DOCSLIB.ORG

Trillende Lucht: Anna Korsun & Gilius Van Bergeijk Ensemble Modelo62

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Trillende Lucht: Anna Korsun & Gilius Van Bergeijk Ensemble Modelo62 Trillende Lucht: Anna Korsun & Gilius van Bergeijk Ensemble Modelo62 o.l.v. Ezequiel Menalled Dinsdag 5 november 19.00-22.00 uur Grote Kerk en Willem Twee Toonzaal Programma: Grote Kerk 19.00 – 20.00 uur Anna Korsun -Tollers Zelle -Ucht -Signals -Pulsar Willem Twee Toonzaal 20.30 – 20.40 uur Annemiek Rijckenberg (voorzitter Stichting Trillende Lucht) 20.45 – 21.45 uur Gilius van Bergeijk -Rêve -Symphonie Joyeuse -Over de Dood en de Tijd Eigenzinnigheid is een belangrijke karaktertrek voor iedere componist. Een motor voor de creativiteit en een strategie voor een lange, gevarieerde carrière. De Stichting Trillende Lucht uit Amsterdam kent iedere twee jaar de Open Oor prijs toe aan toondichters die een heel eigen klankwereld creëren. Een stimuleringsprijs voor ervaren en beginnende componisten die het risico niet uit de weg gaan. Dit jaar werd de prijs uitgereikt aan de Oekraïense/Nederlandse componiste Anna Korsun (1986) die in 2014 nog de Gaudeamus Muziekprijs in de wacht sleepte. In 2017 won Gilius van Bergeijk (1946) – nestor van de uitdagende, experimentele muziek in Nederland – als eerste componist het Open Oor. Twee componisten die vastgeroeste conventies binnen de muziekpraktijk met veel gevoel voor theater en klankexperiment weten te omzeilen. Tijdens November Music wordt er werk van Korsun en Van Bergeijk gespeeld tijdens een speciaal concertprogramma. Van Anna Korsun klinken vier werken. Ze studeerde compositie en muziektheorie in Kiev, en vervolgde haar opleiding bij Moritz Eggert aan de Hochschule für Musik und Theater in München. Anna is niet alleen als componist actief, maar voert als vocalist, pianist, organist en dirigent zelf ook eigentijdse muziek uit. Met minimale middelen en magnifiek getimede instrumentale vondsten creëert Korsun een magische klankwereld die zijn gelijke niet kent. Anna Korsun presenteert samen met Ensemble Modelo62 een dwarsdoorsnede van haar oeuvre. Muziek waarin verwachtingsvolle stiltes en ongehoorde klanken sublieme spanningsbogen beschrijven. Eigentijdse muziek die de lucht letterlijk laat trillen. Op het programma staan Tollers Zelle voor elektrisch gitaar en sopraan, Ucht voor ensemble, Signals voor veertien stemmen met megafoons en Pulsar voor orgel en sopraan waarbij Anna Korsun zelf als uitvoerende optreedt. Verbeeldingsrijke muziek die de componiste vooral voor zichzelf wil laten spreken. Gilius van Bergeijk is een van de belangrijkste Nederlandse beoefenaars van de 'conceptuele muziek'. Zijn gedachtegoed is van wezenlijke invloed op veel componisten van de Haagse School, onder wie zijn collega's Louis Andriessen en Martijn Padding, en op leerlingen Michel van der Aa, Richard Ayres en Huba de Graaff. Tot halverwege jaren tachtig is Van Bergeijk actief in verschillende avontuurlijke ensembles, waaronder het Willem Breuker Collectief, de Instant Composers Pool en Orkest de Volharding. “Bij deze Hagenaar is iets nooit wat het lijkt”, schrijft Trouw. In het werk van Van Bergeijk is 'deconstructie' een sleutelbegrip, en een groot deel van zijn oeuvre is dan ook op te vatten als commentaar op voorbeelden of verschijnselen uit de muziekgeschiedenis. In samenwerking met Ensemble Modelo62 brengt Van Bergeijk enkele sleutelwerken uit