionally connect with each other. For musicians space is where we perform and listen to music. It is an inanimate element. Yet it can actively influence us, our mood, the way we think and the way we create. It is able to influence the way we compose music and play it. As Georges Perec listed in his book Espèces d'espaces (1974) space is something that we tend to take for granted, we don't often stop to reflect on its importance. -
Luca Francesconi : Animus
iRCAM 06.07 ATELIER CONCERT « UNE HEURE, UNE ŒUVRE » LUCA FRANCESCONI ANIMUS MERCREDi 24 JANViER 12H30 Ircam - CentreCENTRE POMPiDOU,Pompidou PETiTE SALLE Ircam - Centre Pompidou Ircam - Centre Pompidou L’Ircam, association loi 1901, ÉQUIPE TECHNIQUE IRCAM organisme associé au Centre Pompidou, est subventionné Benoît Meudic, régie informatique par le ministère de la Culture Joachim Olaya, ingénieur du son et de la Communication Maxime Le Saux, régisseur son (Direction des affaires générales, Thomas Leblanc, régisseur Mission de la recherche Clément Lardé, Emmanuel Martin, et de la technologie assistants régisseurs et Direction de la Musique, de la danse, du théâtre Ircam - Centre Pompidouet des spectacles). Dans le cadre de son cercle d’entreprises, l’Ircam reçoit le soutien de : Ircam Réalisation graphique Institut de recherche Aude Grandveau et coordination acoustique/musique Ircam - Centre1 place Igor-Stravinsky Pompidou 75004 Paris Tél. : +33 (0)1 44 78 48 43 www.ircam.fr Ircam - Centre Pompidou LUCA FRANCESCONI ANIMUS Benny Sluchin, trombone Réalisation informatique musicale Ircam Tom Mays L’atelier est animé par Grégoire Lorieux, assistant musical chargé de l’enseignement à l’Ircam, en présence du compositeur. Ircam - Centre Pompidou PRODUCTION IRCAM-CENTRE POMPIDOU. Ircam - Centre Pompidou Ircam - Centre Pompidou 4 | LUCA FRANCESCONi ANNÉE DE COMPOSITION une discrétisation obscène de l’expé- 1995 rience : nous commençons à formaliser la EFFECTIF trajectoire perceptive. trombone et électronique Il existe néanmoins une frontière, parti- DURÉE culièrement mystérieuse et fragile, au-delà 12 minutes de laquelle, subitement, nos signes ÉDITEUR deviennent parlants ; ils sont en quelque Ricordi, Milan sorte aspirés dans le magma incandescent du monde, et réintègrent le cycle vital. -
Rencontre Avec Les Compositeurs Philippe Hurel Et Philippe Manoury
Rencontre avec les compositeurs Philippe Hurel et Philippe Manoury Vendredi 16 octobre 2020 salle Varèse, gratuit 18h Table ronde animée par Maxime Marchand et Nathan Magrecki, étudiants du département de culture musicale 20h Concert Atelier XX-21 Fabrice Pierre, direction Programme du concert Atelier XX- 21 Bruno Maderna (1920-1973) Giardino religioso Philippe Manoury (né en 1952) Passacaille pour Tokyo pour piano et dix-sept instruments Ezequiel Castro, piano Philippe Hurel (né en 1955) Six miniatures en trompe-l’œil pour ensemble Manon Lepauvre (né en 1992) Ys II, concerto pour violon et ensemble (création) Léo Belthoise, violon Merci de ne pas filmer, photographier ou enregistrer cette manifestation. 1 Depuis sa création en 1980, le Conservatoire national supérieur musique et danse de Lyon propose un enseignement dans lequel la création a une place importante, répondant ainsi aux nouveaux enjeux et défis, professionnels et artistiques auxquels sont confrontés les étudiants·tes au cours de leur carrière. C’est dans ce cadre qu’a été mis en place l’Espace Transversal de Création, pôle pédagogique qui regroupe l’ensemble des activités liées à la création sous toutes ses formes. Le CNSMD de Lyon favorise ainsi la création dans la formation des étudiants en encourageant l’ouverture à des esthétiques variées à travers les passerelles créées par l’ETC, et notamment avec l’Atelier XX- 21, le collectif d’improvisation, le Laboratoire Scène ActuelleS. Compositeurs français multi-récompensés, Philippe Manoury et Philippe Hurel ont contribué à l’excellence pédagogique du CNSMD de Lyon en tant que professeurs de composition, et sont à l’honneur cette semaine avec une série de rencontres croisées autour de leurs œuvres. -
