DOCSLIB.ORG

New Music for Orchestra

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
New Music for Orchestra Michel van der Aa (*1970) Louis Andriessen (*1939) Imprint (2004) 14’ Vermeer Pictures (2005) 30’ for Baroque orchestra Concert suite from the opera ‘Writing to Vermeer’ FP: 27 Aug 2005 Lucerne for orchestra Freiburger Barockorchester / Gottfried von der Goltz FP: 17 Sep 2005 Dr Anton Philipszaal, Den Haag 2ob-hpd-strings(4.4.3.2.1); portative organ to be played by solo vln; Residentie Orkest / Clark Rundell period instruments or modern instruments played in a Baroque way 3.3(III=corA).bcl.cbcl(=bcl).0–2.3.0.0–perc(2)–2harps– 2003 – 2006 2003 – 2gtr(amplified)–2pft–cimb–strings(min.6.6.4.4.2) Second Self (2004) 15’ for orchestra and soundtrack FP: 15 Oct 2004 Donaueschingen Dominick Argento (*1927) SWR-Sinfonieorchester Baden-Baden und Freiburg / Roland Kluttig (2004) 20’ 0.0.Ebcl.2(II=bcl).0–2.2.3.1–perc(2)–strings(12.12.10.8.6)–soundtrack Four Seascapes for chorus and orchestra Releases Music Text: Herman Melville, Thornton Wilder, Henry James, Mark Twain (E) John Adams (*1947) FP: 16 Oct 2004 Eastman Theatre, Rochester, New York Eastman-Rochester Chorus / Eastman Chorale / Batter my heart, three person’d God Eastman Philharmonia / William Weinert from the opera ‘Doctor Atomic’ (2005) 7’ SATB chorus; 2(II=afl).2(II=corA).2(II=bcl).2(II=dbn)–3.2.1.1– for baritone and orchestra timp.perc(2):BD/bell tree/chimes/cyms/glsp/mark tree/snare dr/ Music Text: John Donne (E) susp.cym/tamb/tam-t/whip/wind chime(shell)/tgl/xyl–harp–strings FP: 01 Oct 2005 Opera House, San Francisco, California Gerald Finley, baritone / San Francisco Opera Orchestra / Donald Runnicles Harrison Birtwistle (*1934) 2.picc.3.3(III=bcl).3–4.3.3.1–timp.perc(1):chimes/tuned gongs– harp–strings Three Brendel Settings (2000/03–04) 12’ for baritone and orchestra The Dharma at Big Sur (2003) 27’ Music Text: Alfred Brendel; English version by the for amplified violin and orchestra author with Richard Stokes (E) FP: 24 Oct 2003 Walt Disney Concert Hall, FP complete: 17 Aug 2004 Royal Albert Hall, London Los Angeles, California William Dazeley, baritone / Philharmonia Orchestra / Tracy Silverman, violin / Los Angeles Philharmonic / Christoph von Dohnanyi Esa-Pekka Salonen 2.2.2.2(II=dbn)–4.2.2.1–perc:claves/BD/susp.cym/tam-t–harp–strings 0.0.2bcl.0–4.3.2.dbtrbn.1–2harps–2kbd samplers–timp.perc(4): vib/glsp/marimba/chimes; almglocken/xyl; 4bowl gongs/ glsp/chimes/almglocken/tgl; tuned gongs/2pots/crot–strings Night’s Black Bird (2004) 12’ for orchestra Easter Eve (2004) 12’ FP: 21 Aug 2004 Kultur- und Kongresszentrum, Lucerne from the opera ‘Doctor Atomic’ Cleveland Orchestra / Franz Welser-Möst for mezzo-soprano and orchestra 3(II,III=picc).3.3(II=Eb,III=bcl/dbcl).3(III=dbn)– 6.4(III=btpt*,IV=picc.tpt).4.2–perc(5):xyl/vib/marimba/t.bells/2wdbl/ Music Text: Muriel Rukeyser (E) 