Steve Reich Selected Reviews
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74TH SEASON of CONCERTS April 24, 2016 • National Gallery of Art PROGRAM
74TH SEASON OF CONCERTS april 24, 2016 • national gallery of art PROGRAM 3:30 • West Building, West Garden Court Inscape Richard Scerbo, conductor Toru Takemitsu (1930 – 1996) Rain Spell Asha Srinivasan (b. 1980) Svara-Lila John Harbison (b. 1938) Mirabai Songs It’s True, I Went to the Market All I Was Doing Was Breathing Why Mira Can’t Go Back to Her Old House Where Did You Go? The Clouds Don’t Go, Don’t Go Monica Soto-Gil, mezzo soprano Intermission Chen Yi (b. 1953) Wu Yu Praying for Rain Shifan Gong-and-Drum Toru Takemitsu Archipelago S. 2 • National Gallery of Art The Musicians Founded in 2004 by artistic director Richard Scerbo, Inscape Chamber Orchestra is pushing the boundaries of classical music in riveting performances that reach across genres and generations and transcend the confines of the traditional concert experience. With its flexible roster and unique brand of programming, this Grammy-nominated group of high-energy master musicians has quickly established itself as one of the premier performing ensembles in the Washington, DC, region and beyond. Inscape has worked with emerging American composers and has a commitment to presenting concerts featuring the music of our time. Since its inception, the group has commissioned and premiered over twenty new works. Its members regularly perform with the National, Baltimore, Philadel- phia, Virginia, Richmond, and Delaware symphonies and the Washington Opera Orchestra; they are members of the Washington service bands. Inscape’s roots can be traced to the University of Maryland School of Music, when Scerbo and other music students collaborated at the Clarice Smith Center as the Philharmonia Ensemble. -
Contemporary Music Ensemble
Suffolk County Community College • Music Department • Ammerman Campus Presents Contemporary Music Ensemble Spring Concert May 12, 2001 7:30 pm Islip Arts Building, Shea Theatre Contemporary Music Ensemble William Ryan, Director ________________________________________________ Premonition (1997) Phil Kline for many boomboxes (b. 1953) Vanessa Bonet Malachy Gately Lauren Kohler Jamie Carrillo David Greenberg Anne McInerney Lisa Casal Duane Haynes Corin Misiano Chris Ciccone Ryan Himpler Michelle Orabona Mike Clark William Jantz Rachel Rodgers Anne Dekenipp Colin Kasprowicz Gerry Rulon-Maxwell Virginia Dimiceli Andrew Keegan Michael Sarling Jason Dobranski Melanie Scalice Jessica Drozd Pete Stumme Joe Fogarazzo Naomi Volkel New York Counterpoint (1985) Steve Reich for clarinet and tape (b. 1936) Joseph Iannetto, clarinet Evan Ziporyn, recorded clarinets Elvis Everywhere (1987) Michael Daugherty for string quartet and tape (b. 1954) Lisa Casal, violin Malachy Gately, violin Vanessa Bonet, viola Jason Dobranski, cello A Change of Hearts (2001) Phil Kline for chamber ensemble and boomboxes (b. 1953) World Premiere Commissioned by the SCCC Contemporary Music Ensemble Melanie Scalice, flute Joseph Iannetto, clarinet Lauren Kohler, clarinet David Greenberg, trumpet Lisa Casal, violin Malachy Gately, violin Vanessa Bonet, viola Jamie Carrillo, viola Jason Dobranski, cello Colin Kasprowicz, keyboard Rachel Rodgers, electric bass Joe Fogarazzo, electric guitar Gerry Rulon-Maxwell, guitar Program Notes Premonition was written as a fanfare for the Bang On A Can Festival’s 10th Birthday Party. It is scored for an imaginary orchestra of 1000 strings or, (let’s get this right,) a real orchestra of 1000 virtual (computer- midi) strings. -Phil Kline New York Counterpoint is one of a series of works for soloist accompanied by pre-recorded layers of themselves. -
In Low-Key Buffalo, a New-Music Milestone
