Chapter 16 Power Point

Total Page：16

File Type：pdf, Size：1020Kb

Music in Film Chapter 16 What you will learn Describe the origins and development of music in the art of film Identify three ways in which music enhances the dramatic action in a film Explain how music gives continuity to a film Describe the process that is used to match music and sound to film Vocabulary Scoring Music director Soundtrack Spot Character themes Click-track Empathy Mag track Foreshadow Dubbing Cue The History of Film The beginnings Thomas Alva Edison is credited with developing movie Kinetoscope invented in 1899 is the forerunner to the present day movie camera The birth of filmmaking Early movies had little plot Focus was on the technology Later films told stories Voyage to the Moon (1902) The Great Train Robbery (1903) Music in Silent Films Early movies were accompanied by live improvised music and sound effects Performers had to watch the screen and make the music match the action 1924 - Enro Rapee, a composer of silent film scores, published Motion Picture Moods for Pianists and Organists Birth of a Nation (1915) by D.W. Griffith was the first film to use a live orchestra as accompaniment Soon the symphony replaced the piano By the 1920’s the orchestra grew to nearly 100 musicians Scoring: Composing music expressly for a film Activity 1, p. 364 CD 10:11 Hurry No. 2 What makes this music appropriate for a firefighting scene? What evidence can be seen in the music that creates the sense of urgency the composer intends? What other film scenes could this music accompany? The “Talkies” Edison and others worked to synchronize sound with action The Jazz Singer (1927) – first talking film, featuring Al Jolson The Vitaphone solved the problem of synchronization but was difficult to run Soundtrack: Perforated strip along the film’s edge containing coded representations of the sound Music in Modern Film Musical film – musical is central to the story Saturday Night Fever (1977) The story of aspiring disco dancers Songs were original disco tunes and many went on to become hits Amadeus (1984) Tells of the rivalry between Salieri and Mozart Features classical works as part of the plot and action Music establishes clearly the feeling of what the story is about Activity 2, p. 366 CD 10:12-14 Ennio Morricone Music Enhances Drama John Williams How music enhances film drama Establishing character Character themes: Melodies associated with a particular character that recur throughout the film The Untouchables – has a sinister underworld theme of Al Capone by composer Ennio Morricone The music usually exhibits a style or melody form that overtly suggests traits of the character in question Superman (1978) John Williams – Superman’s theme is majestic The Red Violin (1998) John Corigliano “Anna’s Theme” played by Joshua Bell John Corigliano Activity 3, p. 368 CD 10:15 & 16 “Superman Theme” – John Williams “Anna’s Theme” – John Corigliano Listen to the theme from Superman. Write down qualities of the melody, rhythm, and orchestration that convey the idea of the superhero. Listen to “Anna’s Theme” and follow the instructions from above. Compare “Anna’s theme with Superman’s. What are the differences that allow each theme to connect powerfully with the character it helps portray? What similarities can you identify?.

Copy Link

Recommended publications

From the Podium
R e p o rScott t Hanna, editor Summer 2010 review of proposals for research sessions. (The deadline From the Podium of submissions is November 1.) The conference will include discussions on CBDNA’s evolving relationship I have been thinking about the relationship be- with educational issues. tween our national organization and its members. Elisabeth Charles and Barbara Lambrecht are Albert Einstein’s The World As I See It, begins putting together the Small College Intercollegiate with a quote attributed to Friedrich Nietzsche: “Only band. I am pleased that our colleague Lowell Graham individuals can have a sense of responsibility.” The has agreed to conduct the SCIB. Jim Latten’s summer quote seemed to complement my favorite cartoon, which efforts have produced a flurry of interest and activity shows a CEO at the Christmas party punch bowl with his from CBDNA members (and potential members) who arm around the shoulder of an employee, saying, “Frank, work in small colleges and universities. you are such a valuable employee. I don’t know what this company would do without you…or somebody just As you know from my emails, I was to have like you.” Nietzsche’s sentiment disallows that CBDNA, gone to Florida A & M University in October to present as an organization, could have a sense of or mandate to William Foster with the CBDNA Lifetime Achievement responsibility. CBDNA commitments and actions in Award (he was the fifth person to receive this rare dis- the areas of education, inclusiveness, artistry, expansion tinction). Past-president Foster passed away before that of knowledge, and new initiatives reflect the ideals and could happen.