2guiro/claves/slit dr/lg BD/susp.cym/clashed cyms/metal tube**/ FP: 21 May 2004 Avery Fisher Hall, New York hi-hat/lg tam-t/lg nipple gong–2harps–strings(min.16.14.11.10.8) Audra McDonald, soprano / New York Philharmonic / * If no bass trumpet available, play on tenor trombone John Adams ** piece of scaffold tube c.40cm x 5cm set on a piece of 3(II,III=picc).3(III=corA).3(III=bcl).2.dbn–4.3.3.0–perc(4):thunder polystyrene and struck with metal hammer large enough to make sheet/glsp/tgl/tuned gong; chimes; lg tam-t/hi susp.cym/xyl/crot; the maximum dynamic (ffff) New Music for Orchestra lg chin.cym/susp.cym/tam-t(with superball)/tuned gongs–harp– cel–strings Elliott Carter (*1908) My Father Knew Charles Ives (2003) 25’ for orchestra FP: 30 Apr 2003 Davies Symphony Hall, Dialogues (2003) 14’ San Francisco, California for piano and large ensemble San Francisco Symphony / Michael Tilson Thomas FP: 23 Jan 2004 Queen Elizabeth Hall, South Bank 3(III=picc).picc.2.corA.3(III=Ebcl).bcl.2.dbn–4.4.3.1–timp(=2bowl Centre, London gongs).perc(4):crot/glsp/cowbell/xyl/2bowl gongs/marimba; xyl/ Nicolas Hodges, piano / London Sinfonietta / Oliver crot/SD/susp.cym/2tom-t/vib/almglocken/3hi tgl/marimba; Knussen chimes/crash cym/susp.cym/3hi tgls; 3tgls/2BD/tuned gongs/ 1(=picc).1(=corA).1.1(=dbn)–2.1.1.0–strings(2.2.2.2.2; may be tam-t/almglocken/lo susp.cym/vib/crot–harp–cel–pft–strings increased proportionately, up to a maximum of 12.10.8.6.4) Fons Juventatis (2004) 3’ Standard order of instrumentation: for orchestra fl.ob.cl.bn–hn.tpt.trbn.tuba–perc–other–vlnI.vlnII.vla.vlc.db 1.2(II=picc).2.corA.2.bcl.3(III=dbn)–4.3.3.0–perc(3):xylorimba; guiro; sm SD/maracas–harp–pft–strings All listed works are available for rental. Composer’s notes for most works and further information at www.boosey.com/composers More’s Utopia (2004) 3’ Raise the Roof (2003) 13’ for orchestra for timpani and orchestra 1.2picc.2.corA.2.cbcl.2.dbn–4.3.3.1–perc(3):log dr/tpl.bls/wdbls/ FP: 16 Oct 2003 Symphony Hall, Detroit, Michigan lg slap stick/xylorimba; tam-t/gong/4susp.cym/vib; BD/tom-t–pft– Brian Jones, timpani / Detroit Symphony Orchestra / strings Neeme Järvi 2.picc(=fl).2.corA.2.bcl.2.dbn–4.3.2.btrbn.1–timp.perc(3)–pft–strings Three Illusions for Orchestra (2004) 9’ [contains: Micomicón, Fons Juventatis, More’s Utopia] Tell My Fortune (2004) 25’ FP: 06 Oct 2005 Symphony Hall, Boston, Massachusetts for orchestra Boston Symphony Orchestra / James Levine FP: 03 Apr 2004 Southern Theatre, Columbus, Ohio 3(II,III=picc).2.corA.2(II=bcl).bcl(=dbcl).3(III=dbn)–4.3.3.1– ProMusica Chamber Orchestra / Timothy Russell perc(3):susp.cym/4tom-t/BD/marimba/xylorimba/log dr/4 tpl.bl/ 4wdbl/lg slapstick;cyms/xyl/vibr/guiro/tam-t/nipple gong/ 1.picc(=fl,afl).1.corA.1.bcl.1.cbn-2.2.0.0-perc(2)-pft-strings 4susp.cym/vib; cyms/xyl/vib/BD/4tom-t–harp–pft–strings Time Machine (2003) 20’ Soundings (2005) 10’ for three conductors