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Chuaqui C.V. 2019
MIGUEL CHUAQUI, Ph.D. Professor Director, University of Utah School of Music 1375 East Presidents Circle Salt Lake City, UT 84112 801-585-6975 [email protected] www.miguelchuaqui.com EDUCATION AND TRAINING 2007: Summer workshops in advanced Max/MSP programming, IRCAM, Paris. 1994 - 96: Post-doctoral studies in interactive electro-acoustic music, Center for New Music and Audio Technologies (CNMAT), University of California, Berkeley. 1994: Ph.D. in Music, University of California, Berkeley, Andrew Imbrie, graduate advisor. 1989: M.A. in Music, University of California, Berkeley. 1987: B.A. in Mathematics and Music, With Distinction, University of California, Berkeley. 1983: Studies in piano performance and Mathematics, Universidad Católica de Chile, Santiago, Chile. 1982: Certificate in Spanish/English translation, Cambridge University, England. 1976 - 1983: Studies in piano performance, music theory and musicianship, Escuela Moderna de Música, Santiago, Chile. WORK HISTORY 2009 – present: Professor, School of Music, University of Utah, Salt Lake City, Utah; Chair, Composition Area, 2008-2014. 2003 - 2009: Associate Professor, School of Music, University of Utah, Salt Lake City, Utah. 1996 - 2003: Assistant Professor, School of Music, University of Utah, Salt Lake City, Utah. 1994 – 1996: Organist and Assistant Conductor, St. Bonaventure Catholic Church, Clayton, California. 1992 - 1996: Instructor, Music Department, Laney College, Oakland, California. Music Theory and Musicianship. 1992 – 1993: Lecturer, Music Department, San Francisco State University, San Francisco, California. (One-year music theory sabbatical replacement position). 1989 – 1992: Graduate Student Instructor, University of California, Berkeley, California. updated 2/19 Miguel Chuaqui 2 UNIVERSITY, PROFESSIONAL, AND PUBLIC SERVICE ADMINISTRATIVE APPOINTMENTS 2015-present: Director, University of Utah School of Music. -
Program Notes by MARTIN BOOKSPAN
LIVE FROM LINCOLN CENTER March 24, 1999 8-10 PM New York City Opera: Lizzie Borden Program Notes by MARTIN BOOKSPAN "Lizzie Borden"- Music by Jack Beeson; libretto by Kenward Elmslie; based on a scenario by Richard Plant. World premiere given at New York City Opera, March 25, 1965. "Lizzie Borden took an ax, and gave her father forty whacks." This childhood rhyme may have passed from currency in the waning years of the twentieth century, but the event it memorialized was very much alive in the waning years of the nineteenth. Along with the likes of Paul Bunyan and Johnny Appleseed, Lizzie Borden of Fall River, Massachusetts, assumed legendary status in the American popular imagination. In some respects the situation seems to be a remarkable parallel to one with which we are all familiar, the O.J. Simpson affair. These are the facts: on August 4, 1892, the citizens of Fall River were shaken by the brutal murder of two of its most solid citizens, Andrew Borden and his wife, Abbie Gray Borden. The finger of suspicion soon pointed to Andrew Borden's thirty-three-year-old daughter, Elizabeth, known as Lizzie, an apparently demure and reserved gentlewoman. She testified at an inquest, but thereafter refused comment, even declining to testify in her own defense at the trial that ensued. The evidence arrayed against her seemed confused and even conflicting, and many in the community could not bring themselves to believe that she was guilty. Weak testimony in her favor was offered by her sister, Emma; in the final summation, these were the words of her chief defense attorney: "To find her guilty, you must believe she is a fiend. -
Music at the Gardner Fall 2019