Music - June in Buffalo Celebrates 35th Anniversary - NYTimes.com Page 1 of 4 • Reprints This copy is for your personal, noncommercial use only. You can order presentation-ready copies for distribution to your colleagues, clients or customers here or use the "Reprints" tool that appears next to any article. Visit www.nytreprints.com for samples and additional information. Order a reprint of this article now. June 4, 2010 In Low-Key Buffalo, a New-Music Milestone By ALLAN KOZINN BUFFALO — This city may not seem as glamorous a place for a summer new-music festival as Tanglewood in Massachusetts or Ojai in California, and puzzlingly, the University at Buffalo does relatively little to promote the annual June in Buffalo festival, which the composer Morton Feldman founded in 1975. But June in Buffalo has a sense of mission that has made it an important part of the new- music ecology. Its drawing cards are accomplished new-music performers — among them this year, the Arditti Quartet, Signal and Ensemble SurPlus — playing works by established composers. Equally important is the part of the festival devoted to young composers. Every year about 70 apply for 20 to 25 positions as “participants.” Those chosen have their music played by the guest ensembles and dissected in workshops. This year June in Buffalo, which opened on Monday and runs through Sunday, is celebrating its 35th anniversary, as well as the 25th anniversary of the composer David Felder’s directorship — or actually, revival — of the festival. When Mr. Felder joined the University at Buffalo faculty in 1985, June in Buffalo had been dormant for five years. -
2018–2019 Annual Report
18|19 Annual Report Contents 2 62 From the Chairman of the Board Ensemble Connect 4 66 From the Executive and Artistic Director Digital Initiatives 6 68 Board of Trustees Donors 8 96 2018–2019 Concert Season Treasurer’s Review 36 97 Carnegie Hall Citywide Consolidated Balance Sheet 38 98 Map of Carnegie Hall Programs Administrative Staff Photos: Harding by Fadi Kheir, (front cover) 40 101 Weill Music Institute Music Ambassadors Live from Here 56 Front cover photo: Béla Fleck, Edgar Meyer, by Stephanie Berger. Stephanie by Chris “Critter” Eldridge, and Chris Thile National Youth Ensembles in Live from Here March 9 Daniel Harding and the Royal Concertgebouw Orchestra February 14 From the Chairman of the Board Dear Friends, In the 12 months since the last publication of this annual report, we have mourned the passing, but equally importantly, celebrated the lives of six beloved trustees who served Carnegie Hall over the years with the utmost grace, dedication, and It is my great pleasure to share with you Carnegie Hall’s 2018–2019 Annual Report. distinction. Last spring, we lost Charles M. Rosenthal, Senior Managing Director at First Manhattan and a longtime advocate of These pages detail the historic work that has been made possible by your support, Carnegie Hall. Charles was elected to the board in 2012, sharing his considerable financial expertise and bringing a deep love and further emphasize the extraordinary progress made by this institution to of music and an unstinting commitment to helping the aspiring young musicians of Ensemble Connect realize their potential. extend the reach of our artistic, education, and social impact programs far beyond In August 2019, Kenneth J. -
Steve Reich's Phases of Phases: a Comparison of Electric
Steve Reich’s Phases of Phases: A Comparison of Electric Counterpoint and Radio Rewrite Erin Main, May 12th, 2016 21M.260, WC: 3478 Introduction. Minimalism developed primarily during the 1950s, 60s, and 70s amidst a rising counterculture in America. Minimalist artists in the 50s defied expectations of what “art” should be; one example is the color fields of artists such as Ad Reinhardt.1 Minimalist artists focused on the very deliberate creation of works that were comprised of the smallest amount of discernible qualities; with the aforementioned color fields, the viewer was intended to observe the minutiae of the brush strokes of the artist.2 In the mid-60s, minimalist