UBC High Notes
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Download Snow in Summer
About Snow in Summer Snow in Summer is the second in a series of concerts in Nicole Ge Li and Corey Hamm’s Snow in Summer erhu and piano project (PEP). Look for many more World Premieres at the next PEP concerts at the Sound of Dragon Festival (May 9-14, 2014 Roundhouse), May 24, 2014 (UBC Barnett Hall), and for the PEP double-CD release concert (Fall 2014), and tours of China and North America (2014/2015). Over forty Canadian and Chinese composers have already agreed to write works for erhu and piano to be premiered, recorded, and toured in both Canada and China. To date, the list of composers includes James Harley, Brian Cherney, Hope Lee, David Eagle, Douglas Finch, Daniel Marshall, Elizabeth Raum, Dai Fujikura, Alexis Renault, Michael Park, John Oliver, Scott Godin, Stephen Chatman, Keith Hamel, Bob Pritchard, Jordan Nobles, Jocelyn PEP Morlock, Gabriel Dharmoo, Paul Steenhuisen, Marc Mellits, Remy Siu, Dorothy Chang, Edward Top, Chris Gainey, Dubravko Pajalic, Jared Miller, Martin Ritter, Alyssa Aska, Alfredo Piano and Erhu Project Santa Ana, Francois Houle, Owen Underhill, Vivian Fung, Hope Lee, Jian Qiang Xu, Yuan Qing Li, Ying Jiang, Joshua Chan, Si Ang Chen, I Yu Wang, Laura Pettigrew, Laurie Radford, Chan Kan Nin, Alice Ho, Emily Doolittle. Nicole Ge Li erhu Corey Hamm piano Thank you! For all their support, PEP would like to thank: The Canada Council for the Arts, Canadian Jenny Lu poetry reader Music Centre, Fairchild Media Group, Lahoo, New Leaf Weekly, World Journal, UBC School of Music, Redshift Records, Consulate General -
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 -
UBC High Notes Newsletter of the School of Music at the University of British Columbia
UBC High Notes Newsletter of the School of Music at the University of British Columbia Fall 2012 Director’s Welcome Welcome to the fourteenth edition of High Notes, celebrating the recent activities and major achievements of the faculty and students in the UBC School of Music! I think you will find the diversity and quality of accomplishments impressive and inspiring. A major highlight for me this year is the opportunity to welcome three exciting new full-time faculty members. Pianist Mark Anderson, with an outstanding international reputation gave a brilliant first recital at the School in October.Jonathan Girard, our new Director of the UBC Symphony Orchestra, and Assistant Professor of Conducting, led the UBC Symphony Orchestra in a full house of delighted audience members at the Chan Centre on November 9th. Musicologist Hedy Law, a specialist in 18th-century French opera and ballet is, has already established herself well with students and faculty in the less public sphere of our academic activities. See page 4 to meet these new faculty members who are bringing wonderful new artistic and scholarly energies to the School. It is exciting to see the School evolve through its faculty members! Our many accomplished part-time instructors are also vital to the success and profile of the School. This year we welcome to our team several UBC music alumni who have won acclaim as artists and praise as educators: cellist John Friesen, composer Jocelyn Morlock, film and television composer Hal Beckett, and composer-critic-educator David Duke. They embody the success of our programs, and the impact of the UBC School of Music on the artistic life of our province and nation. -
^ Contemporary Flute Re^Al with J Visiting Artist Chenoa Anderson
