RCM and Its Community, Part 2: the Hair-Raising Exploits of RCM Staff
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Upbeat Autumn 2011
The Magazine for the Royal College of MusicI Autumn 2011 What’s inside... Welcome to upbeat… This issue we’re celebrating the 25th anniversary of the Britten Theatre, so we’ve been out and about collecting memories from those involved in the Contents opening of this much-loved venue. 4 In the news The theatre was opened in November 1986 with three spectacular gala concerts. Hidden away in the chorus was none other than leading mezzo- Updating you on recent College activities including museum soprano Sarah Connolly! Turn to page 11 to hear her memories of performing developments and competition with leaping Lords and dancers dressed as swans, all in aid of raising funds for successes the theatre. We also talk to Leopold de Rothschild, who as Chairman of the Centenary 9 New arrivals Appeal, played a significant role in making sure the project came to fruition. The RCM welcomes a host of new On page 14, he remembers conducting the RCM Symphony Orchestra and faces to the College reveals what the Queen said to him on opening night… We’re always keen to hear from students past and present, particularly if you 10 The Britten Theatre… the perfect showcase have any poignant memories of the Britten Theatre. Send your news and pictures to [email protected] by 9 January 2012 to be featured in the next As we celebrate 25 years of the edition of Upbeat. Britten Theatre, Upbeat discovers how the College is seeking ways to update and improve it for the NB: Please note that we cannot guarantee to include everything we receive and that we 21st century reserve the right to edit submissions. -
2016 Program Booklet
Rebecca Penneys Piano Festival Fourth Year July 12 – 30, 2016 University of South Florida, School of Music 4202 East Fowler Avenue, Tampa, FL The family of Steinway pianos at USF was made possible by the kind assistance of the Music Gallery in Clearwater, Florida Rebecca Penneys Ray Gottlieb, O.D., Ph.D President & Artistic Director Vice President Rebecca Penneys Friends of Piano wishes to give special thanks to: The University of South Florida for such warm hospitality, USF administration and staff for wonderful support and assistance, Glenn Suyker, Notable Works Inc., for piano tuning and maintenance, Christy Sallee and Emily Macias, for photos and video of each special moment, and All the devoted piano lovers, volunteers, and donors who make RPPF possible. The Rebecca Penneys Piano Festival is tuition-free for all students. It is supported entirely by charitable tax-deductible gifts made to Rebecca Penneys Friends of Piano Incorporated, a non-profit 501(c)(3). Your gifts build our future. Donate on-line: http://rebeccapenneyspianofestival.org/ Mail a check: Rebecca Penneys Friends of Piano P.O. Box 66054 St Pete Beach, Florida 33736 Become an RPPF volunteer, partner, or sponsor Email: [email protected] 2 FACULTY PHOTOS Seán Duggan Tannis Gibson Christopher Eunmi Ko Harding Yong Hi Moon Roberta Rust Thomas Omri Shimron Schumacher D mitri Shteinberg Richard Shuster Mayron Tsong Blanca Uribe Benjamin Warsaw Tabitha Columbare Yueun Kim Kevin Wu Head Coordinator Assistant Assistant 3 STUDENT PHOTOS (CONTINUED ON P. 51) Rolando Mijung Hannah Matthew Alejandro An Bossner Calderon Haewon David Natalie David Cho Cordóba-Hernández Doughty Furney David Oksana Noah Hsiu-Jung Gatchel Germain Hardaway Hou Jingning Minhee Jinsung Jason Renny Huang Kang Kim Kim Ko 4 CALENDAR OF EVENTS University of South Florida – School of Music Concerts and Masterclasses are FREE and open to the public Donations accepted at the door Festival Soirée Concerts – Barness Recital Hall, see p. -
Euromac 9 Extended Abstract Template