and orchestra for orchestra FP: 24 Nov 2003 Heinz Hall, Pittsburgh, Pennsylvania FP: 06 Oct 2005 Symphony Center, Chicago, Illinois Pittsburgh Symphony / Mariss Jansons / Lucas Chicago Symphony Orchestra / Daniel Barenboim Richman / Edward Cumming 2(=picc).picc.2.corA.2(I=Ebcl,II=bcl).dbcl.2.dbn–4.3.3.1–timp.perc(2): 4(IV=picc).2.corA.3(III=Ebcl).bcl.4(IV=dbn)–4.4.3.btrbn.1– xyl/tpl.bls/bongos/2susp.cym/cowbell/lo conga drums/2tom-t/BD; timp.perc(5)–harp–strings claves/4wdbl/2SD/2susp.cym/log dr/2lo tom-t–pft–strings Brett Dean (*1961) Unsuk Chin (*1961) Between Moments (2003) 6’ snagS & Snarls (2003/04) 13’ Music for orchestra, in memory of Cameron Retchford for soprano and orchestra FP: 07 Jun 2003 QPAC Concert Hall, Brisbane Music Text: Lewis Carroll’s ‘Alice in Wonderland’, Queensland Youth Symphony Orchestra / John Curro Unsuk Chin, and a traditional nursery rhyme (E) 2(II=picc).1.corA.0.0–3.1.3.0–perc(3):I=vib/sm tam-t(or gong)/ FP: 06 Jun 2004 Libbey Bowl, Ojai, California sm susp.cym/glsp; II=cym/lg tam-t/lg susp.cym/glsp; III=BD/ Margaret Thompson, mezzo-soprano / Los Angeles med susp.cym/field dr/glsp–harp–pft–strings Opera Orchestra / Kent Nagano 2.2.2.2–0.0.0.0–perc(3)–harp–pft–strings(10.8.6.6.4) Ceremonial (2003) 8’ for orchestra FP: 09 May 2003 Perth Michael Daugherty (*1954) Western Australian Symphony Orchestra / Matthias Bamert 3(II,III=picc).3(III=corA).2.bcl.2.dbn–4.2.3.1–perc(4):I=timp/BD/ rattle/alu-foil; II=vib/crot(2octaves)/gongspiel/tuned gongs(F2,G2)/ Brooklyn Bridge (2005) 25’ seed-rattle; III=marimba/bass marimba/tam-t/2Chin.cym/3susp.cym(lg to med/sm); IV=marimba/lg Chin.tom-t/2tom-t(med,hi)/2bongos(hi)/ for clarinet and symphonic band 2tgl(sm)/3Peking opera cym(susp)–harp–pft–cel– FP: 25 Feb 2005 Carnegie Hall, New York strings(min.14.12.10.8.6; 2nd vln desks 3–6 also play perc:sm bells/ Michael Wayne, clarinet / University of Michigan sleigh bells/house keys/sm containers of stones/toy bells etc.) Symphony Band / Michael Haithcock solo Bb clarinet; 3.picc.0.6.Ebcl.2bcl.dbcl.2asax.tsax.barsax.0– Komarov’s Fall (2005/06) 8’ 4.3.3.2Euponium.2–timp.perc(4)–harp–db for orchestra FP: 16 Mar 2006 Philharmonie, Berlin Fire and Blood (2003) 25’ Berliner Philharmoniker / Sir Simon Rattle for violin and orchestra 2.2picc.3.corA.2.Ebcl.bcl.2.dbn–6.3.2.btrbn.1–timp(=whip).perc(5): FP: 03 May 2003 Symphony Hall, Detroit, Michigan I=marimba/BD/alu-foil; II=xyl/glsp/5wdbl/3tom-t/crot(2octaves)/ Ida Kavafian, violin / Detroit Symphony Orchestra / alu-foil; III=glsp/1crot/susp.cym/hi-hat/SD/sand paper; IV=vib/tam-t/ Neeme Järvi alu-foil; V=tuned gongs/SD/med chin.cym/thundersheet/alu-foil– 2harp–cel–strings 2.2.2.2–2(or4).2.0.0–timp(=5dr).perc(2)–harp–strings Ghost Ranch (2005) 24’ Moments of Bliss (2004) 25’ for orchestra for orchestra FP: 08 Feb 2006 The Lighthouse, Poole FP: 02 Dec 2004 Hamer Hall, Melbourne Bournemouth Symphony Orchestra / Marin Alsop Melbourne Symphony Orchestra / Markus Stenz 4(IV=picc).3(III=corA).4(II=Ebcl,III=bcl,IV=dbcl).3(II=whirly tube,III=dbn)– 2.picc.2.corA.2.bcl.2.dbn–4.3.2.btrbn.1–timp.perc(3):chimes/glsp/ 4.3.3.1–timp.perc(4):I=vib/SD/sizzle cym/tgl/3gongs/7cowbells; BD/sm slapstick/lg slapstick/sm wdbl; vib/African rattle/bongos/ II=lg tam-t/5tom-t/3bongos/5susp.cym(incl.1sizzle cym)/whip/ crash cyms/tamb/sm tgl/lg wdbl; glsp/xyl/picc.SD/susp.cym/ marimba(shared with IV)/glass chimes/tamb/tuned gong/whirly tube; med tgl/metal wind chimes/med wdbl/vibraslap–strings III=sm tam-t/xyl/glsp/SD/lion’s roar/4t.bells/tuned gong; IV=BD/ marimba/full drum kit/glsp/2tgl/1crot/tuned gong–2harps–elec.git– Once Upon a Castle (2003) 25’ pft(=cel)–synth–strings(16.14.12.10.8; pincipal 1st vln=elec.vln; for organ and orchestra 2vln/vla/vlc=whirly tube; 1 female 2nd vln=‘Wheel of Fortune’; all vlc/db require a medium soft timpani stick) FP: 15 Nov 2003 Michigan Theater, Ann Arbor, Michigan Steven
Load more

Recommended publications
  • Nutcracker Three Hundred Sixty-Seventh Program of the 2012-13 Season ______Indiana University Ballet Theater Presents
    2012/2013 Peter Ilyich Tchaikovsky NutcrackerThe Three Hundred Sixty-Seventh Program of the 2012-13 Season _______________________ Indiana University Ballet Theater presents its 54th annual production of Peter Ilyich Tchaikovsky’s The Nutcracker Ballet in Two Acts Scenario by Michael Vernon, after Marius Petipa’s adaptation of the story, “The Nutcracker and the Mouse King” by E. T. A. Hoffmann Michael Vernon, Choreography Andrea Quinn, Conductor C. David Higgins, Set and Costume Designer Patrick Mero, Lighting Designer Gregory J. Geehern, Chorus Master The Nutcracker was first performed at the Maryinsky Theatre of St. Petersburg on December 18, 1892. _________________ Musical Arts Center Friday Evening, November Thirtieth, Eight O’Clock Saturday Afternoon, December First, Two O’Clock Saturday Evening, December First, Eight O’Clock Sunday Afternoon, December Second, Two O’Clock music.indiana.edu The Nutcracker Michael Vernon, Artistic Director Choreography by Michael Vernon Doricha Sales, Ballet Mistress Guoping Wang, Ballet Master Shawn Stevens, Ballet Mistress Phillip Broomhead, Guest Coach Doricha Sales, Children’s Ballet Mistress The children in The Nutcracker are from the Jacobs School of Music’s Pre-College Ballet Program. Act I Party Scene (In order of appearance) Urchins . Chloe Dekydtspotter and David Baumann Passersby . Emily Parker with Sophie Scheiber and Azro Akimoto (Nov. 30 & Dec. 1 eve.) Maura Bell with Eve Brooks and Simon Brooks (Dec. 1 mat. & Dec. 2) Maids. .Bethany Green and Liara Lovett (Nov. 30 & Dec. 1 eve.) Carly Hammond and Melissa Meng (Dec. 1 mat. & Dec. 2) Tradesperson . Shaina Rovenstine Herr Drosselmeyer . .Matthew Rusk (Nov. 30 & Dec. 1 eve.) Gregory Tyndall (Dec. 1 mat.) Iver Johnson (Dec.