Department of Music University ot Aiberca ■if*.-; 'IS® C 'WM w;- 2f • t ^ Contemporary Flute Re^al with J Visiting Artist Chenoa Anderson Monday, February 2,2004 at 8:00 Fine Arts Building ^ DEPARTMENT OF MUSIC Program Tenderness of Cranes Shirish Korde Velour! for alto flute Jocelyn Morlock (b. 1969) Foundry Paul Steenhuisen (b. 1965) Intermission Canzona di Ringraziamento (1985) Salvatore Sciarrino (b. 1947) Steam for alto flute and tape (2001) Barry Truax (b. 1947 Nidi - due pezzi per ottavino (1979) Franco Donatoni (1927-2000) Flutist Chenoa Anderson holds a Master's degree in performance from the University of British Columbia and a Bachelor's degree from the University of Toronto. She performs with Vancouver ensembles Vancouver New Music, the eMC(Experimental Music Collective) and Helikon, as well as appearing with New Works Calgary. She is also a founding member of the Alberta-based Das Chicas. A committed interpreter of some of the most electrifying and irmovative music written for flute in the 20'*' and 21" centuries, Ms. Anderson has performed abroad in such festivals such as the Darmstadt Ferienkursefur Neiie Musik (Germany) and the Gaudeamus Interpreters Biennial(The Netherlands). Chenoa Anderson appears on Standing Wave's eponymous CD, as well as the Canadian Music Centredisc Coastal Waves. She has been broadcast on the CBC, and has appeared on Radio-Canada Television. Program Notes feature performances at the Musikprotokoll Festival in Graz, Austria, at the ISCM World Music Days in Yokohama, Japan, and at the annual BONK Festival in Tampa, Florida. His music has also been performed at each of the major Canadian festivals. -
18 Contemporary Opera and the Failure of Language
18 CONTEMPORARY OPERA AND THE FAILURE OF LANGUAGE Amy Bauer Opera after 1945 presents what Robert Fink has called ‘a strange series of paradoxes to the historian’.1 The second half of the twentieth century saw new opera houses and companies pro- liferating across Europe and America, while the core operatic repertory focused on nineteenth- century works. The collapse of touring companies confined opera to large metropolitan centres, while Cold War cultural politics often limited the appeal of new works. Those new works, whether written with political intent or not, remained wedded historically to ‘realism, illusion- ism, and representation’, as Carolyn Abbate would have it (as opposed to Brechtian alienation or detachment).2 Few operas embraced the challenge modernism presents for opera. Those few early modernist operas accepted into the canon, such as Alban Berg’s Wozzeck, while revolu- tionary in their musical language and subject matter, hew closely to the nature of opera in its nineteenth-century form as a primarily representational medium. As Edward Cone and Peter Kivy point out, they bracket off that medium of representation – the character singing speech, for instance, in an emblematic translation of her native tongue – to blur diegetic song, ‘operatic song’ and a host of other conventions.3 Well-regarded operas in the immediate post-war period, by composers such as Samuel Barber, Benjamin Britten, Francis Poulenc and Douglas Moore, added new subjects and themes while retreating from the formal and tonal challenges of Berg and Schoenberg. -
CD Program Notes
CD Program Notes Contents tique du CEMAMu), the graphic mu- the final tape version was done at sic computer system developed by the Stichting Klankscap and the Xenakis and his team of engineers at Sweelinck Conservatory in Am- Part One: James Harley, Curator the Centre d’Etudes de Mathe´ma- sterdam. I would like to thank tique et Automatique Musicales (CE- Paul Berg and Floris van Manen for MAMu). The piece by Cort Lippe, their support in creating this work. completed in 1986, is mixed, for bass Sound material for the tape was Curator’s Note clarinet and sounds created on the limited to approximate the con- It probably would not be too far computer. My own piece, from 1987, fines