ISABELLA STEWART GARDNER MUSEUM NON-PROFIT ORG. 25 EVANS WAY BOSTON MA 02115 U.S. POSTAGE PAID GARDNERMUSEUM.ORG PERMIT NO. 1 BOSTON MA JOHN SINGER SARGENT, EL JALEO (DETAIL), 1882 MUSIC AT THE GARDNER FALL 2019 COVER: PHOENIX ORCHESTRA FALL the Gardner at Music 2019 MEMBER CONCERT MUSIC AT THE GARDNER TICKET PRESALE: FALL 2019 JULY 24 – AUGUST 5 WEEKEND CONCERT SERIES / pg 2 The Gardner Museum’s signature series HELGA DAVIS GEORGE STEEL DANCE / pg 15 South Korean dance duo All Ready, 2019 Choreographers-in-Residence, FROM THE CURATOR OF MUSIC dazzles with a series of performances, including a world premiere The Gardner Museum is today much as it was in Isabella’s time — at once a collection of her treasures from around the world and a vibrant place where artists find inspiration and push forward in new creative directions. AT-A-GLANCE / pg 16 TICKET INFORMATION / inside back cover This fall’s programming embodies that spirit of inspiration and creative vitality. It’s a season of firsts — including the Calderwood Hall debut by Randall Goosby, a rising international star of the violin, and premieres of works by lesser-known composers Florence Price and José White Lafitte never before performed in Boston. 25 YEARS OF ARTISTS-IN-RESIDENCE This season also finds meaning through Isabella’s collection. Claremont Performances celebrating the Museum’s fall special Trio will help celebrate 25 years of our Artists-in-Residence program exhibition, which highlights our 25-year history with a selection of works distinctly connected to Isabella, and South of fostering relationships with contemporary artists Korean duo All Ready — 2019 Choreographers-in-Residence — will Monday, October 14, 10 am – 4 pm perform new works created especially for the Museum. -
ONGAKU RECORDS RELEASES “Jonathan Cohler & Claremont Trio”
FOR IMMEDIATE RELEASE For More Information: http://ongaku-records.com/PR20090115.pdf Web http://ongaku-records.com/ Email [email protected] Phone 781-863-6108 • Fax 781-863-6105 ONGAKU RECORDS RELEASES “Jonathan Cohler & Claremont Trio” CD BOSTON January 15, 2009 — Ongaku Records announced the release of Jonathan Cohler & Claremont Trio (024-122), a CD featuring world renowned clarinetist Jonathan Cohler and the acclaimed Claremont Trio. The new release includes Beethoven Trio in B-flat Major, Op. 11, Brahms Trio in A Minor, Op. 114, and the rarely recorded Dohnányi Sextet in C Major, Op. 37. Cohler and the Claremonts are joined by Boston Symphony Orchestra principal hornist James Sommerville and Borromeo Quartet violist Mai Motobuchi in the Dohnányi. The recordings of the Beethoven and Brahms have already been acclaimed by Fanfare Magazine as the best of the best. “...the recording is ideal...and the playing is uniformly lovely... I know of no finer recording of the Beethoven, and this one stands with the best classic versions of the Brahms.” The CD features the award-winning engineering of Brad Michel, and it was recorded in the beautiful acoustics of the Rogers Center for the Arts at Merrimack College in North Andover, Massachusetts. Accompanying the CD is an in-depth 20-page booklet that gives a full and detailed explanation of the history behind these works. These detailed historical notes have become a hallmark of Ongaku Records releases that sets them apart from other recordings. This recording was produced using the latest in 24-bit digital recording technology, and was edited and mastered throughout in 24-bits to preserve the pristine audiophile quality sound for which Ongaku Records has become known. -
Guest Ensemble Recital: the Mellits Consort
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 9-17-2016 Guest Ensemble Recital: The elM lits Consort The elM lits Consort Kevin Gallagher Danny Tunick Christina Buciu Elizabeth Simkin See next page for additional authors Follow this and additional works at: http://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation The eM llits Consort; Gallagher, Kevin; Tunick, Danny; Buciu, Christina; Simkin, Elizabeth; and Mellits, Marc, "Guest Ensemble Recital: The eM llits Consort" (2016). All Concert & Recital Programs. 