EVAN JOHNSON Forms of Complaint
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© E Ugenie Brink
© Eugenie Brinkema EVAN JOHNSON (*1980) 1 hyphen (2002) 01:51 1 Peter Neville, crotales 2 – 3 ELISION: Carl Rosman, bass clarinet Richard Haynes, bass clarinet 4 Graeme Jennings, violin Apostrophe 1 (All communication is a form of complaint) 5 Mieko Kanno, violin (2007 – 2008) EXAUDI: Juliet Fraser, soprano Amanda Morrison, soprano 2 I. 19:59 Christopher Field, countertenor Tom Williams, countertenor 3 II. 03:25 Stephen Jeffes, tenor Jonathan Bungard, tenor James Weeks, conductor 6 Mabel Kwan, toy pianos 4 clutch (2005) 01:32 5 Colophons (“That other that ich not whenne”) reflecting pool / monument (2006) 08:11 6 Positioning in Radiography (2007) 13:14 TT 48:16 2 3 A paradox lies at the heart of Evan Most of the notes in these two pieces on either side, which give it its function At first glance, Johnson appears tied to Johnson’s music. When composing he of- move at high speed, and long pauses are and meaning. Those words constitute a a heavy, European tradition of rich nota- ten begins with a structure of durational used to extend the music’s duration be- sort of white or negative space, whose tional determination, formal complexity containers, proportionally related. He then yond just a few seconds. In clutch these presence and influence can be inferred and hierarchy. His scores – almost always follows this by trying to squeeze in ma- pauses comprise two sustained notes of even if the words themselves are not spo- hand-engraved, in a beautiful, precise and terials that are too large for those spac- around 30 seconds’ duration each – played ken. -
1Er Février 2015 — 15 H Salle De Concert Bourgie Prixopus.Qc.Ca
e 18 GALA1er février 2015 — 15 h Salle de concert Bourgie prixOpus.qc.ca LE CONSEIL QUÉBÉCOIS DE LA MUSIQUE VOUS SOUHAITE LA BIENVENUE À LA DIX-HUITIÈME ÉDITION DU GALA DES PRIX OPUS 14 h : accueil 15 h : remise des prix 17 h 30 : réception à la Galerie des bronzes, pavillon Michal et Renata Hornstein du Musée des beaux-arts de Montréal Écoutez l’émission spéciale consacrée au dix-huitième gala des prix Opus, animée par Katerine Verebely le lundi 2 février 2015 à 20 h sur les ondes d’ICI Musique (100,7 FM à Montréal) dans le cadre des Soirées classiques. Réalisation : Michèle Patry La Fondation Arte Musica offre ses félicitations à tous les finalistes et aux lauréats des prix Opus de l’an 18. La Fondation est fière de contribuer à l’excellence du milieu musical québécois par la production et la diffusion de concerts et d’activités éducatives, à la croisée des arts. Au nom de toute l’équipe du Musée des beaux-arts de Montréal et de la Fondation Arte Musica, je vous souhaite un excellent gala ! Isolde Lagacé Directrice générale et artistique sallebourgie.ca 514-285-2000 # 4 Soyez les bienvenus à cette 18e édition du gala des prix Opus. Votre fête de la musique. Un événement devenu incontournable au fil des ans ! Le gala des prix Opus est l’occasion annuelle de célébrer l’excellence du travail des interprètes, compositeurs, créateurs, auteurs et diffuseurs. Tout au long de la saison 2013-2014, ces artistes ont mis leur talent, leur créativité et leur ténacité au service de la musique de concert. -
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 -
2012 02 20 Programme Booklet FIN
COMPOSITION - EXPERIMENT - TRADITION: An experimental tradition. A compositional experiment. A traditional composition. An experimental composition. A traditional experiment. A compositional tradition. Orpheus Research Centre in Music [ORCiM] 22-23 February 2012, Orpheus Institute, Ghent Belgium The fourth International ORCiM Seminar organised at the Orpheus Institute offers an opportunity for an international group of contributors to explore specific aspects of ORCiM's research focus: Artistic Experimentation in Music. The theme of the conference is: Composition – Experiment – Tradition. This two-day international seminar aims at exploring the complex role of experimentation in the context of compositional practice and the artistic