zijn oeuvre. Achtereenvolgens klinken Rêve, Symphonie Joyeuse en Over de Dood en de Tijd. Rêve is een gloednieuw stuk van Van Bergeijk. Het is geschreven voor tapes, live elektronica en beeld. De grafisch ontwerper Ben Faydherbe zorgt voor de geprojecteerde beelden, en uitvoering is in handen van Jan-Willem Troost en Gilius van Bergeijk (live elektronica). Symphonie Joyeuse (1988-1992) is geen symfonie in de negentiende-eeuwse zin van het woord, maar een stuk in vijf scènes waarin op vijf verschillende manieren polyfonie aan de orde wordt gesteld, aldus de componist. Oorspronkelijk is het werk geschreven voor het Maarten Altena Ensemble, maar het wordt nu gespeeld door Modelo62. De NRC omschreef dit bijzondere werk ooit als volgt: “Zo klinkt zijn Symphonie Joyeuse in twee lang uitgesponnen adagio's verre van joyeus afgezien van de geëxalteerde overgangen in barokstijl. Die adagio's hebben veel weg van een karig uitgebeende kerstpotpourri met het klokkenspel in de hoofdrol. Adagio's als lelies die omgeknakt te lang in de vaas zijn blijven staan. Zo laveert Van Bergeijk tussen ernst en campachtige ironie.” Ten slotte klinkt een van Van Bergeijks bekendste werken, Over de Dood en de Tijd uit 1980. Van Bergeijk omschrijft het werk als een ode aan Franz Schubert. Met tijd als gereedschap wordt diens lied ‘Der Tod und das Mädchen’ onder handen genomen. Het is een tapestuk dat de componist zelf handmatig uitstuurt. Voor deze compositie ontving Gilius van Bergeijk in 1983 de Willem Pijper Prijs van de Gemeente Den Haag en de Johan Wagenaar Stichting. Uitgangspunt is het lied Der Tod und das Mädchen van Franz Schubert. Hierin wordt in een uiterst kort tijdsbestek het aloude thema behandeld van de Dood die een jong meisje verleidt. In Over De Dood En De Tijd zijn de tegenstellingen in het oorspronkelijke lied uitvergroot. Zo is in deel 1 (Het Leven) gebruik gemaakt van uitsluitend elektronische klanken die volgens de wetmatigheden van de tonaliteit zijn gegroepeerd, hoewel de elektronische muziek historisch gezien toch het product is van de atonaliteit. Alle klanken werden elektronisch gemonteerd: menselijk handelen (Leven) is hier elektronisch handelen (Dood). In deel 2 (de overgang van Leven naar Dood) worden musique concrète-technieken gebruikt: de overgang van elektronische muziek naar levende muziek. In deel 3 (de Dood) doet de levende muziek haar intrede: orgel en live-elektronica, waarbij de elektronica wordt gestuurd door de orgelklanken (de organist ‘bespeelt’ de elektronische apparatuur door orgel te spelen). Het twaalfkoppige Modelo62 is opgericht in 2003 aan het Koninklijk Conservatorium Den Haag. Onder leiding van de Argentijnse componist en dirigent Ezequiel Menalled is het ensemble een bezield advocaat van de nieuwste, experimentele muziek uit binnen- en buitenland. Werken worden vaak in opdracht geschreven voor Modelo62. De werken die Modelo62 uitvoert zijn in hoofdzaak experimenteel van karakter, muziek waarbij grenzen worden opgezocht. Ensemble Modelo62 bestaat uit: Ezequiel Menalled – dirigent; Gemma Tripiana Muñoz – fluiten; Jorge López García – klarinetten; Enric Sans I Morera - klarinetten; Justin Christensen – trompet; Santiago Lascurain – gitaar; Teodora Stepancić – piano; Klara Andrlova – slagwerk; Rebecca Huber – viool; Jan Willem Troost – cello, Elliot Simpson - gitaren en Vasilis Stefanopoulos – contrabas. In samenwerking met Stichting Trillende Lucht .