one normally associates with wrong to state that most composers is also mixed, for flute and tape; in individual acoustic instruments in of the past 40 years have been influ- the excerpt presented here, the pre- order to create a somewhat equal enced in one way or another by the produced material, a mixture of re- relationship between the tape and music or ideas of Iannis Xenakis. corded flute and computer-generated the bass clarinet. Although con- The composers presented on this sounds, is heard without the live trasts and similarities between the disc have been touched more directly flute part. Richard Barrett’s piece tape and the instrument are evi- than most. It was my intention to was entirely produced on the UPIC. dent, musically a kind of intimacy gather a disparate collection of music The sound-world Xenakis created was sought, not unlike our to show the extent to which that in- in his music owes much to natural present-day ‘‘sense’’ of intimacy fluence has crossed styles. -
A Performer's Guide to Oskar Morawetz' from the Diary of Anne Frank Jami Rhodes Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2009 A performer's guide to Oskar Morawetz' From the Diary of Anne Frank Jami Rhodes Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Rhodes, Jami, "A performer's guide to Oskar Morawetz' From the Diary of Anne Frank" (2009). LSU Doctoral Dissertations. 3516. https://digitalcommons.lsu.edu/gradschool_dissertations/3516 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A PERFORMER‟S GUIDE TO OSKAR MORAWETZ‟ FROM THE DIARY OF ANNE FRANK A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music and Dramatic Arts by Jami Rhodes B.M., East Carolina University, 2001 M.M., University of South Carolina, 2003 August 2009 ACKNOWLEDGEMENTS I must first acknowledge the aid of Claudia Morawetz, whose own extensive research into her father‟s life and work, coupled with her constant willingness to assist me throughout this process has been invaluable. I owe a special debt of gratitude to my major professor, Dr. Lori Bade who has not only served as the chair of my doctoral committee throughout this process but has guided me vocally throughout my time at Louisiana State University. -
Pentland Program.Pages
The Canadian Music Centre in BC Presents The Murray Adaskin Salon Concert Series CELEBRATING OUR LEGACY Barbara Pentland Celebration Friday, November 18, 2016 • 7:00pm As a courtesy… Please turn off the sound for all phones and other electronic devices. You are welcome to take non-flash photos during applause between pieces, but please refrain from taking photos during a performance and between movements, thank you. We encourage you to post your photos and share your experience on social media using the hashtag #CMCBC CMC BC on Twitter: @MusicCentreBC CMC BC on Facebook: facebook.com/CanadianMusicCentreBC Website: musiccentrebc.ca CMC National on Twitter: @CMCnational CMC National on Facebook: facebook.com/CanadianMusic Website: musiccentre.ca Red and white wine from Show your ticket and get Chaberton Estate Winery, a 10% off all hot beverages at local vineyard in Langley, BC, Breka Bakery next door at is available at the lobby bar. 855 Davie Street. Letter from the BC Director This concert tonight celebrating Barbara Pentland is the second in our Murray Adaskin Salon Concert Series, a year-long celebration of the first generation of composers to write concert music on the West Coast of Canada. I wish I’d known Barbara Pentland — I bet she was fascinating! My impression is that she was an uncompromising rebel, a fiercely independent woman a century ahead of her time, discouraged from composing by nearly everyone she knew including her parents, the all-male (then) musicians who found her music ‘difficult’, and the male composers she encountered throughout her life. To understand Barbara Pentland is to understand the courage and insistent devotion to her own voice that both drove and sustained her against all odds. -