[Show full text]
Guitarist Sharon Isbin to Star with Santa Rosa Symphony
Guitarist Sharon Isbin to star with Santa Rosa Symphony By DIANE PETERSON THE PRESS DEMOCRAT Published: Thursday, January 20, 2011 at 3:00 a.m. WWW.SHARONISBIN.COM/ J. HENRY FAIR Sharon Isbin serves as the American ambassador of the classical guitar, performing everywhere from the concert hall to the White House. It's a job that no one else really wanted. That's because most Americans are exposed to the guitar through rock and folk music and then fall in love with classical guitar by accident. “That's changing now, but that certainly has been part of the history of classical guitar in this country,” Isbin said in a phone interview from her home in New York City. “Europe has a much longer tradition of classical guitar, going back to Spain and Italy and the U.K., so that the roots have had time to blossom and flourish.” For the Santa Rosa Symphony's fourth concert set this weekend, Isbin will whisk the audience off to the gardens of Spain during a performance of Joaquin Rodrigo's passionate “Concierto de Aranjuez.” “The Rodrigo is one of the most popular works of any works for orchestra,” she said. “The second movement is so powerfully moving and emotionally raw, with great nuances and musical inspiration. It's something that really touches people in unusual ways.” Led by guest conductor and Mexico native Enrique Arturo Diemecke, the south-of-the- border program also includes Astor Piazzolla's seductive “Tangazo, Variations on Buenos Aires” and the Fourth Symphony of composer Carlos Chavez, considered to be the founder of modern Mexican music.
[Show full text]
New on Naxos | September 2013
NEW ON The World’s Leading ClassicalNAXO Music LabelS SEPTEMBER 2013 © Grant Leighton This Month’s Other Highlights © 2013 Naxos Rights US, Inc. • Contact Us: [email protected] www.naxos.com • www.classicsonline.com • www.naxosmusiclibrary.com • blog.naxos.com NEW ON NAXOS | SEPTEMBER 2013 8.572996 Playing Time: 64:13 7 47313 29967 6 Johannes BRAHMS (1833–1897) Ein deutsches Requiem (A German Requiem), Op. 45 Anna Lucia Richter, soprano • Stephan Genz, baritone MDR Leipzig Radio Choir and Symphony Orchestra Marin Alsop Brahms’s A German Requiem, almost certainly triggered by the death of his mother in 1865, is one of his greatest and most popular works, quite unlike any previous Requiem. With texts taken from Luther’s translation of the Bible and an emphasis on comforting the living for their loss and on hope of the Resurrection, the work is deeply rooted in the tradition of Bach and Schütz, but is vastly different in character from the Latin Requiem of Catholic tradition with its evocation of the Day of Judgement and prayers for mercy on the souls of the dead. The success of Marin Alsop as Music Director of the Baltimore Symphony Orchestra was recognized when, in 2009, her tenure was extended to 2015. In 2012 she took up the post of Chief Conductor of the São Paulo Symphony Orchestra, where she steers the orchestra in its artistic and creative programming, recording ventures and its education and outreach activities. Marin Alsop © Grant Leighton Companion Titles 8.557428 8.557429 8.557430 8.570233 © Christiane Höhne © Peter Rigaud MDR Leipzig Radio Choir MDR Leipzig Radio Symphony Orchestra © Jessylee Anna Lucia Richter Stephan Genz 2 NEW ON NAXOS | SEPTEMBER 2013 © Victor Mangona © Victor Leonard Slatkin Sergey RACHMANINOV (1873–1943) Symphony No.