    [Show full text]
  • MEREDITH MONK and ANN HAMILTON: Aaron Copland Fund for Music, Inc
    The House Foundation for the Arts, Inc. | 260 West Broadway, Suite 2, New York, NY 10013 | Tel: 212.904.1330 Fax: 212.904.1305 | Email: [email protected] Web: www.meredithmonk.org Incorporated in 1971, The House Foundation for the Arts provides production and management services for Meredith Monk, Meredith Monk & Vocal Ensemble, and The House Company. Meredith Monk, Artistic Director • Olivia Georgia, Executive Director • Amanda Cooper, Company Manager • Melissa Sandor, Development Consultant • Jahna Balk, Development Associate • Peter Sciscioli, Assistant Manager • Jeremy Thal, Bookkeeper Press representative: Ellen Jacobs Associates | Tel: 212.245.5100 • Fax: 212.397.1102 Exclusive U.S. Tour Representation: Rena Shagan Associates, Inc. | Tel: 212.873.9700 • Fax: 212.873.1708 • www.shaganarts.com International Booking: Thérèse Barbanel, Artsceniques | [email protected] impermanence(recorded on ECM New Series) and other Meredith Monk & Vocal Ensemble albums are available at www.meredithmonk.org MEREDITH MONK/The House Foundation for the Arts Board of Trustees: Linda Golding, Chair and President • Meredith Monk, Artistic Director • Arbie R. Thalacker, Treasurer • Linda R. Safran • Haruno Arai, Secretary • Barbara G. Sahlman • Cathy Appel • Carol Schuster • Robert Grimm • Gail Sinai • Sali Ann Kriegsman • Frederieke Sanders Taylor • Micki Wesson, President Emerita MEREDITH MONK/The House Foundation for the Arts is made possible, in part, with public and private funds from: MEREDITH MONK AND ANN HAMILTON: Aaron Copland Fund for
    [Show full text]
  • London Contemporary Orchestra: Other Worlds Wednesday 31 October 2018 8Pm, Hall
    London Contemporary Orchestra: Other Worlds Wednesday 31 October 2018 8pm, Hall Giacinto Scelsi Uaxuctum: The Legend of the Maya City, destroyed by the Maya people themselves for religious reasons UK premiere interval 20 minutes John Luther Adams Become Ocean London Contemporary Orchestra and Choir Robert Ames conductor Universal Assembly Unit art direction Artrendex artificial intelligence London Contemporary Orchestra and Universal Assembly Unit are grateful to Arts Council England for their support for the visual elements of this concert Part of Barbican Presents 2018–19 Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. Please remember that to use our induction loop you should switch your hearing aid to T setting on entering the hall. If your hearing aid is not correctly set to T it may cause high-pitched feedback which can spoil the enjoyment of your fellow audience members. We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it with a handkerchief. The City of London If anything limits your enjoyment please let us know Corporation is the founder and during your visit. Additional feedback can be given principal funder of online, as well as via feedback forms or the pods the Barbican Centre located around the foyers.
    [Show full text]
  • Core Instrumentation of the “Typical” American Community Concert Band: an Approach to Scoring Guidelines for Composers and Arrangers
    Core Instrumentation of the “Typical” American Community Concert Band: An Approach to Scoring Guidelines for Composers and Arrangers Findings based on a 2012 Online survey by Composer/Conductor David Avshalomov, D.M.A 1 Approach In early 2012, after extensive observation of online email threads around the practical challenges of presenting concerts with community bands, the author decided to create and run an open online survey with the goal of gathering a sampling of reasonably reliable statistical information about the “typical” core instrumentation of a community concert band in the US. The definition of community concert band used here begins by distinguishing it from a full- instrumentation concert band or symphonic wind ensemble having all the “outlier/outsize” instruments and generally carrying only one (or perhaps at most two) players per part except for Bb clarinets. In the US these full bands are almost exclusively conservatory, university, college, community college, or advanced/large high school ensembles. Few professional concert bands exist in the US. The definition of community concert band here also excludes marching bands—school, municipal, or private—as these too have a separate and distinct instrumentation profile. Although there are some community concert bands that have fairly full instrumentation, initial observations from the survey results confirm that most, if not all, have what could be characterized as significant gaps by comparison with the “full” symphonic wind ensemble. They also often have much heavier doublings in certain common sections such as flutes and clarinets. GOAL: The intention of the survey was to draw a rough line around a “safe” core scoring, and additionally to define tentative guidelines for the inclusion of instruments outside that line, for composers and arrangers who wish to serve the community concert band population with music targeted to such groups’ strengths, not their weaknesses.
    [Show full text]
  • Britten Connections a Guide for Performers and Programmers
    Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman.