2104. http://digitalcommons.ithaca.edu/music_programs/2104 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Authors The eM llits Consort, Kevin Gallagher, Danny Tunick, Christina Buciu, Elizabeth Simkin, and Marc Mellits This program is available at Digital Commons @ IC: http://digitalcommons.ithaca.edu/music_programs/2104 The Mellits Consort Kevin Gallagher, electric guitar Danny Tunick, amplified marimba Cristina Buciu, amplified violin Elizabeth Simkin, amplified cello Marc Mellits, keyboard Hockett Family Recital Hall Saturday, September 17th, 2016 8:15 pm Program Opening Marc Mellits (b. 1966) Broken Glass Mellits paranoid cheese Mellits The Misadventures of Soup Mellits Lefty's Elegy Mellits Machine IV Mellits Intermission Srećan Rođendan, Marija! Mellits Troica Mellits Mara's Lullaby Mellits Dreadlocked Mellits Machine III Mellits Machine V Mellits The Mellits Consort The Mellits Consort is an ensemble devoted to the music of Marc Mellits. It is an amplified group consisting of amplified Violin, amplified Cello, Electric Guitar, amplified Marimba, and Keyboard. -
Washington, DC June 1, 2016 Dear Mr. President, We Are Writing, As
Washington, DC June 1, 2016 Dear Mr. President, We are writing, as Americans committed to the success of our country’s Afghanistan mission, to urge that you sustain the current level of U.S. forces in Afghanistan through the remainder of your term. Aid levels and diplomatic energies should similarly be preserved without reduction. Unless emergency conditions require consideration of a modest increase, we would strongly favor a freeze at the level of roughly 10,000 U.S. troops through January 20. This approach would also allow your successor to assess the situation for herself or himself and make further adjustments accordingly. The broader Middle East is roiled in conflicts that pit moderate and progressive forces against those of violent extremists. As we saw on 9/11 and in the recent attacks in Paris, San Bernardino, and Brussels, the problems of the Middle East do not remain contained within the Middle East. Afghanistan is the place where al Qaeda and affiliates first planned the 9/11 attacks and a place where they continue to operate—and is thus important in the broader effort to defeat the global extremist movement today. It is a place where al Qaeda and ISIS still have modest footprints that could be expanded if a security vacuum developed. If Afghanistan were to revert to the chaos of the 1990s, millions of refugees would again seek shelter in neighboring countries and overseas, dramatically intensifying the severe challenges already faced in Europe and beyond. In the long-term struggle against violent extremists, the United States above all needs allies—not only to fight a common enemy, but also to create a positive vision for the peoples of the region. -
Cultural Diplomacy and Conflict Resolution
Cultural Diplomacy and Conflict Resolution Introduction In his poem, The Second Coming (1919), William Butler Yeats captured the moment we are now experiencing: Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity. As we see the deterioration of the institutions created and fostered after the Second World War to create a climate in which peace and prosperity could flourish in Europe and beyond, it is important to understand the role played by diplomacy in securing the stability and strengthening the shared values of freedom and democracy that have marked this era for the nations of the world. It is most instructive to read the Inaugural Address of President John F. Kennedy, in which he encouraged Americans not only to do good things for their own country, but to do good things in the world. The creation of the Peace Corps is an example of the kind of spirit that put young American volunteers into some of the poorest nations in an effort to improve the standard of living for people around the globe. We knew we were leaders; we knew that we had many political and economic and social advantages. There was an impetus to share this wealth. Generosity, not greed, was the motivation of that generation. Of course, this did not begin with Kennedy. It was preceded by the Marshall Plan, one of the only times in history that the conqueror decided to rebuild the country of the vanquished foe. -
THIRD COAST PERCUSSION with Notre Dame Vocale, Carmen-Helena Téllez, Director PRESENTING SERIES TEDDY EBERSOL PERFORMANCE SERIES SUN, JAN 26 at 2 P.M
