Time of Music Schedule 2017
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1 the Roots of Birtwistle's Theatrical Expression
Cambridge University Press 978-0-521-89534-7 - Harrison Birtwistle’s Operas and Music Theatre David Beard Excerpt More information 1 The roots of Birtwistle’s theatrical expression: from Pantomime to Down by the Greenwood Side With six major operas, around eight music dramas, and a body of incidental music to his name, Harrison Birtwistle has made a significant contribution to contemporary opera and music theatre during a period that spans more than forty years. This study is concerned not only to reflect the importance of these stage works by examining them in some detail but also to convey their varied musical and intellectual worlds. Previous studies have rightly focused on Birtwistle’s perennial concerns, such as myth, ritual, cyclical journeys, varied repetition, verse–refrain structures, instrumental role-play, layers and lines.1 These characteristics highlight consistency throughout Birtwistle’s oeuvre and are a mark of his formalist stance. By contrast, this book is motivated by a belief that the stage works – in which instrumental and physical drama, song and narrative are combined – demand interpre- tation from multiple, inter-disciplinary perspectives. While not denying obvious or important relations between works, what follows is rather more focused on differences: Birtwistle’s choice of contrasting narrative subjects, his collaborations with nine librettists, his varied pre-compositional ideas and working methods, his experience with different directors, producers and others, all distinguish one stage work from another. A recurring theme is therefore a consideration of ways in which Birtwistle’s initial concepts are informed, altered or conveyed differently in each case. Moreover, as ideas evolve, from the composer’s musical sketches to the final production, mul- tiple meanings accrue that are particular to each drama. -
Gardner • Even Orpheus Needs a Synthi Edit No Proof
James Gardner Even Orpheus Needs a Synthi Since his return to active service a few years ago1, Peter Zinovieff has appeared quite frequently in interviews in the mainstream press and online outlets2 talking not only about his recent sonic art projects but also about the work he did in the 1960s and 70s at his own pioneering computer electronic music studio in Putney. And no such interview would be complete without referring to EMS, the synthesiser company he co-founded in 1969, or namechecking the many rock celebrities who used its products, such as the VCS3 and Synthi AKS synthesisers. Before this Indian summer (he is now 82) there had been a gap of some 30 years in his compositional activity since the demise of his studio. I say ‘compositional’ activity, but in the 60s and 70s he saw himself as more animateur than composer and it is perhaps in that capacity that his unique contribution to British electronic music during those two decades is best understood. In this article I will discuss just some of the work that was done at Zinovieff’s studio during its relatively brief existence and consider two recent contributions to the documentation and contextualization of that work: Tom Hall’s chapter3 on Harrison Birtwistle’s electronic music collaborations with Zinovieff; and the double CD Electronic Calendar: The EMS Tapes,4 which presents a substantial sampling of the studio’s output between 1966 and 1979. Electronic Calendar, a handsome package to be sure, consists of two CDs and a lavishly-illustrated booklet with lengthy texts. -
Pace Final 26.11.15
Positions, Methodologies and Aesthetics in the Published Discourse about Brian Ferneyhough: A Critical Study Ian Pace1 Since Brian Ferneyhough achieved a degree of public recognition following the premiere of his Transit (1972-75) in March 1975 at the Royan Festival, a range of writings on and reviews of his work have appeared on a relatively regular basis. The nature, scope, style, and associated methodologies of these have expanded or changed quite considerably over the course of Ferneyhough's career––in part in line with changes in the music and its realization in performance––but nonetheless one can discern common features and wider boundaries. In this article, I will present a critical analysis of the large body of scholarly or extended journalistic reception of Ferneyhough's work, identifying