music also started to take hold, driven by the efforts of composers Terry Riley, La Monte Young, Philip Glass, and Steve Reich.3 Reich is well-known for pioneering process-based music, as established in his 1968 essay “Music as a Gradual Process.”4 Process-based music is characterized by its minimal amount of material, with development (a musical process) occurring through changes in the material over a period of time.5 Reich’s most prominent type of process is phase shifting, which involves “placing a simple repeating pattern in different combinations with itself.”6 Due to the very nature of process-based composition, Reich’s music has a “structurally lucid aesthetic,” as the material 1 Jonathan W. Bernard, “The Minimalist Aesthetic in the Plastic Arts and in Music,” Perspectives of New Music 31.1 (1993): 94. Web. 2 Ibid, 95. 3 Ibid, 86. 4 Steve Reich and Paul Hillier, ed., “Music as a Gradual Process,” Writings about Music, 1965–2000, Oxford and New York: Oxford University Press, 9–11. -
Timeline: Music Evolved the Universe in 500 Songs
Timeline: Music Evolved the universe in 500 songs Year Name Artist Composer Album Genre 13.8 bya The Big Bang The Universe feat. John The Sound of the Big Unclassifiable Gleason Cramer Bang (WMAP) ~40,000 Nyangumarta Singing Male Nyangumarta Songs of Aboriginal World BC Singers Australia and Torres Strait ~40,000 Spontaneous Combustion Mark Atkins Dreamtime - Masters of World BC` the Didgeridoo ~5000 Thunder Drum Improvisation Drums of the World Traditional World Drums: African, World BC Samba, Taiko, Chinese and Middle Eastern Music ~5000 Pearls Dropping Onto The Jade Plate Anna Guo Chinese Traditional World BC Yang-Qin Music ~2800 HAt-a m rw nw tA sxmxt-ib aAt Peter Pringle World BC ~1400 Hurrian Hymn to Nikkal Tim Rayborn Qadim World BC ~128 BC First Delphic Hymn to Apollo Petros Tabouris The Hellenic Art of Music: World Music of Greek Antiquity ~0 AD Epitaph of Seikilos Petros Tabouris The Hellenic Art of Music: World Music of Greek Antiquity ~0 AD Magna Mater Synaulia Music from Ancient Classical Rome - Vol. 1 Wind Instruments ~ 30 AD Chahargan: Daramad-e Avval Arshad Tahmasbi Radif of Mirza Abdollah World ~??? Music for the Buma Dance Baka Pygmies Cameroon: Baka Pygmy World Music 100 The Overseer Solomon Siboni Ballads, Wedding Songs, World and Piyyutim of the Sephardic Jews of Tetuan and Tangier, Morocco Timeline: Music Evolved 2 500 AD Deep Singing Monk With Singing Bowl, Buddhist Monks of Maitri Spiritual Music of Tibet World Cymbals and Ganta Vihar Monastery ~500 AD Marilli (Yeji) Ghanian Traditional Ghana Ancient World Singers -
ZGMTH - the Order of Things
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Bangor University Research Portal The Order of Things. Analysis and Sketch Study in Two Works by Steve ANGOR UNIVERSITY Reich Bakker, Twila; ap Sion, Pwyll Zeitschrift der Gesellschaft für Musiktheorie DOI: 10.31751/1003 PRIFYSGOL BANGOR / B Published: 01/06/2019 Publisher's PDF, also known as Version of record Cyswllt i'r cyhoeddiad / Link to publication Dyfyniad o'r fersiwn a gyhoeddwyd / Citation for published version (APA): Bakker, T., & ap Sion, P. (2019). The Order of Things. Analysis and Sketch Study in Two Works by Steve Reich. Zeitschrift der Gesellschaft für Musiktheorie, 16(1), 99-122. https://doi.org/10.31751/1003 Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public 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 public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. 09. Oct. 2020 ZGMTH - The Order of Things https://www.gmth.de/zeitschrift/artikel/1003.aspx Inhalt (/zeitschrift/ausgabe-16-1-2019/inhalt.aspx) Impressum (/zeitschrift/ausgabe-16-1-2019/impressum.aspx) Autorinnen und Autoren (/zeitschrift/ausgabe-16-1-2019/autoren.aspx) Home (/home.aspx) Bakker, Twila / ap Siôn, Pwyll (2019): The Order of Things. -
Oceanic Migrations