THIRD COAST PERCUSSION with Notre Dame Vocale, Carmen-Helena Téllez, director PRESENTING SERIES TEDDY EBERSOL PERFORMANCE SERIES SUN, JAN 26 AT 2 P.M. LEIGHTON CONCERT HALL DeBartolo Performing Arts Center University of Notre Dame Notre Dame, Indiana AUSTERITY MEASURES Concert Program Mark Applebaum (b. 1967) Wristwatch: Geology (2005) (5’) Marc Mellits (b. 1966) Gravity (2012) (11’) Thierry De Mey (b. 1956) Musique de Tables (1987) (8’) Steve Reich (b. 1936) Proverb (1995) (14’) INTERMISSION Timo Andres (b. 1985) Austerity Measures (2014) (25’) Austerity Measures was commissioned by the University of Notre Dame’s DeBartolo Performing Arts Center and Sidney K. Robinson. This commission made possible by the Teddy Ebersol Endowment for Excellence in the Performing Arts. This engagement is supported by the Arts Midwest Touring Fund, a program of Arts Midwest, which is generously supported by the National Endowment for the Arts with additional contributions from the Indiana Arts Commission. PERFORMINGARTS.ND.EDU Find us on PROGRAM NOTES: Mark Applebaum is a composer, performer, improviser, electro-acoustic instrument builder, jazz pianist, and Associate Professor of Composition and Theory at Stanford University. In his TED Talk, “Mark Applebaum, the Mad Scientist of Music,” he describes how his boredom with every familiar aspect of music has driven him to evolve as an artist, re-imagining the act of performing one element at a time, and disregarding the question, “is it music?” in favor of “is it interesting?” Wristwatch: Geology is scored for any number of people striking rocks together. The “musical score” that tells the performs what to play is a watch face with triangles, squares, circles and squiggles. -
Orchestration and Melodic Doublings: an Analysis and Comparison Between Samuel Adler and Nikolay Rimsky-Korsakov’S Approach Austin Simonds MUCP 4320
Orchestration and Melodic Doublings: An Analysis and Comparison between Samuel Adler and Nikolay Rimsky-Korsakov’s Approach Austin Simonds MUCP 4320 Abstract How do the viewpoints and approaches of Samuel Adler (The Study of Orchestration) and Rimsky-Korsakov (Principles of Orchestration) differ regarding melodic doublings? And if so, does this effect musical style or practice? These two textbooks are, and continue to be, the standard for courses and other pedagogical approaches with the art of composition. I will compare and contrast the two, as well as analyze the melodic doublings found in Sergei Rachmaninoff’s second piano concerto, in an attempt to discover if either of the two texts fit a certain musical style over others. Composition has been understood as the mastery of harmony, counterpoint, and form. Only recently, within the last couple hundred years or so has orchestration slowly risen and developed into a separate art itself. Orchestration is defined as the study of writing for orchestra.1 Like the other pillars of composition, orchestration is a discipline that can be taught and mastered through study and practice. The two texts I have selected to compare were chosen based on their popularity in this subject, as well as the attention these specific texts receive for teaching this material. I will be looking at correlations between the two and analyze the melodic doublings found in Sergei Rachmaninoff’s Second Piano Concerto to find any possible relation between the treatises and musical style. To fully analyze and understand the differences between the two treatises, it is imperative to study not only the text, but also the authors themselves. -
Guest Artist Series:Kesatuan Duo
Illinois State University ISU ReD: Research and eData School of Music Programs Music 10-6-1999 Guest Artist Series:Kesatuan Duo Karen DeWig Flute Illinois State University Ingrid Gordan Marimba Follow this and additional works at: https://ir.library.illinoisstate.edu/somp Part of the Music Performance Commons Recommended Citation DeWig, Karen Flute and Gordan, Ingrid Marimba, "Guest Artist Series:Kesatuan Duo" (1999). School of Music Programs. 