key thematic concerns in such writing, and contextualizing it within wider discourses concerning new music. Several key methodological issues will be considered, in particular relating to intentionality and sketch study, from which I will draw a variety of conclusions that apply not only to Ferneyhough, but to wider contemporary musical study as well. Early Writings on Ferneyhough The first extended piece of writing about Ferneyhough's work was an early 1973 article by Elke Schaaf2 (who would become Ferneyhough's second wife),3 which deals with Epicycle (1968), Missa Brevis (1969), Cassandra's Dream Song (1970), Sieben Sterne (1970), Firecyle Beta (1969-71), and the then not-yet-complete Transit. Schaaf’s piece already exhibits one of the most -
Form in the Music of John Adams
Graduate Theses, Dissertations, and Problem Reports 2018 Form in the Music of John Adams Michael Ridderbusch Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Ridderbusch, Michael, "Form in the Music of John Adams" (2018). Graduate Theses, Dissertations, and Problem Reports. 6503. https://researchrepository.wvu.edu/etd/6503 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Form in the Music of John Adams Michael Ridderbusch DMA Research Paper submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music Theory and Composition Andrew Kohn, Ph.D., Chair Travis D. Stimeling, Ph.D. Melissa Bingmann, Ph.D. Cynthia Anderson, MM Matthew Heap, Ph.D. School of Music Morgantown, West Virginia 2017 Keywords: John Adams, Minimalism, Phrygian Gates, Century Rolls, Son of Chamber Symphony, Formalism, Disunity, Moment Form, Block Form Copyright ©2017 by Michael Ridderbusch ABSTRACT Form in the Music of John Adams Michael Ridderbusch The American composer John Adams, born in 1947, has composed a large body of work that has attracted the attention of many performers and legions of listeners. -
October 2012
21ST CENTURY MUSIC OCTOBER 2012 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 2012 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. -
Introitus Programme Note
James Dillon Introitus (1989–90) 6Vln, 2Vla, 2Vc, 2Db, Tape and Live Electronics duration: 28 minutes Published by Edition Peters (EP7408) First performance: May 1990, Centre Georges Pompidou, Paris Ensemble Intercontemporain, IRCAM technicians, conducted by Peter Eötvös Commissioned by IRCAM River: [ME, (O) Fr. riviere] “a copious stream or flow of something (e.g. water flowing in a channel towards the sea or ocean).” “one who rives who tears apart, who severs, divides or cleaves, to split by means of shock, violent impact or pressure.” [Shorter Oxford Dictionary] Introitus is the eighth in a series of nine works begun in 1982 with the generic title of Nine Rivers. Each of the nine works represents an evolving and interlocking set of orchestrations, where the conceptual basis for scaling, pattern and transformation are derived from a conflation of the title river as both flow and disruption Introitus is organised as a palimpsest of three superposed layers: 1) Twelve strings (6 vlns, 2 vlas, 2 v’celli and 2 C’bass) 2) Computer-generated tape 3) Live electronics (sound transformation and spatialisation) These interdependent strata function not simply to perform a coherent unity a symbiosis but cite their own deconstruction. Introitus within the context of Nine Rivers may be viewed as an estuary (L. aestuare, to surge, foam as the tide), a tidal delirium opened up by the employment of computer technology. 1 ) The twelve strings are subdivided into 3 groups Peters Edition Limited Hinrichsen House 10-12 Baches Street London N1 6DN Tel: 020 7553 4030 Fax: 020 7490 4921 e-mail: [email protected] internet: www.editionpeters.com James Dillon 4 vlns; string quartet; and vla, v’cello, 2 c’ bass Musical material in part either echoes events from previous Nine Rivers works or in common with previous works is constructed around an interaction of prototypical patterns, spirals, branching and meanders, (with turbulence – see below) these patterns are identified in morphology theory as lying at the basis of most natural formations. -
Juilliard Percussion Ensemble Daniel Druckman , Director Daniel Parker and Christopher Staknys , Piano Zlatomir Fung , Cello