Load more

Recommended publications
  • Af20-Booking-Guide.Pdf
    1 SPECIAL EVENT YOU'RE 60th Birthday Concert 6 Fire Gardens 12 WRITERS’ WEEK 77 Adelaide Writers’ Week WELCOME AF OPERA Requiem 8 DANCE Breaking the Waves 24 10 Lyon Opera Ballet 26 Enter Achilles We believe everyone should be able to enjoy the Adelaide Festival. 44 Between Tiny Cities Check out the following discounts and ways to save... PHYSICAL THEATRE 45 Two Crews 54 Black Velvet High Performance Packing Tape 40 CLASSICAL MUSIC THEATRE 16 150 Psalms The Doctor 14 OPEN HOUSE CONCESSION UNDER 30 28 The Sound of History: Beethoven, Cold Blood 22 Napoleon and Revolution A range of initiatives including Pensioner Under 30? Access super Mouthpiece 30 48 Chamber Landscapes: Pay What You Can and 1000 Unemployed discounted tickets to most Cock Cock... Who’s There? 38 Citizen & Composer tickets for those in need MEAA member Festival shows The Iliad – Out Loud 42 See page 85 for more information Aleppo. A Portrait of Absence 46 52 Garrick Ohlsson Dance Nation 60 53 Mahler / Adès STUDENTS FRIENDS GROUPS CONTEMPORARY MUSIC INTERACTIVE Your full time student ID Become a Friend to access Book a group of 6+ 32 Buŋgul Eight 36 unlocks special prices for priority seating and save online and save 15% 61 WOMADelaide most Festival shows 15% on AF tickets 65 The Parov Stelar Band 66 Mad Max meets VISUAL ART The Shaolin Afronauts 150 Psalms Exhibition 21 67 Vince Jones & The Heavy Hitters MYSTERY PACKAGES NEW A Doll's House 62 68 Lisa Gerrard & Paul Grabowsky Monster Theatres - 74 IN 69 Joep Beving If you find it hard to decide what to see during the Festival, 2020 Adelaide Biennial .
    [Show full text]
  • Michel Van Der Aa Appears Tobenothingparticularlyradicalaboutit
    Excerpt from the score of Here [to be found]. ‘This is the Gesamtkunst of the future.’ The Financial Times on After Life An Introduction to the Music cryptic suffering. As a dramatized documentary about a of Michel van der Aa genre it is quintessential Van der Aa. He is the observer whose expedition begins with the vital life questions his by Bas van Putten characters pose on his behalf. What do I see and hear, who am I, what do I feel, what do I think, where do I At first glance, Spaces of Blank (2007) by the Dutch stand? His brand of composing – and in the meantime, composer Michel van der Aa appears to be a conven- much more than just that: Van der Aa also films and tional three-movement song cycle for mezzo-soprano, directs – is less a matter of style as of attitude. ‘I’m not orchestra and soundtrack. The work, written on a a composer of just notes,’ he once said. Although he commission from the Royal Concertgebouw Orchestra, willingly qualifies that statement (‘not that notes aren’t Radio France and the Norddeutscher Rundfunk, is a important’), music is for Van der Aa unmistakably part of setting of evocative poems by Emily Dickinson, Anne a larger whole. The immediate recognizability of his tone, Carson and Rozalie Hirs; it is scored for more or less with the typical alternation between hectic motion and standard orchestral forces; the solo part is, for the most serene, surprisingly sonorous electro-acoustic harmo- part, without vocal eccentricities. Less common is the nies, does nothing to diminish this assertion.
    [Show full text]
  • Iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
    IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Philharmonie Luxembourg Salle de Concerts Grande-Duchesse Joséphine-Charlotte Saison 2010/11 1 Sommaire / Inhalt / Content Partenaires d’événements: IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Philharmonie Luxembourg Jazz, World & Easy listening Orchestre Philharmonique du Luxembourg Cycle Philharmonique I 150 Salle de Concerts Grande-Duchesse Jazz & beyond 68 Cycle Philharmonique II 152 Joséphine-Charlotte – Saison 2010/11 Autour du monde 76 Cycle «Dating:» 154 Ciné-Concerts 82 Cycle «Duo» 155 Bienvenue / Willkommen / Welcome 4 Pops 86 Cycle «Familles» 156 Chill at the Phil 90 Amis de l’Orchestre Philharmonique du Nous remercions nos partenaires qui, en IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Luxembourg 158 associant leur image à la Philharmonie et Orchestre IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Solistes Européens, Luxembourg en soutenant sa programmation, permettent Special Cycle Rencontres SEL A 160 sa diversité et l’accès à un public plus large. Partenaire de programme: Grands orchestres 14 Cycle Rencontres SEL B 162 Grands solistes 18 Luxembourg Festival 96 Camerata 164 L’Orchestral 22 back to the future – rainy days 2010 98 Soirées de Luxembourg 166 pour «Backstage» Concerts exceptionnels 26 Musiques d’aujourd’hui
    [Show full text]
  • Williams Percussion Ensemble Noise/Signal
    Williams Percussion Ensemble Noise/Signal We call “noise” any undesirable signal in the transmission of a message through a channel, and we use this term for all types of perturbation, whether the message is sonic or visual. Thus shocks, crackling, and atmospherics are noises in radio transmission. A white or black spot on a television screen, a gray fog, some dashes not belonging to the transmitted message, a spot of ink on a newspaper, a tear in a page of a book, a colored spot on a picture are “noises” in visual messages. A rumor without foundation is a “noise” in a sociological message. At first sight, it may seem that the distinction between “noise” and “signal” is easily made on the basis of the distinction between order and disorder. A signal appears to be essentially an ordered phenomenon while crackling, or atmospherics, are disordered phenomena, formless blotches on a structured picture of sound. However, there is no absolute structural difference between noise and signal. They are of the same nature. The only difference which can be logically established between them is based exclusively on the concept of intent on the part of the transmitter: A noise is a signal that the sender does not want to transmit. Or, more generally: A noise is a sound we do not want to hear. — Abraham Moles, from Information Theory and Esthetic Perception In the ordered world of Western art music, percussion has long been employed to bring in the noise. The bulk of the percussion family is in fact comprised of instruments that produce noise rather than tone.