9th EUROPEAN MUSIC ANALYSIS CONFERENC E — E U R O M A C 9 Hei Yeung Lai The Chinese University of Hong Kong, Hong Kong [email protected] Goehr’s Piano Sonata through a Transformational Lens the introductory theme also acts as a germ that ‘contains a latent set of ABSTRACT relationships that the themes unfold’, which is depicted by some isographic transformational networks. Background On the other hand, the endings of each section of the Sonata feature different tetrachordal presentations. Specifically, the (013) trichord is Alexander Goehr’s interest in serialism has its root in the embedded in all of these structural tetrachords, which further asserts twelve-note compositional trend in the post-war environment and his the importance of this abstract intervallic motive at the structural level. particular family and cultural background. His Piano Sonata is his first The application of the Klumpenhouwer networks relates these composition to have secured a performance in an international context, structural harmonies by means of isographic networks, which binds the one that de facto launched his professional career. Apart from being chronological structural closures into a complex of relationships and inspired by the rhythmic characteristics of Bartók and Messiaen, Goehr hence reveals the ‘deep structure’ of the Sonata. points out that Liszt’s Piano Sonata and Schoenberg’s Chamber Symphony also informed his Sonata, ‘which contained [his] first Implications experiment in the combination of twelve-note row and modal harmony’ The application of transformational analysis, along with that of (Goehr and Wintle 1992, 168-169). The subtitle ‘in memory of Serge Klumpenhouwer net, on Goehr’s Sonata, a novel approach conducted Prokofiev’ in the published scores and the melodic reference to here for the first time, reveals an intricate array of functional Prokofiev’s Seventh Piano Sonata also confirm Goehr’s reference to the relationships among different themes and structural entities, which Russian composer (Rupprecht 2015, 124). -
Young Musicians Fund Raising Concert
Malaysian Youth Orchestra Foundation presents: PerformanceYOUNG MUSICIANS FUND RAISING An afternoon of musical delights followed by the famous Ritz-Carlton High Tea. Featuring MYOF’s scholarship recipients, Jane Ng on violin, Shuenda Wong on piano, and talented young musicians from The Music Professionals Academy of Performing Arts. Date: Saturday, 24th March 2012 2pm to 3.30pm ~ Performance 3.30 - 4.30pm ~ High Tea HIGHLIGHTS “Can-Can” from “Orpheus in the Underworld” ~ Offenbach Drowsy Maggie ~ Reel Violin Sonata in G Major, K301 ~ Mozart Violin Sonata ~ Poulenc Liebesleid ~ Kreisler Schon Rosmarin ~ Kreisler Canon ~ J. Pachelbel “Hornpipe” from “Water Music” ~ Handel Gavotte in D Major ~ JS Bach Pupil’s Violin Concerto No. 1 ~ F. Seitz “La primavera” (spring) ~ Vivaldi Tickets for performance with High Tea: RM250, RM300 per pax for back and side tables. Row 1 & 2 stage facing tables are sold only by a table of 10 pax. Contact the organizer for more information: [email protected]. Funds raised from concert will be channeled towards setting up of a Junior String Camp and scholarship awards for the camp. 24TH MARCH 2012, 2 ~ 4.30PM THE RITZ-CARLTON, KUALA LUMPUR This event is sponsored by PERFORMERS The performing career of Malaysian-born Jane Ng began at the age of seven when she gave concerts on both piano and violin. As a violinist, pianist, and composer, she has performed extensively at international festivals in Singapore, Japan, Hong Kong, Spain, Hungary, and the Czech Republic. She furthered her studies with Ani Schnarch and Yossi Zivoni in London on a full International Scholarship from The Associated Board of the Royal Schools of Music (ABRSM) from which she graduated with First Class Honours and subsequently, a further Full Scholarship from the Royal College of Music for the Masters Degree and the Artist Diploma in Performance, supported by The Richard Carne Trust, The Musicians Benevolent Fund, The Malaysian Youth Orchestra Foundation (MYOF), and Tinggi Foundation. -
Gettysburg Symphony Orchestra