Monday Evening, December 11, 2017, at 7:30 The Juilliard School presents Juilliard Percussion Ensemble Daniel Druckman , Director Daniel Parker and Christopher Staknys , Piano Zlatomir Fung , Cello Bell and Drum: Percussion Music From China GUO WENJING (b. 1956) Parade (2003) SAE HASHIMOTO EVAN SADDLER DAVID YOON ZHOU LONG (b. 1953) Wu Ji (2006) CHRISTOPHER STAKNYS, Piano BENJAMIN CORNOVACA LEO SIMON LEI LIANG (b. 1972) Inkscape (2014) DANIEL PARKER, Piano TYLER CUNNINGHAM JAKE DARNELL OMAR EL-ABIDIN EUIJIN JUNG Intermission The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. CHOU WEN-CHUNG (b. 1923) Echoes From the Gorge (1989) Prelude: Exploring the modes Raindrops on Bamboo Leaves Echoes From the Gorge, Resonant and Free Autumn Pond Clear Moon Shadows in the Ravine Old Tree by the Cold Spring Sonorous Stones Droplets Down the Rocks Drifting Clouds Rolling Pearls Peaks and Cascades Falling Rocks and Flying Spray JOSEPH BRICKER TAYLOR HAMPTON HARRISON HONOR JOHN MARTIN THENELL TAN DUN (b. 1957) Elegy: Snow in June (1991) ZLATOMIR FUNG, Cello OMAR EL-ABIDIN BENJAMIN CORNOVACA TOBY GRACE LEO SIMON Performance time: Approximately 1 hour and 45 minutes, including one intermission Notes on the Program Scored for six Beijing opera gongs laid flat on a table, Parade is an exhilarating work by Jay Goodwin that amazes both with its sheer difficulty to perform and with the incredible array of dif - “In studying non-Western music, one ferent sounds that can be coaxed from must consider the character and tradition what would seem to be a monochromatic of its culture as well as all the inherent selection of instruments. -
Wiebe, Confronting Opera
King’s Research Portal DOI: 10.1080/02690403.2017.1286132 Document Version Peer reviewed version Link to publication record in King's Research Portal Citation for published version (APA): Wiebe, H. (2020). Confronting Opera in the 1960s: Birtwistle’s Punch and Judy. Journal of the Royal Musical Association , 142(1), 173-204. https://doi.org/10.1080/02690403.2017.1286132 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. -
Minimalism and New Complexity in Solo Flute Repertoire by Twila Dawn Bakker Bachelor of Arts, Univer
Two Responses to Modernism: Minimalism and New Complexity in Solo Flute Repertoire by Twila Dawn Bakker Bachelor of Arts, University of Alberta, 2008 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the School of Music Twila Dawn Bakker, 2011 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee Two Responses to Modernism: Minimalism and New Complexity in Solo Flute Repertoire by Twila Dawn Bakker Bachelor of Arts, University of Alberta, 2008 Supervisory Committee Dr. Jonathan Goldman, School of Music Supervisor Dr. Michelle Fillion, School of Music Departmental Member iii Abstract Supervisory Committee Dr. Jonathan Goldman, School of Music Supervisor Dr. Michelle Fillion, School of Music Departmental Member Wind repertoire, especially for flute, has received little focused attention in the musicological world especially when compared with other instruments. This gap in scholarship is further exacerbated when the scope of time is narrowed to the last quarter of the twentieth century. Although Minimalism and New Complexity are – at least superficially – highly divergent styles of composition, they both exhibit aspects of a response to modernism. An examination of emblematic examples from the repertoire for solo flute (or recorder), specifically focusing on: Louis Andriessen’s Ende (1981); James Dillon’s Sgothan (1984), Brian Ferneyhough’s Carceri d’Invenzione IIb (1984), Superscripto (1981), and Unity Capsule (1975); Philip Glass’s Arabesque in Memoriam (1988); Henryk Górecki’s Valentine Piece (1996); and Steve Reich’s Vermont Counterpoint (1982), allows for the similarities in both genre’s response to modernism to be highlighted. -
Mark-Anthony Turnage Signs with Boosey & Hawkes
Boosey & Hawkes Music Publishers Limited 295 Regent Street London W1B 2JH Telephone 020-7580 2060 Fax 020-7637 3490 11 Dec 2002: for immediate release Website www.boosey.com Mark-Anthony Turnage signs with Boosey & Hawkes Mark-Anthony Turnage We are pleased to announce that Mark-Anthony Turnage, one of the most admired and new publishing contract widely-performed composers of his generation, has signed a long-term exclusive with Boosey & Hawkes publishing agreement with Boosey & Hawkes Music Publishers. The new contract, which runs from 1 January 2003, covers all future Turnage compositions from Crying Out Loud, a new work for Ensemble Modern to be premiered in Taipei in April 2003. Turnage’s existing