TROMPE-LA-MORT Luca Francesconi
TROMPE-LA-MORT Luca Francesconi @ PALAIS GARNIER Création mondiale 6 représentations du 16 mars au 5 avril 2017 Commande de l’Opéra national de Paris Avant-première le 13 mars 2017, réservée aux moins de 28 ans OPÉRA DIRECTION MUSICALE Susanna Mälkki JACQUES COLLIN / CARLOS HERRERA / TROMPE- MISE EN SCÈNE Guy Cassiers LA-MORT Laurent Naouri OPÉRA EN DEUX ACTES COSTUMES Tim Van Steenbergen ESTHER Julie Fuchs 2017 DÉCORS Tim Van Steenbergen et Guy Cassiers LUCIEN DE RUBEMPRÉ Cyrille Dubois MUSIQUE ET LIVRET LUMIÈRES Caty Olive LE BARON DE NUCINGEN Marc Labonnette Luca Francesconi (1956) VIDÉO Frederik Jassogne ASIE Ildikó Komlósi D’APRÈS DRAMATURGIE Erwin Jans EUGÈNE DE RASTIGNAC Philippe Talbot Honoré de Balzac CHEF DES CHŒURS Alessandro Di Stefano LA COMTESSE DE SÉRIZY Béatrice Uria-Monzon CLOTILDE DE GRANDLIEU Chiara Skerath En langue française Orchestre et Chœurs de l’Opéra national de LE MARQUIS DE GRANVILLE Christian Helmer Surtitrage en français et en anglais Paris PEYRADE (un espion) François Piolino CORENTIN (un espion) Rodolphe Briand CONTENSON (un espion) Laurent Alvaro Pour cette création mondiale, Luca Francesconi se saisit d’une figure tutélaire de La Comédie humaine : Vautrin, alias Jacques Collin, alias l’abbé Carlos Herrera, alias… Trompe‑la‑Mort. Impressionnant personnage masqué, Trompe‑la‑Mort se révèle tout à la fois à travers des énergies latentes, impalpables, et dans des drames aux rebondissements tragiques. Ambivalent personnage à la familiarité royale et à l’empressement maternel, cruel et amoureux, rapace et capable de dompter les fous, ce « Machiavel du bagne » qui finira chef de la police, utilise ses conquêtes pour servir un but éclatant tout en « cachant sa marche ». -
Rebecca Saunders Awarded Roche Commission to Write New Piano Concerto for Nicolas Hodges
Rebecca Saunders awarded Roche Commission to write new piano concerto for Nicolas Hodges 30 October, Wigmore Hall 12 January, Glasgow City Halls Lutyens, Clarke, ThomallaWORLD PREMIERES Steen-Andersen Piano ConcertoUK PREMIERE 24 November, Lucerne Festival 2 March, Barbican Tsukamoto, Ciurlo, HilliWORLD PREMIERES Ligeti Piano Concerto 29 August 2020, Lucerne Festival Rebecca Saunders Piano ConcertoWORLD PREMIERE On 29 August 2020, the prolific contemporary pianist Nicolas Hodges will inaugurate the world premiere performance of Rebecca Saunders’ Piano Concerto at the Lucerne Festival. Roche, in collaboration with the Lucerne Festival and the Lucerne Festival Academy, has awarded Rebecca Saunders their prestigious Roche Commission to enable her to compose a piano concerto for Hodges, who breaks new ground in 2018-19 with a series of world and UK premieres, including three premieres at the Wigmore Hall on 30 October and the UK premiere of Simon Steen-Andersen’s Piano Concerto on 12 January. The biannual Roche Commissions have previously been awarded to several high-profile composers, including Sir Harrison Birtwistle and Sir George Benjamin. Rather than commissioning works that will cater to mainstream fashions, Roche Commissions enables musical works to venture beyond the conventional and provide intellectual stimulation. Saunders will interact with leading scientists over the following two years and in 2020 the newly-developed commission will be premiered at the Lucerne Summer Festival. With piano soloist Hodges, the work will be performed by the Orchestra of the Lucerne Festival Academy conducted by previous Roche Commissions award-winner Matthias Pintscher. Nicolas Hodges is an ideal collaborator for Saunders’ commission. Never shying away from challenging new writing, Hodges continues to push the boundaries of modern piano music with bold and incisive performances. -