    [Show full text]
  • Elton John and Billy Joel
    TECHNICAL REQUIREMENTS: Back To Back - Elton John and Billy Joel GENERAL: In our experience we have for the most part found the house techs/sound companies as provided by host orchestras to be highly competent professionals who know and understand the needs of their orchestra and their performance venue. As such we are comfortable in trusting their recommendation and expertise. Conceptually all Jeans ‘n Classics productions are designed to feature the sound of the orchestra and as such the band and the orchestra should be equally sharing the musical picture as opposed to the orchestra being mixed into the back ground. The following are simply guidelines. MICS - BAND & SINGERS: Lead Vocalist (s) - 1 lead vocal mic required (cordless) - 1 lead vocal mic required (cordless)- Back Up Vocalist (s) - 2 backup vocal mics required (cordless) Band - 1 vocal mic required at piano MICS - ORCHESTRA: Strings - Contact mics on all strings is ideal - If impossible separate mics per player or minimally 1 mic per desk Winds - 1 mic per wind Brass - 1 mic per brass instrument Percussion - Individual mics on the congas/bongos area - Ambient mics on the "toys" for wind chime, tambourine etc, where the player can approach the mic - Individual mics on the vibes/marimbas area - Timpani and bass drums may or may not need ambient mics depending on the venue Special - up front solo violin on "Piano Man" BAND INSTRUMENTS: Electric Bass - Bass player will need DI line, or in some cases may bring his own ears / (Mitch Tyler) mixer and therefore will need a line to the mixer - Bass guitar to be provided: - 4- String Fender Precision (American made preferred) with strap Guitars - 1 DI lines will be required for an acoustic guitar played by lead vocalist from time to time - 2 guitar stands to be provided Piano - Grand piano will be required please.
    [Show full text]
  • MOXF6/MOXF8 Data List 2 Voice List
    Data List Table of Contents Voice List..................................................2 Drum Voice List ......................................12 Drum Voice Name List............................. 12 Drum Kit Assign List ................................ 13 Waveform List ........................................32 Performance List ....................................45 Master Assign List ..................................47 Arpeggio Type List .................................48 Effect Type List.......................................97 Effect Parameter List..............................98 Effect Preset List ..................................106 Effect Data Assign Table......................108 Mixing Template List ............................116 Remote Control Assignments...............117 Control List ...........................................118 MIDI Data Format.................................119 MIDI Data Table ...................................123 MIDI Implementation Chart...................146 EN Voice List PRE1 (MSB=63, LSB=0) Category Category Number Voice Name Element Number Voice Name Element Main Sub Main Sub 1 A01 Full Concert Grand Piano APno 2 65 E01 Dyno Wurli Keys EP 2 2 A02 Rock Grand Piano Piano Modrn 2 66 E02 Analog Piano Keys Synth 2 3 A03 Mellow Grand Piano Piano APno 2 67 E03 AhrAmI Keys Synth 2 4 A04 Glasgow Piano APno 4 68 E04 Electro Piano Keys EP 2 5 A05 Romantic Piano Piano APno 2 69 E05 Transistor Piano Keys Synth 2 6 A06 Aggressive Grand Piano Modrn 3 70 E06 EP Pad Keys EP 3 7 A07 Tacky Piano Modrn 2 71 E07