    [Show full text]
  • Turnage Anna Nicole
    Boosey & Hawkes Music Publishers Limited June 2011 2011/2 Turnage Anna Nicole New from Included in this issue: boosey.com Birtwistle Mark-Anthony Turnage’s new opera enjoyed a sell-out premiere run at The Royal Opera, New violin concerto travels followed by BBC television and radio broadcasts and a forthcoming DVD release. to BBC Proms ‘gentleman’s club’ in Houston... The more reflective passages often take the surprising form of beguiling, varied waltzes. Mr. Turnage and Mr. Thomas have come up with a slew of operatic characters that singers are going to relish, as this cast did. The London audience ate it up. But so did I, because in the end this is a musically rich, Online Scores launched audacious and inexplicably poignant work. The We are pleased to announce the launch of ovations were tumultuous.” New York Times Online Scores: a new boosey.com music “Turnage’s score is both immediately attractive service that allows you to view a digitised and dramatically purposeful, while Thomas’s pithy library of full scores from the B&H catalogue, text is integral to the success of an opera that hits free of charge. all the G-spots.” Sunday Times • over 400 scores currently available, with The Royal Opera’s production of Anna frequent additions Reich Nicole, with cast including Eva-Maria Kronos Quartet tours 9/11 wide range of leading composers from Westbroek, Gerald Finley and Alan Oke • Adams to Xenakis memorial to Europe conducted by Antonio Pappano, is released on DVD and Blu-ray by Opus Arte in August. first time access to many rare or • contemporary scores Turnage’s Blood on the Floor is choreographed by Wayne Macgregor in a available when you want, for study or • research new Francis Bacon-inspired ballet at the Opéra Bastille in Paris on 29 June.
    [Show full text]
  • Michel Van Der Aa Wins 2013 Grawemeyer Award for Up-Close
    Boosey & Hawkes Music Publishers Limited 26 November 2012 strictly embargoed until this date Michel van der Aa wins 2013 Grawemeyer Award for Up-close Dutch composer Michel van der Aa has won the 2013 Grawemeyer Award for Music Composition for his multimedia work Up-close, which offers a unique blend of cello concerto with film. The Grawemeyer Award, granted annually by the University of Louisville, is the world’s most prestigious composition prize, worth $100,000 (£63,000; EUR78,000). Van der Aa’s Up-close, premiered in 2011, was selected from a wide international field of entries, and the Grawemeyer’s prize announcement describes how “the 30-minute work is a highly innovative fusion of musical and visual art. It’s a virtuoso concerto but also a fascinating multimedia experience that defies simple classification. It really creates its own genre.” Photo: Marco Borggreve Michel van der Aa writes of his reaction on winning the award: “It is a huge honour to win the 2013 Grawemeyer Award. I am touched to receive such a significant acknowledgement of my work, and feel humbled to be listed alongside so many previous recipients that I greatly admire. I’d like to say thanks from the bottom of my heart to Amsterdam Sinfonietta and Candida Thompson, who were essential for the birth of this piece. I especially want to thank Sol Gabetta, the ultimate protagonist; her passion, virtuosity, and openness were a true source of inspiration.” about Up-close Michel van der Aa, aged 42, wrote Up-close for the Argentinian- French cellist Sol Gabetta and the Amsterdam Sinfonietta.