he Serving Baltimore/Washington/Annapolis . J January/February 2003 Circulation: 27,000 Johns Hopkins News Russian pianist The- Baltimore Alexander Shtarkman solp with the Shostakovich's in Hail Peabody Lady Macbeth of Dedication Mtsensk >age 3 Orchestra guest conducted by Leon Fleisher -jf V V**5. Yuri Temirkanov programs Russian composer with the Baltimon Symphon S B U R G A city-wide celebration Lori Hultgrei* with Peabody Symphony Orchestra Page 7 Peabodv Chamber Opera presents Berlin/Munich double bill Page 8 Young Dance classes at Preparatory Page 16 2 Peabody News January/February 2003 [ERNO N CULTURAL DISTRICT * MOUNT VERNON CULTURAL DISTRICT • MOUNT VERNON CULTURAL DISTRICT * MOUNi #19 FIND YOUR KNIGHT IN SHINING ARMOR jf *" For 99 other fun things to do, visit www.mvcd.org i MOUNT VERNON CULTURAL DISTRICT NEIGHBORHOOD Baltimore School for the Arts * Basilica of the Assumption * Center Stage * Contemporary Museum * Garrett Jacobs Mansion 100 * Enoch Pratt Free Library * Eubie Blake National Jazz Institute and Cultural Center * The George Peabody Library * Maryland •THINGS TO DO! I Historical Society * The Peabody Institute * The Walters Art Museum January/February 2003 Peabody News 3 1 John. Js * Hopkins : Peabody News lifts I The Award Winning wamm Newspaper of the Baltimore/ Washington Cultural Corridor Published by the Peabody Richard Goode awarded Conservatory of Music, George Peabody Medal Baltimore. First he played a magical recital. Then at the end of his October 29 program, Richard Goode was presented with the Circulation: -
Alexander Goehr “Fings Ain’T Wot They Used T’Be”
Archive zur Musik des 20. und 21. Jahrhunderts Band 13 Alexander Goehr “Fings ain’t wot they used t’be” On behalf of the Archives of the Akademie der Künste edited by Werner Grünzweig wolke First Edition 2012 Copyright © by Archiv der Akademie der Künste, Berlin, and by the authors All rights reserved by Wolke Verlag, Hofheim Printed in Germany Editorial assistance: Lynn Matheson, Anouk Jeschke, Alexander K. Rothe Music examples set by Oliver Dahin, Berlin Scans: Kerstin Brümmer Typeset in Simoncini Garamond by michon, Hofheim Print: AK-Druck&Medien GmbH, Schneckenlohe Cover design: Friedwalt Donner, Alonissos Cover photo: Misha Donat, London ISBN 978-3-936000-28-3 Contents Werner Grünzweig: In Dialogue with the Past . 7 Paul Griffiths: “…es ist nicht wie es war…”. The Music of Alexander Goehr . 15 Alexander Goehr: Learning to Compose . 97 Catalogue of the Music Manuscripts in the Alexander Goehr Archive . 127 CD-Supplement . 151 Werner Grünzweig In Dialogue with the Past The name Goehr has been familiar in music circles in central Europe for decades. Alexander Goehr’s father, Walter Goehr (1903-60), a former member of Arnold Schoenberg’s master class at the Akademie der Künste in Berlin, was known not only for his productions of Claudio Monteverdi’s Vespers and operas but also for his performances of contemporary music. Compositions by Alexander Goehr, who has been called “Sandy” since childhood days, have been featured at renowned music festivals in Germany since the mid-1950s. In 1956 his Fantasia, Op. 4, was performed at the Darmstadt Internationale Ferienkurse für Neue Musik in a pro- gramme also including works by Ernst Krenek, Arnold Schoenberg, Luigi Nono and Bernd Alois Zimmermann. -
Perspectives on Harmony and Timbre in the Music of Olivier Messiaen, Tristan Murail, and Kaija Saariaho
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2019 Liminal aesthetics : perspectives on harmony and timbre in the music of Olivier Messiaen, Tristan Murail, and Kaija Saariaho. Jackson Harmeyer University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Musicology Commons Recommended Citation Harmeyer, Jackson, "Liminal aesthetics : perspectives on harmony and timbre in the music of Olivier Messiaen, Tristan Murail, and Kaija Saariaho." (2019). Electronic Theses and Dissertations. Paper 3177. https://doi.org/10.18297/etd/3177 This Master's Thesis is brought to you for free and open access by ThinkIR: The nivU ersity of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The nivU ersity of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. LIMINAL AESTHETICS: PERSPECTIVES ON HARMONY AND TIMBRE IN THE MUSIC OF OLIVIER MESSIAEN, TRISTAN MURAIL, AND KAIJA SAARIAHO By Jackson Harmeyer B.A., Louisiana Scholars’ College, 2013 A Thesis Submitted to the Faculty of the School of Music of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Music in Music History and Literature Department of Music History and Literature University of -
Life Was a Cabaret