possibilities that its different approaches yield for practitioners and audiences. How these practices inform, or are informed by, historical, cultural, material and geographical contexts will be a recurring theme of this seminar. The seminar is particularly directed at composers and music practitioners working in areas of research linked to artistic experimentation. Organising Committee ORCiM Seminar 2012: William Brooks (U.K.), Kathleen Coessens (Belgium), Stefan Östersjö (Sweden), Juan Parra (Chile/Belgium) Orpheus Research Centre in Music [ORCiM] The Orpheus Research Centre in Music is based at the Orpheus Institute in Ghent, Belgium. ORCiM's mission is to produce and promote the highest quality research into music, and in particular into the processes of music- making and our understanding of them. ORCiM -
University of Huddersfield Repository
University of Huddersfield Repository Stone, Graham Developing a Sustainable Publishing Model for a University Press: A Case Study of the University of Huddersfield, 2011-2015 Original Citation Stone, Graham (2017) Developing a Sustainable Publishing Model for a University Press: A Case Study of the University of Huddersfield, 2011-2015. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/33791/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ DEVELOPING A SUSTAINABLE PUBLISHING MODEL FOR A UNIVERSITY PRESS: A CASE STUDY OF THE UNIVERSITY OF HUDDERSFIELD, 2011-2015 GRAHAM STONE A thesis submitted to the University of Huddersfield In partial fulfilment of the requirements for the degree of Doctor of Enterprise The University of Huddersfield May 2017 Table of Contents FIGURES AND TABLES ................................................................................................................ -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2021). New Music: Performance Institutions and Practices. In: McPherson, G and Davidson, J (Eds.), The Oxford Handbook of Music Performance. Oxford, UK: Oxford University Press. This is the accepted 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/25924/ 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] New Music: Performance Institutions and Practices Ian Pace For publication in Gary McPherson and Jane Davidson (eds.), The Oxford Handbook of Music Performance (New York: Oxford University Press, 2021), chapter 17. Introduction At the beginning of the twentieth century concert programming had transitioned away from the mid-eighteenth century norm of varied repertoire by (mostly) living composers to become weighted more heavily towards a historical and canonical repertoire of (mostly) dead composers (Weber, 2008). -
Liner Notes, Visit Our Web Site: Purifoy Foundation © 2017
CMYK JON GIBSON (b. 1940) RELATIVE CALM GEORGE LEWI assemblage S 1. Relative Calm (Rise) (1981) 16:58 Jon Gibson,winds,keyboards,autoharp,ambient recording; ENSEMBLE DAL NIENTE Joseph Kubera,keyboards; David Van Tieghem,percussion 1. (2012) 13:45 2. Q-Music (Race) (1981)(b. 1952) 18:23Mnemosis GEORGE LEWIS (flute, clarinet, violin, viola, cello, piano, percussion) assemblageJon Gibson,Joseph Kubera,keyboards ENSEMBLE DAL NIENTE 2. Hexis (2013) 13:00 3. Extensions RC (Reach) (1981) (flute,16:37 clarinet, violin, cello, piano, percussion) Jon Gibson,soprano saxophones (overlaid) 3. The Mangle of Practice (2014) 12:54 4. Return (Return) (1981) 16:54 (violin & piano) Jon Gibson,saxophone; Joseph Kubera,keyboards; David Van Tieghem,percussion 4. Assemblage (2013) 14:37 (flute, clarinet, saxophone, violin, viola, cello, harp, piano, percussion) Emma Hospelhorn, flutes; Katie Schoepflin, clarinets; TT: 69:06 Taimur Sullivan, saxophone; Tarn Travers, violin; Minghuan Xu, violin; Ammie Brod, viola; Chris Wild, cello; Ben Melsky, harp; Winston Choi, piano; Mabel Kwan, piano; John Corkill, percussion; Gregory Beyer, percussion; Lucinda Childs, Relative Calm, 19 81 Michael Lewanski, conductor TT: 54:28 New World Records, 20 Jay Street, Suite 1001, Brooklyn, NY 11201 New World Records,20 Jay Street, Suite 1001,Brooklyn,NY112 01 Tel (212) 290-1680 Fax (646) 224-9638 Tel (212) 290-1680 Fax (646) 224-9638 [email protected] www.newworldrecords.org [email protected] www.newworldrecords.org ൿ & © 2017 Anthology of Recorded Music, Inc. All -