    [Show full text]
  • MADNESS Notes
    MADNESS program notes Yvonne Chen, piano Alexey Stanchinsky (Russia, 1888-1914) began his formal studies as a pianist and composer traveling from the village of Logachyovo to Moscow for lessons with Josef Lhévinne, Konstantin Eiges, Nikolai Zhilyayev, and Alexander Grechaninov before finally studying with Sergey Taneyev and Konstantin Igumnov at the Moscow Conservatory in 1907. While he seemed to show a lot of promise, the death of his father the following year impacted him so greatly that he stopped composing. Upon bouts of hallucinations and “religious mania”, he was placed in clinical confinement. Reflected in the few pieces he composed after 1908, including the Canon in E Mixolydian Mode (1913-1914), this incurable madness presented itself in his music with a sudden obsessive use of “objective” formal structures, primarily the canon. The strict canon in four parts is not only inventive with its relentless 7/8 asymmetrical meter, but its expansive range in each voice produce endless voice crossings, creating new discernible melodies. The use of the Mixolydian mode seems !to reflect his influences of Mussorgsky and the use of Russian folksong. His mysterious death still remains largely speculation. However, it is known that just while the young pianist-composer was beginning to achieve considerable fame in 1914, he was found !dead by a river after two days meandering in the countryside by his hometown of Logachyovo. While Stanchinsky has been largely forgotten and is an unfamiliar name to many, his brief life was remembered by his acquaintance, Nikolai Medtner, in his Three Pieces Op. 31 written in memory of him.
    [Show full text]
  • September 2016 – July 2017
    SEPTEMBER 2016 –JULY 2017 Director’s Introduction Frances Marshall Photography One of Britain’s foremost singers, Sarah Connolly, opens the Hall’s new season with regular duo partner Malcolm Martineau, leading listeners through a programme rich in emotional contrasts, poetic reflections and glorious melodies. The recital includes Mahler’s sublime Rückert Lieder, the impassioned lyricism of Berlioz’s Les nuits d’été, the exotic subtle narrative impressions of Debussy’s three Chansons de Bilitis, and a selection of Schumann songs. Mark Padmore’s vocal artistry and ability to extract every drop of emotion from poetic texts have secured his place among today’s finest recitalists. Morgan Szymanski, described by Classical Guitar magazine as ‘a player destined for future glories’ joins him on 12 September. Critical acclaim for Angela Hewitt’s Bach interpretations bears witness to the pianist’s extraordinary ability to connect physically and emotionally as well as intellectually with the dance rhythms and expressive gestures of the composer’s keyboard works. The Bach Odyssey will highlight all of this over the next four years. Canadian soprano Barbara Hannigan performs like a force of nature, captivating audiences with her artistry’s presence and expressive vitality. She joins the Calder Quartet, winner of the 2014 Avery Fisher Career Grant, for the world première of The sirens cycle by Peter Eötvös. Beethoven’s piano sonatas occupied forty years of his life. They offer insights into his development as artist and individual, and stand among the greatest of all his works. Igor Levit, now in his late 20s, drew critical superlatives to his debut recording of Beethoven’s late sonatas and has since established his reputation as a visionary interpreter of the composer’s music.
    [Show full text]
  • Spoleto Festival Usa Program History 2017 – 1977
    SPOLETO FESTIVAL USA PROGRAM HISTORY 2017 – 1977 Spoleto Festival USA Program History Page 2 Table of Contents, Organized by Year 2017 .................................... 3 2016 .................................... 6 1996 .................................... 76 2015 .................................... 10 1995 .................................... 79 2014 .................................... 13 1994 .................................... 82 2013 .................................... 16 1993 .................................... 85 2012 .................................... 20 1992 .................................... 88 2011 .................................... 24 1991 .................................... 90 2010 .................................... 27 1990 .................................... 93 2009 .................................... 31 1989 .................................... 96 2008 .................................... 34 1988 .................................... 99 2007 .................................... 38 1987 .................................... 101 2006 .................................... 42 1986 .................................... 104 2005 .................................... 45 1985 .................................... 107 2004 .................................... 49 1984 .................................... 109 2003 .................................... 52 1983 .................................... 112 2002 .................................... 55 1982 .................................... 114 2001 ...................................