[Show full text]
James Madison University Band Program Repertoire 2007 – Present Wind Symphony – Stephen P
James Madison University Band Program Repertoire 2007 – Present Wind Symphony – Stephen P. Bolstad, conductor Symphony Band – Stephen P. Bolstad, conductor Concert Band – Scott D. Rikkers, conductor Wind Symphony, Stephen P. Bolstad, conductor October 7, 2007 Wiener Philharmoniker Fanfare (1924) – Richard Strauss Serenade in E flat major, Op. 7 (1881) – Richard Strauss Dance of the Jesters (1868) – Tchaikovsky/Cramer Prelude in E flat minor, Op. 34, No. 14 (1933) – Shostakovich/Reynolds Redline Tango (2004) – John Mackey Fantasia in G Major (ca. 1705) – Bach/Goldman & Leist Bells for Stokowski (2003) – Michael Daugherty Symphonic Band & Concert Band Stephen P. Bolstad & Scott Rikkers, conductors October 11, 2007 Concert Band Alleluia! Laudamus Te (1973) – Alfred Reed Be Thou My Vision (1998) – David Gillingham Rakes of Mallow (1947) – Leroy Anderson Symphonic Band Esprit De Corps (1985) – Robert Jager A Movement for Rosa (1992) – Mark Camphouse Illyrian Dances (1986) – Guy Woolfenden Russian Sailor’s Dance (1927) – Gliere/ Leidzen Wind Symphony, Stephen P. Bolstad, conductor JMU Chorale, Patrick M. Walders, conductor & JMU Symphony Orchestra Strings, Robert D. McCashin, conductor October 26, 2007 Portraits in Bluestone (2007) – Brian Balmages World Premiere Wind Symphony, Stephen P. Bolstad, conductor November 11, 2007 (Veteran’s Day) The Star Spangled Banner – Arr. by Luigi Zaninelli Profanation from “Jeremiah, Symphony No. 1” (1942) – Bernstein/Bencriscutto The Leaves Are Falling (1964) – Warren Benson Lincolnshire Posy (1937) – Percy Grainger J’ai été au bal (1999) – Donald Grantham Battle Hymn of the Republic – Arr. by Luigi Zaninelli All-Bands Concert, Stephen P. Bolstad, Scott Rikkers, conductors December 9, 2007 Concert Band Marche Des Parachutistes Belges (1945) – Leemans/Wiley Blessed Are They from “German Requiem” (1865) – Brahms/Buehlman Escape from “Plato’s Cave!” (1993) – Stephen Melillo Symphonic Band Second Suite in F for Military Band (1911) – Gustav Holst La Fiesta Mexicana (1949) – H.
[Show full text]
Beyond the Machine 21.0
Beyond the Machine 21.0 The Juilliard School presents Center for Innovation in the Arts Edward Bilous, Founding Director Beyond the Machine 21.0: Emerging Artists and Art Forms New works by composers, VR artists, and performers working with new performance technologies Thursday, May 20, 2021, 7:30pm ET Saturday, May 22, 2021, 2 and 7pm ET Approximate running time: 90 minutes Juilliard’s livestream technology is made possible by a gift in honor of President Emeritus Joseph W. Polisi, building on his legacy of broadening Juilliard’s global reach. Juilliard is committed to the diversity of our community and to fostering an environment that is inclusive, supportive, and welcoming to all. For information on our equity, diversity, inclusion, and belonging efforts, and to see Juilliard's land acknowledgment statement, please visit our website at juilliard.edu. 1 About Emerging Artists and Art Forms The global pandemic has compelled many performing artists to explore new ways of creating using digital technology. However, for students studying at the Center for Innovation in the Arts, working online and in virtual environments is a normal extension of daily classroom activities. This year, the Center for Innovation in the Arts will present three programs featuring new works by Juilliard students and alumni developed in collaboration with artists working in virtual reality, new media, film, and interactive technology. The public program, Emerging Artists and Artforms, is a platform for students who share an interest in experimental art and interdisciplinary collaboration. All the works on this program feature live performances with interactive visual media and sound.
[Show full text]
Works Performed for the First Time by the San Diego Symphony Orchestra Under Jahja Ling’S Direction
WORKS PERFORMED FOR THE FIRST TIME BY THE SAN DIEGO SYMPHONY ORCHESTRA UNDER JAHJA LING’S DIRECTION MICHAEL TORKE “Charcoal” from Black and White May 21-23, 2004 DONALD MILLER Kaleidoscope October 2, 2004 JOHN CORIGLIANO The Mannheim Rocket October 8-10, 2004 PETER MAXWELL DAVIES An Orkney Wedding, with Sunrise October 21-24, 2004 MARC-ANDRÉ DALBAVIE Rocks Under the Water November 4-6, 2004 CAMILLE SAINT-SAÉNS Havanaise, Op. 83 November 4-6, 2004 CARL NIELSEN Concerto for Violin and Orchestra, Op. 33 December 2-5, 2004 ZHOU LONG Two Poems from Tang January 14-16, 2005 W.A. MOZART Piano Concerto No. 16 in D Major, K. 451 January 14-16, 2005 INOUK DEMERS Universal Field [world premiere] February 24 & 26, 2005 AUGUST READ THOMAS Credences of Summer [world premiere] May 19-22, 2005 NICOLAI RIMSKY-KORSAKOV Overture to May Night October 7 & 9, 2005 LEONARD BERNSTEIN Serenade (After Plato’s “Symposium”) December 2-4, 2005 SAMUEL BARBER Toccata Festiva January 12-15, 2006 GORDON CHIN Double Concerto for Violin and Cello [world premiere] February 10-12, 2006 ALFRED SCHNITTKE (K)ein Sommernachstraum May 18-21, 2006 HEITOR VILLA-LOBOS Bachianas Brasileiras No. 2 October 14, 2006 FRÉDÉRIC CHOPIN Andante spianato et grande polonaise brillante, Op. 22 October 14, 2006 W.A MOZART Symphony No. 25 in G minor, K. 183 October 19-22, 2006 FRANZ SCHUBERT (orch. Miller) Psalm 23, D. 706 October 19-22, 2006 JOHANN SEBASTIAN BACH Piano Concerto No. 1 in D minor, BWV 1052 November 3-5, 2006 BRIGHT SHENG Tibetan Love Song and Swing January 12-14, 2007 JOHN HARBISON Concerto for Bass Viol and Orchestra March 9-11, 2007 CHRISTOPHER ROUSE Symphony No.