San Francisco Contemporary Music Players on STAGE series Oceanic Migrations MICHAEL GORDON ROOMFUL OF TEETH SPLINTER REEDS September 14, 2019 Cowell Theater Fort Mason Cultural Center San Francisco, CA SFCMP SAN FRANCISCO CONTEMPORARY MUSIC PLAYERS San Francisco Contemporary Music Brown, Olly Wilson, Michael Gordon, Players is the West Coast’s most Du Yun, Myra Melford, and Julia Wolfe. long-standing and largest new music The Contemporary Players have ensemble, comprised of twenty-two been presented by leading cultural highly skilled musicians. For 49 years, festivals and concert series including the San Francisco Contemporary Music San Francisco Performances, Los Players have created innovative and Angeles Monday Evening Concerts, Cal artistically excellent music and are one Performances, the Stern Grove Festival, Tod Brody, flute Kate Campbell, piano of the most active ensembles in the the Festival of New American Music at Kyle Bruckmann, oboe David Tanenbaum, guitar United States dedicated to contemporary CSU Sacramento, the Ojai Festival, and Sarah Rathke, oboe Hrabba Atladottir, violin music. Holding an important role in the France’s prestigious MANCA Festival. regional and national cultural landscape, The Contemporary Music Players Jeff Anderle, clarinet Susan Freier, violin the Contemporary Music Players are a nourish the creation and dissemination Peter Josheff, clarinet Roy Malan, violin 2018 awardee of the esteemed Fromm of new works through world-class Foundation Ensemble Prize, and a performances, commissions, and Adam Luftman, -
George E. Yoos Simplifying Complexity. Rhetoric and the Social Politics of Dealing with Ignorance
George E. Yoos Simplifying Complexity. Rhetoric and the Social Politics of Dealing with Ignorance George E. Yoos Simplifying Complexity Rhetoric and the Social Politics of Dealing with Ignorance Managing Editor: Magdalena Randall-Schab Published by De Gruyter Open Ltd, Warsaw/Berlin Part of Walter de Gruyter GmbH, Berlin/Boston The book is published with open access at www.degruyter.com. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 license, which means that the text may be used for non-commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/3.0/. Copyright © 2015 George E. Yoos ISBN: 978-3-11-045056-9 e-ISBN: 978-3-11-045057-6 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. Managing Editor: Magdalena Randall-Schab www.degruyteropen.com Cover illustration: © Ali Heshmati To my wife Mary Johanna Yoos ‘In the perception of the false, there is truth. In the understanding of ignorance, there is intelligence.’ A verbal statement made by J. Krishnamurti, an Indian Philosopher Contents A Preface on Aims VIII 1 Rhetorical limitations in the use of frames and perspectives 1 2 Aging and complexity 6 3 The human animal and its ascendance from ignorance 12 4 The work of Herbert Simon on Artificial Intelligence 25 5 Circular thinking and linear exposition -
Review of Rethinking Reich, Edited by Sumanth Gopinath and Pwyll Ap Siôn (Oxford University Press, 2019) *
Review of Rethinking Reich, Edited by Sumanth Gopinath and Pwyll ap Siôn (Oxford University Press, 2019) * Orit Hilewicz NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.hilewicz.php KEYWORDS: Steve Reich, analysis, politics DOI: 10.30535/mto.27.1.0 Received January 2020 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory [1] This past September, a scandal erupted on social media when a 2018 book excerpt was posted that showed a few lines from an interview with British photographer and music writer Val Wilmer. Wilmer recounted her meeting with Steve Reich in the early 1970s: I was talking about a person who was playing with him—who happened to be an African-American who was a friend of mine. I can tell you this now because I feel I must . we were talking and I mentioned this man, and [Reich] said, “Oh yes, well of course, he’s one of the only Blacks you can talk to.” So I said, “Oh really?” He said, “Blacks are geing ridiculous in the