    [Show full text]
  • Negotiating a Sea of White
    Negotiating a Sea of White Whiteness and Diversity in Dutch Opera Practices Liselotte Podda 6512704 Supervisor: Dr Rebekah Ahrendt Second reader: Prof Dr Naomi André Department of Media and Culture Studies Research Master in Musicology Thesis August 2020 Negotiating a Sea of White: Whiteness and Diversity in Dutch Opera Practices Liselotte Podda RMA Musicology, Utrecht University Abstract The police murders of George Floyd, Breonna Taylor and Ahmaud Arbery in 2020 sparked large- scale protests and drew worldwide attention to the Black Lives Matter movement. Subsequently, conversations on racism and police violence arose globally. Opera houses, such as the Dutch National Opera (DNO), also discussed racism and promised to diversify. On social media, DNO acknowledges its responsibility to change as a predominantly white organisation. This statement raises the question of how DNO has dealt with their whiteness and measures regarding diversity and inclusion so far. Therefore, in this thesis, I examine how the diversity and inclusion efforts of DNO between 2017 and 2021 reflect upon the organisation's whiteness. First, I position DNO within the contexts of whiteness concerning opera, the Dutch arts sector and Dutch society. The subsequent chapters address diversity and inclusion within the programme, public, personnel, partners and positioning (5 Ps) as the areas in which DNO aims to diversify. The analysis of DNO's 5 Ps reveals how whiteness inhibits the organisation's diversity and inclusion aims. Within the programme, the overwhelming whiteness of the composers, writers, conductors and directors supports whiteness as a mechanism of exclusion through stereotypical casting and whitewashing. The chapter on public indicates that the convergence of both age and diversity within DNO's aims and projects enforces whiteness by centring a young white audience.
    [Show full text]
  • Program Notes | Rachmaninoff's Symphony No. 2
    27 Season 2017-2018 Thursday, March 8, at 7:30 Friday, March 9, at 2:00 The Philadelphia Orchestra Saturday, March 10, at 8:00 Yannick Nézet-Séguin Conductor Janine Jansen Violin van der Aa Violin Concerto I. [no tempo indicated] II. [no tempo indicated] III. [no tempo indicated] United States premiere Intermission Rachmaninoff Symphony No. 2 in E minor, Op. 27 I. Largo—Allegro moderato II. Allegro molto III. Adagio IV. Allegro vivace This program runs approximately 1 hour, 55 minutes. The March 9 concert is sponsored by Sarah Miller Coulson. The March 10 concert is sponsored by Carole Haas Gravagno in memory of Emilio Gravagno. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 28 29 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and impact through Research. is one of the preeminent the Orchestra continues The Orchestra’s award- orchestras in the world, to discover new and winning Collaborative renowned for its distinctive inventive ways to nurture Learning programs engage sound, desired for its its relationship with its over 50,000 students, keen ability to capture the loyal patrons at its home families, and community hearts and imaginations of in the Kimmel Center, members through programs audiences, and admired for and also with those who such as PlayINs, side-by- a legacy of imagination and enjoy the Orchestra’s area sides, PopUP concerts, innovation on and off the performances at the Mann free Neighborhood concert stage.
    [Show full text]
  • 21C Liederabend , Op 3
    BAM 2013 Next Wave Festival #21cLiederabend Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Karen Brooks Hopkins, President Joseph V. Melillo, Executive Producer 21c Liederabend, op. 3 Festival of Contemporary Art Song Creative direction by Beth Morrison and Paola Prestini Music direction by Julian Wachner Featuring New York’s finest solo singers, NOVUS NY, and The Choir of Trinity Wall Street BAM Harvey Theater Nov 22 at 7:30pm—Program 1 Nov 23 at 7:30pm—Program 2 Approximate running time: two hours, no intermission Composer in residence Anna Clyne Librettist in residence Royce Vavrek Scenic and lighting design by Maruti Evans BAM 2013 Next Wave Festival sponsor Projection and video design by S. Katy Tucker Featuring compositions by: Thomas Cabaniss, Christopher Ceronne, Thomas Cipullo, Anna Clyne, Mohammed Fairouz, Judd Greenstein, David Handler, Viacom is the BAM 2013 Music Sponsor Ted Hearne, Marie Incontrera, David T. Little, Tod Machover, Missy Mazzoli, Nico Muhly, Major support for music at BAM provided by The Virginia B. Toulmin Foundation Olga Neuwirth, Paola Prestini, Huang Ruo, Michel van der Aa, Aleksandra Vrebalov, Endowment funding has been provided by Julian Wachner, Eric Whitacre, Du Yun, and The Andrew W. Mellon Foundation Fund for Netsayi & Black Pressure Opera and Music-Theater Co-commisioned and co-produced by Beth Morrison Projects Additional endowment support provided by and VisionIntoArt, presented in association with Trinity Wall the BAM Fund to Support Emerging and Street. Local Musicians 21c Liederabend Op. 3 Being educated in a classical conservatory, the Liederabend (literally “Song Night” and pronounced “leader-ah-bent”) was a major part of our vocal educations.
    [Show full text]