The Music Scene
th ISSUE 04 FREE www.scena.org April – May 2004 cene English Canada National Edition Frances Ginzer and Adrianne Pieczonka Scaling Valhalla Sumi Jo Interview Special on Asian Musicians Summer Camps Classical Music Calendar & Picks Southern Ontario & Western Canada Canada Post Publications Mail Sales Agreement n˚. 40025257 Passing the Torch GreatGreat Recordings Recordings of of the the Century Century A celebration of the defining moments in the history of recorded music. For more than 5 years, Great Recordings of the Century has been the world’s premier re-issue series. Later this year, EMI Classics will cap the series at 150 titles, all of which genuinely deserve the description Great Recordings of the Century. 10 new releases arrive March 16, with a final 10 in September 2004 Great Artists of the Century A celebration of our greatest recording artists - past,Great present andArtists future of the Century This month, along with the penultimate release of Great Recordings of the Century, EMI Classics is proud to announce its successor: Great Artists of the Century. Keeping the same high standards of remastering and packaging as its predecessor, each program in the new series honours one of the great artists who recorded for EMI during its first century. The first 25 releases feature: Alban Berg Quartett, Leif Ove Andsnes, Janet Baker, Sir Adrian Boult, Maria Callas, Choir of King’s College, Cambridge, Georges Cziffra, Jacqueline Du Pré, Dietrich Fischer-Dieskau, Wilhelm Furtwängler, Walter Gieseking, Carlo Maria Giulini, Tito Gobbi, Hans Hotter, Mariss Jansons, Herbert Von Karajan, Nigel Kennedy, Otto Klemperer, Stephen Kovacevich, Dinu Lipatti, Yehudi Menuhin, Arturo Benedetti Michelangeli, Anne-Sophie Mutter, Mstislav Rostropovich, Galina Vishnevskaya All titles in both series have been transferred and, where appropriate, newly remastered from the original source materials by EMI’s renowned team of engineers at Abbey Road Studios. -
Kimberly Barber--Mezzo-Soprano
KIMBERLY BARBER, MEZZO-SOPRANO COMPLETE PERFORMANCE ARCHIVE Operatic and concert performances: 2019 “I never saw another butterfly: Music of the Holocaust”; Recital with Pianist Anna Ronai and Flutist Ulrike Anton; Richmond Hill Centre for the Performing Arts, Richmond Hill, ON, November 7, 2019 Gala Concert: Opening of CASP Conference; Edmonton, AB; mezzo-soprano Elizabeth Turnbull and others; October 16, 2019 Faculty Showcase: Music at Noon; Pianist Anna Ronai, Penderecki String Quartet, Pianists Anya Alexeyev and Glen Carruthers, vocalist Glenn Buhr; Maureen Forrester Recital Hall, Wilfrid Laurier University, Waterloo, ON; September 12, 2019 Mysterious Barricades: The Stories We Tell; Kitchener Public Library Theatre, Kitchener, ON; Pianist Anna Ronai, Penderecki String Quartet, Trumpeter Guy Few and others; Sept 10, 2019 (coast-to-coast livestream Sept. 14-21, 2019) Closing concert Festival de Fourvière; Chateau LaCroix-Laval, Lyon, France; Pianists Franck Avitabile and Catherine Garonne, cellist Yannick Callier; Aug 4, 2019 Opening concert Festival de Fourvière; Hôtel de Ville, Lyon, France; Three Songs of James Joyce, op. 10, Samuel Barber; Pianist Laetitia Bougnol; Aug 1, 2019 Concert Lyrique, NSVI, Église Ste-Claire, Riviere-Beaudette, QC; Pianist Michael Shannon, Mezzo-soprano Maria Soulis and others; July 3, 2019 Église Ste-Madeleine, Rigaud, QC, July 6, 2019 Mme. de la Haltière, Cendrillon, Jules Massenet; Conductor Leslie De’Ath, Soprano Emily Vondrejs, Mezzo-soprano Dominie Boutin and others; Theatre Auditorium WLU, Waterloo, -