Life was a cabaret Jun. 4, 2009 MAXIM REIDER , THE JERUSALEM POST Whether it is seen as a concert or a show, The Jewish Cabaret is going to draw curious audiences. The Atar Piano Trio, together with singers Yeela Avital and Odelia Dahan, will perform the program at Beit Avi Hai in Jerusalem on June 8. The program features chamber music and cabaret songs from 1920s and 1930s Europe by Kurt Weill, Joseph Achron, Arnold Schoenberg, Itzik Manger, Robert Kahn, Ernest Bloch and others, as well as popular Yiddish songs and original arrangements of Jewish folk music. The ensemble, which was established in Jerusalem in 1996 by pianist Ofer Shelley after he finished his studies at the Rubin Academy of Music in Jerusalem, performs extensively in various venues in Israel and it tours Europe and the USA. The other two members, violinist Tanya Beltser and cellist Marina Kats, are also Rubin Academy graduates. Atar is currently one of the busiest chamber ensembles in Israel, giving many concerts, participating in various productions and special musical projects. "We all come from a classical background and this is the repertoire we traditionally perform. But over the years we came to the conclusion that there is room for more," says Shelley, explaining that in their special programs, which are preceded by in-depth research, they cooperate with many local musicians and appeal to a much wider audience. The Jewish Cabaret is an evening for piano, violin and a singer, dedicated to the period before WWII. "Our interest in this music stems from various sources. -
5020417-3A4357-635212053324.Pdf
ARTIST’S INTRODUCTION My relationship with Liszt started with the FRANZ LISZT (1811-1886) composer’s obvious piano-centric and romantic Franz Liszt is a composer whom I have always repertoire. It then deepened immensely as a found intriguing, fascinating and puzzling. Much challenge. I was one of Lazar Berman’s first has been speculated about Liszt. He was the female students. Berman was regarded as 19th century equivalent of a rock-star, at home his generation’s ultimate Liszt interpreter and 1 Toccata, S. 197a [1.16] on the piano as well as in all social circles. was quick to judge that a diminutive lady with He was the first real touring Pan-European hands spanning a 9th (although I can now 2 Unstern! Sinistre, disastro, S. 208 [4.55] artist, leading multiple lives at once, and yet stretch a 10th on a good day) would ever 3 Wiegenlied (Chant du berceau), S. 198 [3.15] finding the time to write so much music. succeed in playing Liszt well. By the time I 4 Bagatelle sans tonalité, S. 216a [2.47] made my debut in Budapest at the Great Hall Most of Liszt’ music has universal appeal. One of the Liszt Academy, performing Liszt’ First 5 Abschied, russisches Volkslied, S. 251 [2.23] can find copious connections to the past as Piano Concerto, I had won awards for my 6 Resignazione (Ergebung), S. 263/187a [1.23] well as a new individual voice developed from performances of the B minor Sonata and his reportedly stunning pianistic skills, but graduated from the Hochschule “Franz Liszt” in 7 Schlaflos! Frage und Antwort, S. -
REFLECTĂRI ÎN PRESĂ Semestrul II 2013
REFLECTĂRI ÎN PRESĂ – semestrul II 2013 INSTITUTUL CULTURAL ROMÂN DE LA TEL AVIV PAG. 1 REFLECTĂRI ÎN PRESĂ Semestrul II 2013 1. AUTONOMY & ANATOMY OF THE MOVING IMAGE. Arta video și cinematografia experimentală în ultimul deceniu. 7-9 iulie 2013, Cinemateca din Ierusalim http://www.icr.ro/video_cinema_decade_ro http://www.artiscontemporary.org/features_detail.php?id=269 Call for Papers: Autonomy & Anatomy of the Moving Image, International Symposium on Video Art and Experimental Cinema at the Mamuta Art and Media Center at Hansen Compound, Jerusalem CALL FOR PAPERS & PROPOSALS Autonomy & Anatomy of the Moving Image - Video & Experimental Cinema in the Last Decade: An international symposium on video art and experimental cinema to be held at the Mamuta Art & Media Center at Hansen Compound, Jerusalem July 7-9, 2013 The Mamuta Art and Media Center, The Hebrew University of Jerusalem School of the Arts at the Faculty of the Humanities, Arts, Technology, Media and Science Interfaces Seminar, Bezalel Academy of Arts and Design - Department of Screen-Based Arts, the Jerusalem Cinematheque, and the Jerusalem Film Festival. Deadline for submission of all Proposals: March 31, 2013 REFLECTĂRI ÎN PRESĂ – semestrul II 2013 INSTITUTUL CULTURAL ROMÂN DE LA TEL AVIV PAG. 2 Proposals will be received by email at: [email protected] Answers will be given: April 18, 2013 On the occasion of the tenth anniversary of “Intersections”, the Israeli Video Art and Experimental Film Competition, an International Symposium on Video Art and Experimental Cinema will be held on July 7-9, 2013, in the frame of the 30th Jerusalem Film Festival. The symposium will take place at the Mamuta Art and Media Center at Hansen Compound, Jerusalem. -