University of Huddersfield Repository
University of Huddersfield Repository Roche, Heather Dialogue and Collaboration in the Creation of New Works for Clarinet Original Citation Roche, Heather (2011) Dialogue and Collaboration in the Creation of New Works for Clarinet. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/17512/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ 1 Dialogue and Collaboration in the Creation of New Works for Clarinet Heather Roche A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy September 2011 2 ACKNOWLEDGEMENTS.................................................................................4 STATEMENT OF -
New Music Festival 2014 1
ILLINOIS STATE UNIVERSITY SCHOOL OF MUSIC REDNEW MUSIC NOTEFESTIVAL 2014 SUNDAY, MARCH 30TH – THURSDAY, APRIL 3RD CO-DIRECTORS YAO CHEN & CARL SCHIMMEL GUEST COMPOSER LEE HYLA GUEST ENSEMBLES ENSEMBLE DAL NIENTE CONCORDANCE ENSEMBLE RED NOTE New Music Festival 2014 1 CALENDAR OF EVENTS SUNDAY, MARCH 30TH 3 PM, CENTER FOR THE PERFORMING ARTS Illinois State University Symphony Orchestra and Chamber Orchestra Dr. Glenn Block, conductor Justin Vickers, tenor Christine Hansen, horn Kim Pereira, narrator Music by David Biedenbender, Benjamin Britten, Michael-Thomas Foumai, and Carl Schimmel $10.00 General admission, $8.00 Faculty/Staff, $6.00 Students/Seniors MONDAY, MARCH 31ST 8 PM, KEMP RECITAL HALL Ensemble Dal Niente Music by Lee Hyla (Guest Composer), Raphaël Cendo, Gerard Grisey, and Kaija Saariaho TUESDAY, APRIL 1ST 1 PM, CENTER FOR THE PERFORMING ARTS READING SESSION - Ensemble Dal Niente Reading Session for ISU Student Composers 8 PM, KEMP RECITAL HALL Premieres of participants in the RED NOTE New Music Festival Composition Workshop Music by Luciano Leite Barbosa, Jiyoun Chung, Paul Frucht, Ian Gottlieb, Pierce Gradone, Emily Koh, Kaito Nakahori, and Lorenzo Restagno WEDNESDAY, APRIL 2ND 8 PM, KEMP RECITAL HALL Concordance Ensemble Patricia Morehead, guest composer and oboe Music by Midwestern composers Amy Dunker, David Gillingham, Patricia Morehead, James Stephenson, David Vayo, and others THURSDAY, APRIL 3RD 8 PM, KEMP RECITAL HALL ISU Faculty and Students Music by John Luther Adams, Mark Applebaum, Yao Chen, Paul Crabtree, John David Earnest, and Martha Horst as well as the winning piece in the RED NOTE New Music Festival Chamber Composition Competition, Specific Gravity 2.72, by Lansing McLoskey 2 RED NOTE Composition Competition 2014 RED NOTE NEW MUSIC FESTIVAL COMPOSITION COMPETITION CATEGORY A (Chamber Ensemble) There were 355 submissions in this year’s RED NOTE New Music Festival Composition Com- petition - Category A (Chamber Ensemble). -
2018 Co-Directors
Illinois State University RED NOTE new music festival March 26th – March 29th, 2018 co-directors , distinguished guest composer , distinguished guest composer , guest performers CALENDAR OF EVENTS MONDAY, MARCH 26TH 8 pm, Center for the Performing Arts The Festival opens with a concert featuring the Illinois State University Wind Symphony and Illinois State University choruses. Professor Anthony Marinello conducts the ISU Wind Symphony in a performance of the winning work in this year’s Composition Competition for Wind Ensemble, Patrick Lenz’s Pillar of Fire. The Wind Symphony also performs guest composer William Bolcom’s Concerto for Soprano Saxophone with ISU faculty Paul Nolen, and the world premiere of faculty composer Martha Horst’s work Who Has Seen the Wind? The ISU Concert Choir and Madrigal Singers, conducted by Dr. Karyl Carlson, perform the winning piece in the Composition Competition for Chorus, Wind on the Island by Michael D’Ambrosio, as well as William Bolcom’s Song for Saint Cecilia’s Day. TUESDAY, MARCH 27TH 7:30 pm, Kemp Recital Hall ISU students and faculty present a program of works by featured guest composers Gabriela Lena Frank and William Bolcom. The concert will also include the winning work in this year’s Composition Competition for Chamber Ensemble, Downloads, by Jack Frerer. WEDNESDAY, MARCH 28TH 7:30 pm, Kemp Recital Hall Ensemble Dal Niente takes the stage to perform music of contemporary European composers, including Salvatore Sciarrino, Kaija Saariaho, and György Kurtag. THURSDAY, MARCH 29TH 7:30 pm, Kemp Recital Hall The Festival concludes with a concert of premieres by the participants in the RED NOTE New Music Festival Composition Workshop: James Chu, Joshua Hey, Howie Kenty, Joungmin Lee, Minzuo Lu, Mert Morali, Erik Ransom, and Mac Vinetz. -