output, including new works being premiered in January, remains published by Schott, and both publishers will be collaborating closely in the overall promotion of Turnage’s music. future works under Turnage’s future projects reflect his international stature, including commissions for the the new contract New York Philharmonic, London Philharmonic, Berlin Radio Choir and Berlin Philharmonic, the Hallé and clarinetist Michael Collins, Nash Ensemble, Ensemble Modern and flautist Dietmar Wiesner, and the Chicago Symphony Orchestra’s contemporary music ensemble. Turnage festival at the The BBC Symphony Orchestra appointed Mark-Anthony Turnage as its first Associate Barbican Centre in London Composer in 2000, and this fruitful partnership is celebrated in a weekend festival of 17-19 January 2003 Turnage’s music at the Barbican Centre on 17-19 January 2003. Chandos has recently released a disc of works by Turnage, performed by the BBC Symphony Orchestra under Slatkin, featuring Fractured Lines, Another Set To, Silent Cities and Four Horned Fandango (Chandos 10018). -
Battles Around New Music in New York in the Seventies
Presenting the New: Battles around New Music in New York in the Seventies A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joshua David Jurkovskis Plocher IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY David Grayson, Adviser December 2012 © Joshua David Jurkovskis Plocher 2012 i Acknowledgements One of the best things about reaching the end of this process is the opportunity to publicly thank the people who have helped to make it happen. More than any other individual, thanks must go to my wife, who has had to put up with more of my rambling than anybody, and has graciously given me half of every weekend for the last several years to keep working. Thank you, too, to my adviser, David Grayson, whose steady support in a shifting institutional environment has been invaluable. To the rest of my committee: Sumanth Gopinath, Kelley Harness, and Richard Leppert, for their advice and willingness to jump back in on this project after every life-inflicted gap. Thanks also to my mother and to my kids, for different reasons. Thanks to the staff at the New York Public Library (the one on 5th Ave. with the lions) for helping me track down the SoHo Weekly News microfilm when it had apparently vanished, and to the professional staff at the New York Public Library for Performing Arts at Lincoln Center, and to the Fales Special Collections staff at Bobst Library at New York University. Special thanks to the much smaller archival operation at the Kitchen, where I was assisted at various times by John Migliore and Samara Davis. -
Harrison Birtwistle Selected Reviews
Harrison Birtwistle Selected Reviews The Last Supper BBC Scottish Symphony Orchestra (January 2017) "The Last Supper was designed as a millennial work. Convened by Ghost (Susan Bickley), Jesus and his disciples survey some of the miseries visited upon the world since their last meeting in Jerusalem. References to looking through “the three zeros of the year 2000” sounded awkward at the time, as did the hurried apologies to “Jews, blacks, Aborigines, women, gypsies [and] homosexuals”, but Birtwistle’s music has worn well. Its heft and humour spring from the page in sharp flecks of pizzicato strings, sinister tattoos from the side drum, coppery, cimbalom-like chords and thick knots of sound from double basses, low woodwind and accordion. The choral writing (sung by the BBC Singers) is superb." - Anna Picard, The Times **** "When The Last Supper was new, in a pre-9/11 world, some of its concerns felt outmoded. How wrong we were. Now it has proved its enduring pertinence." - Fiona Maddocks, The Observer "Birtwistle’s music feels tremendously lyrical, even opulent 17 years after the opera’s premiere. It’s quite often blunt and uncompromising, but the Latin choral motets that accompany Christ’s three visions summon remarkable poise and focus in his choral writing, and his lengthy foot-washing scene, in which Christ humbles himself before each of his disciples in turn, has an astonishing sense of pathos even amid its wailing orchestration that’s only increased by its inexorable repetitions." - David Kettle, The Arts Desk ***** "Birtwistle’s ritualistic writing is marvellous, layer upon layer of skewed time and perspective underpinned by a grim, grand pace unfolding from the bottom of orchestra.