    [Show full text]
  • Drum Kit List
    DRUM KIT LIST LISTE DES KITS DE BATTERIE LISTA DE CONJUNTOS DE BATERÍA DRUM KIT-LISTE Drum Kit List / Liste des kits de batterie/ Lista de conjuntos de batería / Drum Kit-Liste • Same as Standard Kit 1 • Comme pour Standard Kit 1 • No Sound • Absence de son • Each percussion voice uses one note. • Chaque sonorité de percussion utilise une note unique. Voice No. 117 118 119 120 121 122 Keyboard Standard Kit 1 Standard Kit 1 Indian Kit Arabic Kit SE Kit 1 SE Kit 2 Note# Note + Chinese Percussion C1 36 C 1 Seq Click H Baya ge Khaligi Clap 1 Cutting Noise 1 Phone Call C#1 37 C# 1Brush Tap Baya ke Arabic Zalgouta Open Cutting Noise 2 Door Squeak D1 38 D 1 Brush Swirl Baya ghe Khaligi Clap 2 Door Slam D#1 39 D# 1Brush Slap Baya ka Arabic Zalgouta Close String Slap Scratch Cut E1 40 E 1 Brush Tap Swirl Tabla na Arabic Hand Clap Scratch F1 41 F 1 Snare Roll Tabla tin Tabel Tak 1 Wind Chime F#1 42 F# 1Castanet Tablabaya dha Sagat 1 Telephone Ring G1 43 G 1 Snare Soft Dhol 1 Open Tabel Dom G#1 44 G# 1Sticks Dhol 1 Slap Sagat 2 A1 45 A 1 Bass Drum Soft Dhol 1 Mute Tabel Tak 2 A#1 46 A# 1 Open Rim Shot Dhol 1 Open Slap Sagat 3 B1 47 B 1 Bass Drum Hard Dhol 1 Roll Riq Tik 3 C2 48 C 2 Bass Drum Dandia Short Riq Tik 2 C#2 49 C# 2 Side Stick Dandia Long Riq Tik Hard 1 D2 50 D 2 Snare Chutki Riq Tik 1 D#2 51 D# 2 Hand Clap Chipri Riq Tik Hard 2 E2 52 E 2 Snare Tight Khanjira Open Riq Tik Hard 3 Flute Key Click Car Engine Ignition F2 53 F 2 Floor Tom L Khanjira Slap Riq Tish Car Tires Squeal F#2 54 F# 2 Hi-Hat Closed Khanjira Mute Riq Snouj 2 Car Passing
    [Show full text]
  • Download the Concert Programme (PDF)
    London Symphony Orchestra Living Music Thursday 18 May 2017 7.30pm Barbican Hall Vaughan Williams Five Variants of Dives and Lazarus Brahms Double Concerto INTERVAL Holst The Planets – Suite Sir Mark Elder conductor Roman Simovic violin Tim Hugh cello Ladies of the London Symphony Chorus London’s Symphony Orchestra Simon Halsey chorus director Concert finishes approx 9.45pm Supported by Baker McKenzie 2 Welcome 18 May 2017 Welcome Living Music Kathryn McDowell In Brief Welcome to tonight’s LSO concert at the Barbican. BMW LSO OPEN AIR CLASSICS 2017 This evening we are joined by Sir Mark Elder for the second of two concerts this season, as he conducts The London Symphony Orchestra, in partnership with a programme of Vaughan Williams, Brahms and Holst. BMW and conducted by Valery Gergiev, performs an all-Rachmaninov programme in London’s Trafalgar It is always a great pleasure to see the musicians Square this Sunday 21 May, the sixth concert in of the LSO appear as soloists with the Orchestra. the Orchestra’s annual BMW LSO Open Air Classics Tonight, after Vaughan Williams’ Five Variants of series, free and open to all. Dives and Lazarus, the LSO’s Leader Roman Simovic and Principal Cello Tim Hugh take centre stage for lso.co.uk/openair Brahms’ Double Concerto. We conclude the concert with Holst’s much-loved LSO WIND ENSEMBLE ON LSO LIVE The Planets, for which we welcome the London Symphony Chorus and Choral Director Simon Halsey. The new recording of Mozart’s Serenade No 10 The LSO premiered the complete suite of The Planets for Wind Instruments (‘Gran Partita’) by the LSO Wind in 1920, and we are thrilled that the 2002 recording Ensemble is now available on LSO Live.