Modeling Musical Anticipation: from the Time of Music to the Music of Time
UNIVERSITY OF CALIFORNIA, SAN DIEGO Modeling Musical Anticipation: From the time of music to the music of time A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Arshia Cont Committee in charge: Shlomo Dubnov, Chair Alain de Cheveigné Philippe Manoury Miller Puckette Lawrence Saul David Wessel 2008 Copyright Arshia Cont, 2008 All rights reserved. The dissertation of Arshia Cont is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2008 iii DEDICATION !"#$%&'!()*+,-.&'!() /0123456!78. 9: CD JKL $ 3;<=>?@6AB 5EFGHI MN Dedicated to ones who dedicate... my parents Mansoureh Daneshkazemi and Gholamhossen Cont iv ! EPIGRAPH “I think that the search for a universal answer to the questions raised by musical experi- ence will never be completely fulfilled; but we know that a question raised is often more significant than the answer received. Only a reckless spirit, today, would try to give a total explanation of music, but anyone who would never pose the problem is even more reckless.” Remembering the future LUCIANO BERIO v TABLE OF CONTENTS Signature Page............................................ iii Dedication.............................................. iv Epigraph...............................................v Table of Contents.......................................... vi List of Figures............................................ xi List of Tables........................................... -
Composition Prize 2013
Concours de Genève Prix international d’ interprétation & de composition Press Kit Composition Prize 2013 Partenaire principal Concours de Genève Prix international d’ interprétation & de composition Table of contents Introduction Page 2 Presentation and regulation Page 3 The Finalists and their works Page 4 Members of the Jury Page 12 Young Audience Prize Page 15 The Ensemble Contrechamps Page 16 Musical Director of Contrechamps Page 17 Partners Page 18 Organisation Page 19 Contact Page 20 Partenaire principal 1 Concours de Genève INTRODUCTION Prix international d’ interprétation & de composition A new discipline The Geneva International Music Competition is traditionally a competition of musical performance. Since 1939, nearly all disciplines have been represented, from orchestra instruments to chamber music, piano and voice. The only exception was composition, a discipline essential to performers but often ill regarded by the public. Now however, the two worlds cohabit in Geneva. By offering a Composition Prize, for which the award winning work will be compulsory for performers the following year, the Geneva Competition hopes to contribute to the emergence of a true musical modernity, whereby the creative act of the composer will be regarded with the same standards of respect and admiration as the re-creative act of the performer. The Geneva Competition’s Composition Prize follows the tradition started with the Prix Reine Marie José, which was awarded between 1958 and 2008 to more than 20 composers for works ranging from quartet to concertos, symphonies to pieces for solo and electronic instruments. With the support of the Fondation Reine Marie José, our audience now has the possibility of watching these works performed as Word Premiere, of awarding the Audience Prize to the piece of its choice and seeing the award-winning work performed again the following year as one of the competition rounds.