Il Trovatore Verdi LYRIC OPERA of CHICAGO Table of Contents
Il Trovatore Verdi LYRIC OPERA OF CHICAGO Table of Contents DAN REST IN THIS ISSUE Prime Time: The Ryan Opera Center p 16 6 From the General Director 44 Patron Salute 8 From the President 46 Aria Society A Wondrous 10 Board of Directors 55 Breaking New Ground 12 Women’s Board/Guild Board/ 56 60th Anniversary Gala Contributors Sound: Chapters’ Executive Board/ 57 Major Contributors – Special Events The Lyric Opera Chorus Ryan Opera Center Board and Project Support Celebrates a New Season 14 Administration/Administrative Staff/ Saturday, November 22, 2014, 3 pm 58 Lyric Unlimited Contributors/ Production and Technical Staff Alice Millar Chapel Northwestern University, Evanston Look To The Future Tickets just $20 at lyricopera.org 16 Prime Time: The Ryan Opera Center 59 Ryan Opera Center Contributors MIKE RUEGG PHOTO: 24 Tonight's Opera 60 Annual Corporate Support/ 25 Story of the Opera Matching Gifts 27 Cast 62 Planned Giving: 28 Cast Profiles The Overture Society 35 Opera Notes 64 Annual Individual and Foundation 39 Director’s and Designer’s Notes Support 40 Musical Staff/Orchestra/Chorus 70 Commemorative Gifts 42 Artistic Roster 71 Special Thanks/Acknowledgements 43 Ryan Opera Center/Lyric Unlimited/ 72 Facilities and Services/ Education Corps/Supernumeraries Theatre and Facilities On the cover: Francisco de Goya, “Pilgrimage to the Hermitage of St. Isidore, 1819-23, oil mural transferred to canvas. Museo Nacional del Prado, Madrid. 2 | OCTOBER 27 - NOVEMBER 29, 2014 LYRIC OPERA OF CHICAGO Since 1991 www.performancemedia.us 3453 Commercial Avenue, Northbrook, IL 60062 Gail McGrath Publisher & President Sheldon Levin Publisher & Director of Finance A. -
Twilight Is the Fourth in a Series of Concerts in Nicole Ge Li and Corey Hamm’S Piano and Twilight Erhu Project (PEP)
About the Piano and Erhu Project Twilight is the fourth in a series of concerts in Nicole Ge Li and Corey Hamm’s piano and Twilight erhu project (PEP). Over forty Canadian and Chinese composers have already agreed to write works for erhu and piano to be premiered, recorded, and toured in both Canada and China. To date, the list of composers includes James Harley, Brian Cherney, Hope Lee, David Eagle, Douglas Finch, Daniel Marshall, Elizabeth Raum, Dai Fujikura, Alexis Renault, Michael Park, John Oliver, Scott Godin, Stephen Chatman, Keith Hamel, Bob Pritchard, Jordan Nobles, Jocelyn Morlock, Gabriel Dharmoo, Paul Steenhuisen, Marc Mellits, Remy Siu, Dorothy Chang, Edward Top, Chris Gainey, Dubravko Pajalic, Jared Miller, Martin Ritter, Alyssa Aska, Alfredo Santa Ana, Francois Houle, Owen Underhill, Vivian Fung, Hope Lee, Jian Qiang Xu, Yuan Qing Li, Ying Jiang, Joshua Chan, Si Ang Chen, I Yu Wang, Laura Pettigrew, Laurie Radford, Chan Kan Nin, Alice Ho, Emily Doolittle. PEP Piano and Erhu Project Thank you! For all their support, PEP would like to thank: The Canada Council for the Arts, Canadian Music Centre, Fairchild Media Group, UBC School of Music, Redshift Records, Consulate Nicole Ge Li erhu General of China, Gabriel Yiu, Robin Wan, Robert Chu, Lucy Jin, Arthur Ling, Laurie Townsend, Dina MacDougall, Don Harder, Jenny Lu, Bob Baker, Jordan Nobles, and all the Corey Hamm piano composers! UBC School of Music 6361 Memorial Road May 24, 2014 | 8:00 pm Vancouver, BC V6T 1Z2 Roy Barnett Recital Hall www.music.ubc.ca University of British Columbia Twilight Saturday, May 24, 2014 8:00 pm Roy Barnett Recital Hall, UBC School of Music Blues n’Grooves 舞動藍調 Thunderhorse 電馬行空 Programme Written in 2014 for Nicole and Corey, Blues n’Grooves is a short showpiece I wanted to write an energetic piece with lots of drive and technical exertion for piece for erhu and piano.