[Show full text]
A Narratological Interpretation of John Corigliano's Pied Piper Fantasy (1982)
Playing the Piper: A Narratological Interpretation of John Corigliano’s Pied Piper Fantasy (1982) By Margaret Ann Lambie DMA, University of Kansas, 2018 MM, University of Kansas, 2016 BM, Hastings College, 2014 Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. _______________________________ Chair: David Alan Street _______________________________ James Michael Kirkendoll _______________________________ Margaret Rose Marco _______________________________ Marylee Z. Southard _______________________________ Eric Wolf Stomberg Date Defended: August 23, 2018 The thesis committee for Margaret Ann Lambie certifies that this is the approved version of the following thesis: Playing the Piper: A Narratological Interpretation of John Corigliano’s Pied Piper Fantasy (1982) _______________________________ Chair: David Alan Street Date Approved: August 23, 2018 ii Abstract John Corigliano’s Pied Piper Fantasy is a rather unusual concerto in the flute world. Written for and premiered by James Galway in 1982, the piece tells the familiar tale of the Pied Piper in Hamelin. In addition to being technically challenging, the piece has a music-theatrical dimension, including a suggested costume and directions for how the soloist enters and exits the stage. Because of the significance of the fable to the piece, an analysis that addresses this specific aspect seems appropriate. Although other authors have addressed this topic in the music to some extent, there is room for a more thoroughly narrativized interpretation as a possible basis for performance. This study consists of four complementary chapters. Chapter One, “The Pied Piper Coming to the Stage,” presents a brief history of the piece and an understanding of Corigliano’s career and compositional style.
[Show full text]
Great Music Including a Gershwin Celebration, the Wizard of Oz, & Beethoven's 9Th!
Great music including A Gershwin Celebration, The Wizard of Oz, & Beethoven's 9th! TICKETS START AT JUST $10 19 20 ORDER YOUR TICKETS TODAY! SDSYMPHONY.ORG | 605.367.6000 SDSO_19-20_SingleTicket-ConcertGuide_v3.indd 1 8/6/19 2:03 PM SOUTH DAKOTA SYMPHONY ORCHESTRA 2019–2020 SEASON A Gershwin Celebration SATURDAY, SEPTEMBER 28, 2019 | 7:30 PM Washington Pavilion Delta David Gier, conductor Kevin Deas, bass-baritone Elizabeth Jerstad, violin (Young Musician Concerto Competition Winner) An evening of George Gershwin highlighting music from Porgy and Bess with bass-baritone, Kevin Deas, and Gershwin’s most celebrated orchestral works, Cuban Overture and An American KEVIN DEAS in Paris. SDSO Young Musician Concerto Competition Winner, Elizabeth Jerstad, performs Lalo’s Symphonie espagnole. Ravishing Rachmaninoff SATURDAY, OCTOBER 5, 2019 | 7:30 PM Washington Pavilion Delta David Gier, conductor Rachmaninoff Symphonic Dances Corigliano Symphony No. 1 Widely regarded as his greatest orchestral music, Rachmaninoff’s Symphonic Dances opens the SDSO’s classical series. A deeply emotional work, John Corigliano’s Grammy Award®-winning Symphony No. 1 is a memorial to the friends he lost during the JOHN CORIGLIANO AIDS epidemic and inspired by the 1987 AIDS Memorial Quilt which remains the world’s largest community art project. COMMUNITY John Corigliano spends time in Sioux Falls, CONNECTIONS first meeting with Roosevelt High School’s choir, orchestra, and band students as they discuss Corigliano’s Symphony No. 1. Corigliano will also meet with composers from throughout the region, and the public is invited to hear Corigliano speak at Augustana University on October 4th, 2019 at 1:00 PM in Hamre Hall.