States now.” And I thought, “This is a man who’s just done this piece called Drumming which everybody cites as a great thing. He’s gone and ripped off stuff he’s heard in Ghana—and he’s telling me that Blacks are ridiculous in the States now.” I rest my case. Wouldn’t you be politicized? (Wilmer 2018, 60) Following recent revelations of racist and misogynist statements by central musical figures and calls for music scholarship to come to terms with its underlying patriarchal and white racial frame, (1) the new edited volume on Reich suggests directions music scholarship could take in order to examine the political, economic, and cultural environments in which musical works are composed, performed, and received. -
Thirty Talented Young Flutists Participated in The
The New York Flute Club N E W S L E T T E R April 2002 2002 Young Artist Competition Winners hirty talented young flutists participated in the New York Flute Club’s annual competition. The judges T were Bart Feller, Tara Helen O’Connor, and Susan In Concert Palma; Patricia Zuber was the competition coordinator. 2002 NYFC Young Artist Competition Winners FIRST PRIZE YONG MA was born in Huainan, China. From 1987 to 1996 he was principal flutist of the China Sunday, April 28, 2002, 5:30 pm Youth Orchestra and of the China Youth CAMI Hall Symphony while he studied at the Central 165 West 57th Street, NYC Conservatory of Music in Beijing. His flute teacher there was Yongxin Wang. At the age Program of thirteen he was one of the finalists in the “Prague Spring” International Music Competi- Suh-Young Park, flute; Linda Mark, piano tion in Czechoslovakia. In 1999 Mr. Ma was Fantasie on themes Paul Taffanel from “Der Freischutz” the winner of the Olga Koussevitzky Wood- by C.M. von Weber wind Competition in New York. The follow- ing year he won first prize in the Young Soo Yun Kim, flute; Linda Mark, piano Artist Competition of the Flute Society of Sonata in E Minor Georg Philipp Telemann Washington. Mr. Ma is currently in his third Chant de Linos André Jolivet year at the Juilliard School, where he is a student of Carol Wincenc. ❑ Yong Ma, flute; Linda Mark, piano Cantabile and Presto Georges Enesco 1. Cantabile SECOND PRIZE SOO YUN KIM was born in Seoul, Korea, where she attended the Seoul Arts High School. -
“Classical” Minimalism
from Richard Taruskin, “Oxford History of Western Music Volume V: Music in the Late Twentieth Century; Chapter 8: A Harmonious Avant-Garde?”. Retrieved 4/29/2011 from oxfordwesternmusic.com. “CLASSICAL” MINIMALISM For many listeners, the most characteristic and style-defining aspect of In C is the constant audible eighth-note pulse that underlies and coordinates all of the looping, and that seems, because it provides a constant pedal of Cs, to be fundamentally bound up with the work's concept. Like much modernist practice since at least Stravinsky, it puts the rhythmic spotlight on the “subtactile” level, accommodating and facilitating the free metamorphosis of the felt beat —for example, from quarters to dotted quarters at the twenty-second module of In C—and allows their multiple presence to be felt as levels within a complex texture. It may be surprising, therefore, to learn that the constant C-pulse was an afterthought, adopted in rehearsal for what seemed at the time a purely utilitarian purpose (simply to keep the group together in lieu of a conductor), and that it was not even Riley's idea. It was Reich's. Steve Reich came from a background very different from Young's and Riley's. Where they had a rural, working-class upbringing on the West Coast, Reich was born into a wealthy, professional- class family in cosmopolitan New York. Like most children of his economic class, Reich had traditional piano lessons and plenty of exposure to what in later years he mildly derided as the “bourgeois classics.” He had an elite education culminating in a Cornell baccalaureate with a major in philosophy.