The Historical Basset Clarinet in Creative Collaboration Emily Payne
E. Payne Contemporary Music Review Repurposing the past? The historical basset clarinet in creative collaboration Emily Payne* School of Music, University of Leeds, Leeds, UK In this article I examine the role of the instrument in Evan Johnson and Carl Rosman’s collaboration on a new work for eighteenth-century basset clarinet, ‘indolentiae ars’, a medium to be kept (2015). Drawing on material collected over 30 months – including interviews; audio-visual footage; and correspondence containing sketches, fingering charts, and recordings – I consider the latent practices that lie within the instrument, and their role in the creative process. From the aesthetic discourses that pervaded the musicians’ discussions, to the transitional and sometimes ‘accidental’ moments of instrumental interaction during workshops, I trace the micro-processes within the broader creative trajectory, in order to understand how the instrument’s historical, social, and ergonomic affordances were enmeshed within the here-and-now of the collaboration. The article illustrates the dynamic character of collaborative work, shaped not solely by the knowledge of individuals, but through a close reciprocity between perception, action, and the discursive and material conditions of their surroundings. Keywords: clarinet, composer-performer collaboration, creativity, historical instrument, workshop * Email: [email protected] 1 E. Payne Contemporary Music Review Repurposing the past? The historical basset clarinet in creative collaboration In his dedication to ‘indolentiae -
Phil Taylor Composer (Bmi) |Boulder, Co |
PHIL TAYLOR COMPOSER (BMI) |BOULDER, CO | WWW.PHILTAYLOR.XYZ CURRENT AND RECENT PROJECTS Commissions for new works 2017-19 from the following ensembles and individuals: • Santa Fe Chamber Music Festival (Santa Fe, • Playground Ensemble (Denver, CO) NM) • Latitude 49 (Chicago, IL/Ann Arbor, MI) • Ensemble Échappé (New York, NY) • Third Angle New Music (Portland, OR) • Joseph Lulloff, saxophone (East Lansing, MI) • Alia Musica Pittsburgh (Pittsburgh, PA) • Music from Copland House (Mount Kisco, • ~Nois (Chicago, IL) NY) • College of the Ozarks (Branson, MO) Co-curator, Intricate Machines Project and Tour with Aizuri Quartet, March-April 2019. Five- stop tour in PA and NY featuring all recently composed music by five young American composers. $20,000 budget, grants and sponsoring from: • NewMusicUSA • Alice M. Ditson Fund • Amphion Foundation • American Composers Forum • Aaron Copland Fund • Weis Center for Performing Arts SELECT HONORS AND FESTIVALS Minnesota Orchestra Composer Institute Fellow, 2017. BMI Student Composer Awards, 2016; 2014 (William Schuman Prize); 2009. New York Youth Symphony First Music Honorable Mention, 2018. ASCAP Morton Gould Young Composer Award Honorable Mention, 2016. USA International Harp Composition Competition Finalist, 2016. Fellow, Copland House CULTIVATE, Mount Kisco, NY; June 2018. Sheila and Richard J. Schwartz Honorary Fellowship. Fellow, Wellesley Composers Conference, Wellesley, MA; July 2016. Fellow, Aspen Music Festival, Aspen, CO; June-August 2015. Susan and Ford Schumann Fellowship. EDUCATION Ph.D., University of Chicago, Chicago, IL. Music composition. June 2016. B.Mus., summa cum laude, Willamette University, Salem, OR. Music composition. May 2011. RECENT COMPOSITION STUDY Augusta Read Thomas, University of Chicago, Sep. 2011 – Jun. 2016 Shulamit Ran, University of Chicago, Mar.