[Show full text]
SARAH IOANNIDES Conductor
SARAH IOANNIDES Conductor Described by the New York Times as a conductor with “unquestionable strength and authority,” Sarah Ioannides’ dynamic presence on the podium has won praise from audiences and critics alike for bringing fresh ideas, original programs and exciting performances to orchestras across the globe. Sarah Ioannidesʼ conducting engagements span five continents with recent appearances with the Rochester Philharmonic, the Louisville Orchestra, the Buffalo Philharmonic, North Carolina Symphony, Charleston Symphony Orchestra, and Chautauqua Symphony Orchestra. She has also guest conducted the Orchestra Nationale de Lyon, Flemish Radio Orchestra, Wurttembergisches Kammerorchester Heilbronn, Västerås Sinfonietta and the Simon Bolivar Youth Orchestra. A passionate director of vocal & choral music she has conducted and recorded with the RIAS Kammerchor, SWR Vokalensemble, and Bachakademie, Stuttgart. Her recording with The Royal Philharmonic Orchestra and violinist Lara St. John was reviewed by Gramophone music magazine as “directed with panache by Sarah Ioannides”, which features the Suite from the Red Violin by John Corigliano and two world premiers. Music Director of the Spartanburg Philharmonic Orchestra since 2005, Ioannidesʼ successful tenure is characterized by cultivating traditions and establishing effective community relationships through creative programming. "The orchestra and its Music Director, Sarah Ioannides, offered compelling proof of the value and importance of an orchestra.” (Spartanburg Herald Journal.) She also served as Music Director with the El Paso Symphony Orchestra between 2005-2011 where she was highly recognized by her innovative programs, multimedia creations, and developing a younger audience: ”once again, Ioannides was dazzling as she led the orchestra in an exhilarating performance” [El Paso Times]. Sarah Ioannides has appeared in special engagements with the Los Angeles Philharmonic, the New World Symphony and the London Symphony Orchestra.
[Show full text]
New York Festival of Song
NEW YORK FESTIVAL OF SONG WILLIAM BOLCOM AND JOHN CORIGLIANO: AN 80TH BIRTHDAY TRIBUTE The Juilliard School and New York Festival of Song present William Bolcom and John Corigliano: An 80th Birthday Tribute Thursday, January 11, 2018, 7:30pm Peter Jay Sharp Theater Kathryn Henry, Soprano Myka Murphy and Nicole Thomas, Mezzo-Sopranos Matthew Pearce, Tenor Dominik Belavy and Gregory Feldmann, Baritones Steven Blier, Pianist, Arranger, and Artistic Director of NYFOS Mary Birnbaum, Stage Director Chris Reynolds, Associate Pianist Jack Gulielmetti, Guitarist JOHN CORIGLIANO From The Ghosts of Versailles (1991) (b. 1938) As Summer Brings a Wistful Breeze Kathryn Henry, Nicole Thomas Rhymes for the Irreverent (2001) The Odds-on Favorite Irreverent Heart Critical One Sweet Morning Gregory Feldmann World premiere of complete cycle From Mr. Tambourine Man: Seven Poems of Bob Dylan (2000) Chimes of Freedom Postlude: Forever Young Kathryn Henry Metamusic Dodecaphonia (1997) Marvelous Invention (2001) End of the Line (2009) Dominik Belavy, Nicole Thomas, Myka Murphy Program continues 1 JOHN CORIGLIANO no comet ever scratched the sky (2017) (b. 1938) Gregory Feldmann World premiere Liebeslied (1996) The Company Intermission WILLIAM BOLCOM From Cabaret Songs (b. 1938) He Tipped the Waiter (1978) Can’t Sleep (1997) At the Last Lousy Moments of Love (1997) Dominik Belavy, Gregory Feldmann, Myka Murphy From Casino Paradise (1990) A Great Man’s Child It Will Be Our Little Secret Night, Make My Day Matthew Pearce, Gregory Feldmann, Nicole Thomas The Company
[Show full text]
Symphonic and Concert Composers