New Acquisitions
J & J LUBRANO MUSIC ANTIQUARIANS Item 23: The Prussian Quartets NEW ACQUISITIONS February 2014 351 West Neck Road, Lloyd Harbor, NY 11743 Telephone 631-549-0672 Fax 631-421-1677 [email protected] www.lubranomusic.com Autograph Manuscripts of “A... Composer Whose Music Embraces a Wide Variety of Contemporary Styles” 1. ADLER, Samuel born 1928. Drifting on Winds and Currents A Poem for Orchestra. Autograph musical manuscript sketches, ca. 2010. 4 pp. on two large oblong folio leaves (ca. 294 mm. x 286 mm.) notated in pencil on 18-stave music manuscript paper, each leaf signed by the composer and containing approximately 100 measures, primarily in short score. A working manuscript. The present was first performed by the Las Vegas Philharmonic with David Itkin conducting on November 20, 2010 in Las Vegas. Adler studied composition with Aaron Copland, Paul Fromm, Paul Hindemith, Hugo Norden, Walter Piston and Randall Thompson. "His works have been performed by major symphony orchestras, choral and chamber ensembles throughout the USA, Europe, South America and Israel... [He] is a prolific composer whose music embraces a wide variety of contemporary styles. His works exhibit great rhythmic vitality, with a predilection for asymmetrical rhythms and metres, and a keen sensitivity to counterpoint." Marie Rolf in Grove online A fine example of the composer's working methods. (22478) $1,200. 2. ADLER. Recalling the Yesterdays. Song cycle for mezzo soprano, flute, clarinet, violin, cello, piano and percussion, nos. 2: "The Saturday Matinee," 3: "Child of the Plains," 4: "The Medicine Keepers" and 5: "Season Song." Autograph musical manuscript full score, signed. -
2017-18 Season Brochure with Links
2017-2018 SEASON 2017-2018 SEPTEMBER 2017 – JULY 2018 SEPTEMBER 2017 – JULY Director: John Gilhooly OBE, HonRAM, HonFGS, HonRCM, HonFRIAM 36 Wigmore Street, London W1U 2BP www.wigmore-hall.org.uk Box Office Tel: 020 7935 2141 The Wigmore Hall Trust, Registered Charity Number 1024838 2017/18 Season September 2017 – July 2018 Design and print www.graphicimpressions.co.uk 2 • Welcome to our new look Wigmore Hall Season Brochure. I hope that you find it informative, clear and easy to use. Our season will include residencies from, amongst others, Isabelle Faust, Christian Tetzlaff, Sir András Schiff, Jörg Widmann and Sonia Prina. The season will include a 17-concert survey of Haydn’s string quartets with all of Haydn’s quartets from the Op. 20s onwards, and Cuarteto Casals will present a complete cycle of Beethoven’s string quartets, alongside new works by living composers. Vocal highlights include a performance of Winterreise by Mark Padmore and Mitsuko Uchida, and Director’s Roderick Williams’s first performances of Die schöne Mullerin, Winterreise and Schwanengesang, as well as recitals from Ian Bostridge, Sarah Connolly, Joyce Introduction DiDonato, Christian Gerhaher, Philippe Jaroussky and Simon Keenlyside. The Nash Ensemble will dedicate its 2017/18 Season to an exploration of French chamber music, performing repertoire by Debussy, Ravel, Faure and Poulenc. Other chamber concerts include appearances by Renaud Capuçon, Julia Fischer Quartet, Quatuor Ebène, the Takács Quartet, Alisa Weilerstein, Leila Josefowicz, and a performance by Leonidas Kavakos and Yuja Wang. The London Pianoforte Series includes performances from Francesco Piemontesi, who will continue his Mozart piano sonata cycle; Nelson Freire, who will mark the 50th anniversary of his Wigmore Hall debut with a recital on the exact day on 17 February 2018; and Daniil Trifonov with Rachmaninov and Chopin, as well as recitals from Jonathan Biss, Imogen Cooper, Bertrand Chamayou, Ingrid Fliter, Kirill Gerstein, Ivana Gavrić, Richard Goode, Igor Levit and Steven Osborne.