    [Show full text]
  • Julian Anderson
    JULIAN ANDERSON HEAVEN IS SHY OF EARTH THE COMEDY OF CHANGE SUSAN BICKLEY LONDON SINFONIETTA BBC SYMPHONY ORCHESTRA & CHORUS OLIVER KNUSSEN Julian Anderson JULIAN ANDERSON (b. 1967) The Comedy of Change (2009) 23:48 for chamber ensemble of 12 players 1 I. 2:11 2 II. – 2:47 3 III. 1:55 4 IV. – 2:31 5 V. 3:39 6 VI. 5:30 7 VII. 5:15 Heaven is Shy of Earth (2006/2009–10) 38:32 for mezzo-soprano, chorus & orchestra 8 Intrada 3:10 9 Kyrie 5:07 10 Gloria (with Bird) 6:59 11 Quam dilecta tabernacula tua 5:08 12 Sanctus 8:06 13 Agnus Dei 10:02 London Sinfonietta (1–7) Susan Bickley, mezzo-soprano (9–13) BBC Symphony Chorus (9, 10, 12, 13) BBC Symphony Orchestra (8–13) Oliver Knussen, conductor hen Julian Anderson was commissioned to write a substantial work for solo Wmezzo-soprano, chorus and orchestra for the 2006 BBC Proms, the stage was set for a large-scale summation of his recent musical concerns. Anderson would be able to revisit the communal expressive ideal of several recent works for unaccompanied choir in the context of his by now well-established orchestral style, with its characteristic integration of lyrical simplicity and joyous complexity. The solo female voice, meanwhile, suggested a new and often dramatic presence – an individual consciousness at the heart of one of Anderson’s typical evocations of the natural world. Clearly, the choice of texts would be a central decision. Anderson had set poems by Emily Dickinson before, and now found in her visionary eccentricity a compelling expression of nature’s abundance as a kind of secular miracle.
    [Show full text]
  • Denham Scholarly Essay.Pdf
    IMPROVISATION AS A GENERATIVE TOOL FOR NEW OPERA: AN EXPLORATION OF METHODS AND PARAMETERS BY ELLEN LOUISE DENHAM SCHOLARLY ESSAY Submitted in partial fulfillment of the requirements for the degree of Doctoral of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana–Champaign, 2016 Urbana, Illinois Doctoral Committee: Professor Sylvia Stone, Chair Professor Erik Lund, Director of Research Associate Professor Katherine Syer Assistant Professor Michael Tilley ABSTRACT This scholarly essay explores the subject of improvisation in opera and vocal music, tracing its historical antecedents, providing examples of contemporary, classically-informed improvising singers and opera companies, and presenting an overview of possible methods and parameters. Chapter 1 examines the historical background of extemporaneous counterpoint in the fifteenth and sixteenth centuries, the flourishing of improvised ornaments and embellishments from the Baroque era to the bel canto style of the nineteenth century, and the eventual decline in the use of improvised ornaments and cadenzas in the late nineteenth century. Chapter 2 covers first the subject of contemporary improvisation, including experimental techniques from the 1950s and 1960s, with reference to the use of improvisatory elements in composed scores. The second area involves a discussion of singer-composers Cathy Berberian, Meredith Monk, Pamela Z, and Bobby McFerrin. The third area explores current opera creators and performers using improvisation, focusing on the improv-comedy-based groups Impropera and La Donna Improvvisata, and two “devised operas”: Ann Baltz’s OperaWorks production of The Discord Altar, and Ellen Lindquist’s dream seminar. Much of this newer material has yet to be the subject of much scholarship.
    [Show full text]
  • International Conducting Studies Conference 2018 21St – 23Rd June St Anne’S College University of Oxford
    International Conducting Studies Conference 2018 21st – 23rd June St Anne’s College University of Oxford International Conducting 2018 Studies Conference 21-23 June, St Anne’s College WELCOME It is with great pleasure that we welcome you to St Anne’s College and the Oxford Conducting Institute International Conducting Studies Conference 2018. The conference brings together 40 speakers from around the globe, presenting on a wide range of topics that demonstrate the rich and multifaceted realm of conducting studies. The discipline of conducting is at the core of a multitude of global musical endeavours, continually shaping musical practices and experiences in substantial ways. Scholars and practitioners have explored, and continue to explore, historical, philosophical, social and psychological aspects of conducting across a wide range of practices; The OCIICSC 2018 aims to bring together these diverse perspectives in the pursuit of a shared and more cohesive knowledge. While professional organizations and educational institutions have worked to develop the field through conducting master-classes and conferences focused on professional development, and academic researchers have sought to explicate various aspects of conducting through focussed studies, researchers and practitioners are rarely in dialogue about these findings and experiences. The OCIICSC 2018 seeks to redress this by continuing the conversation fostered at the 2016 conference, again bringing together practitioners and researchers to participate in productive and scholarly dialogue. We hope that this conference will provide a fruitful exchange of ideas and again serve as a catalyst for the further development of the topic of Conducting Studies. The OCI International Conducting Studies Conference 2018 Committee Dr Cayenna Dr John Traill Prof.
    [Show full text]