1898. https://ir.library.illinoisstate.edu/somp/1898 This Concert Program is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. I Music Department I Illinois State University I I I Guest Artist Series I Kesatuan Duo Karen DeWig, flute I Ingrid Gordan, marimba I I I I Kemp Recital Hall Wednesday Evening I October 6, 1999 8:00 p.m. I The Eleventh Program of the 1999-2000 Season. I 1· I Program Program Notes I I Ingrid Grete Gordon made her debut as a marimba soloist with the Chicago Symphony Orchestra at age 18. In 1988 she first appeared Figures in a Landscape (1984) Peter Klatzow as a solo percussion recitalist in the Young Steinway concert series, (born 1945) and has performed in numerous recital and .concert series since then. I I . Ms. Gordon is currently completing a Doctor of Musical Arts degree Double Labyrinth (1998) Mikel Kuehn in percussion at the University of Illinois. -
American Composers Orchestra Presents Next Composer to Composer Talks in January
FOR IMMEDIATE RELEASE Press Contact: Christina Jensen, Jensen Artists 646.536.7864 x1 [email protected] American Composers Orchestra Presents Next Composer to Composer Talks in January William Bolcom & Gabriela Lena Frank Wednesday, January 13, 2021 at 5pm ET – Online Registration & Information: http://bit.ly/ComposerToComposerBolcom John Corigliano & Mason Bates Wednesday, January 27, 2021 at 5pm ET – Online Registration & Information: http://bit.ly/ComposerToComposerCorigliano Free, registration recommended. New York, NY – American Composers Orchestra (ACO) presents its next Composer to Composer Talks online in January, with composers William Bolcom and Gabriela Lena Frank on Wednesday, January 13, 2021 at 5pm ET, and John Corigliano and Mason Bates on Wednesday, January 27, 2021 at 5pm ET. The talks will be live-streamed and available for on-demand viewing for seven days. Tickets are free; registration is highly encouraged. Registrants will receive links to recordings of featured works in advance of the event. ACO’s Composer to Composer series features major American composers in conversation with each other about their work and leading a creative life. The intergenerational discussions begin by exploring a single orchestral piece, with one composer interviewing the other. Attendees will gain insight into the work’s genesis, sound, influence on the American orchestral canon, and will be invited to ask questions of the artists. On January 13, Gabriela Lena Frank talks with William Bolcom about his Symphony No. 9, from 2012, of which Bolcom writes, “Today our greatest enemy is our inability to listen to each other, which seems to worsen with time. All we hear now is shouting, and nobody is listening because the din is so great. -
Joan TOWER Violin Concerto Stroke Chamber Dance
AMERICAN CLASSICS Joan TOWER Violin Concerto Stroke Chamber Dance Cho-Liang Lin, Violin Nashville Symphony Giancarlo Guerrero Joan Tower (b. 1938) Violin Concerto memorializing Oliveira’s love for his sibling. The middle section, with its Ravel-like woodwind murmurings, opens Stroke • Violin Concerto • Chamber Dance The composer first met violinist Elmar Oliveira while she with the opening whole-step idea given particular Like all good composers, Joan Tower brings to her writing capabilities. Her first concerto, Music for Cello and was working as composer-in-residence for the St. Louis poignancy by octave displacement. It reaches great desk life and musical experiences that inform her music in Orchestra, was written for the group’s cellist, and she has Symphony. “The first time he heard my music, he really heights of emotional intensity before segueing effortlessly unique ways. These include her childhood in South since composed concerti for the other four instruments in liked it,” she says. Eventually he told her, “You know, I just into the “finale,” the beginning of which is marked by a America, her formal education and her work as a the ensemble. She has held orchestral residencies with love your music, and I would like you to write a piece for descending whole step from pizzicato strings. professional chamber-music player. A member of the the St. Louis Symphony Orchestra (1985-88), the me.” Tower set out to compose a work that would generation that broke the glass ceiling for female Orchestra of St. Luke’s (1997-2007) and the Pittsburgh highlight traits she greatly admired in Oliveira’s technique.