No. 01-618 IN THE 6XSUHPH&RXUWRIWKH8QLWHG6WDWHV ———— ERIC ELDRED, et al., Petitioners, v. JOHN D. ASHCROFT, In his official capacity as Attorney General, Respondent. ———— On Writ of Certiorari to the United States Court of Appeals for the District of Columbia Circuit ———— BRIEF OF AMICI CURIAE SYMPHONIC AND CONCERT COMPOSERS JACK BEESON, CHEN YI, JOHN CORIGLIANO, JOHN DUFFY, HAROLD FARBERMAN, PHILIP GLASS, ADOLPHUS HAILSTORK, JENNIFER HIGDON, LIBBY LARSEN, TANIA LEÓN, STEPHEN PAULUS, GEORGE ROCHBERG, NED ROREM, AUGUSTA READ THOMAS, MELINDA WAGNER AND RICHARD WERNICK IN SUPPORT OF RESPONDENT ———— I. FRED KOENIGSBERG * GAELA K. GEHRING FLORES WHITE & CASE LLP 1155 Avenue of the Americas New York, NY 10036-2787 (212) 819-8200 * Counsel of Record Attorneys for Amici Curiae WILSON-EPES PRINTING CO., INC. – (202) 789-0096 – WASHINGTON, D. C. 20001 TABLE OF CONTENTS Page TABLE OF AUTHORITIES ......................................... iii INTERESTS OF AMICI CURIAE................................. 1 SUMMARY OF ARGUMENT ..................................... 8 ARGUMENT................................................................. 9 I. RECOGNITION OF, AND REMUNERA- TION FOR, THE LIFE WORK AND LEGACY OF CREATORS OF SYMPHONIC AND CONCERT MUSIC IS USUALLY LONG-DELAYED ............................................ 9 II. THE CTEA RATIONALLY PROMOTES THE PROGRESS OF SCIENCE AND USEFUL ARTS BY ALLOWING FOR FAIR COMPENSATION AND ENCOURAGING CREATIVITY, INVESTMENT, PRESERVA- TION, PROMOTION AND DISSEMINA- TION IN FIELDS IN WHICH AN ARTIST’S WORK IS RECOGNIZED VERY LATE IN LIFE OR POSTHUMOUSLY ........................... 13 A. The CTEA Provides Fair Compensation for the Enrichment of American Culture through Symphonic and Concert Musical Works........................................................... 13 B. The CTEA Promotes American Culture by Extending Copyright for Existing Symphonic and Concert Music.................... 15 1. The CTEA Ensures a Proper Legacy to the Composer’s Heirs............................
[Show full text]
May 23–June 11, 2016
FOR RELEASE: March 8, 2016 PROGRAM UPDATES AND Contact: Katherine E. Johnson NEW EVENTS ADDED (212) 875-5718; [email protected] UPDATED May 25, 2016 May 23–June 11, 2016 THREE-WEEK EXPLORATION OF TODAY’S MUSIC PRESENTED BY THE NEW YORK PHILHARMONIC AND TWELVE PARTNERS IN EIGHT VENUES THROUGHOUT NEW YORK CITY NEWLY ADDED: Insights Series: Free NY PHIL BIENNIAL Preview Night with Alan Gilbert, May 11 at David Rubenstein Atrium NY PHIL BIENNIAL Play Dates: Post-Concert Meet-Ups with Composers and Artists #biennialist Social Media Contest Programs for New York City Electroacoustic Music Festival with Works by More Than 30 Composers June 5–7, 2016, at National Sawdust BOULEZ’s Messagesquisse and STUCKY’s Second Concerto for Orchestra Added to Finale Program with Alan Gilbert and the New York Philharmonic In Tribute to the Late Composers June 11 at David Geffen Hall From May 23 to June 11, 2016, the New York Philharmonic and Music Director Alan Gilbert will present the second NY PHIL BIENNIAL, a wide-ranging exploration of today’s music by an array of contemporary and modern composers. A flagship project of the New York Philharmonic, the NY PHIL BIENNIAL brings together an international roster of composers, performers, and curatorial voices for concerts presented both on the Lincoln Center campus and in venues throughout the city. The 2016 NY PHIL BIENNIAL will feature works by more than 100 composers, more than half of whom are American, spanning in age and experience from students to iconic legends. Reflecting the Philharmonic’s growing collaborations with music education organizations from New York City to Asia, in the second NY PHIL BIENNIAL the Philharmonic will present new-music programs from some of the country’s top music schools, ranging from high school to university levels, and youth choruses from the East and West Coasts.
[Show full text]