DOCSLIB.ORG

Téléchargez La Version

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Téléchargez La Version sm13-6_Cover_UPC.qxd 9/26/08 10:59 AM Page 1 0 2 00 6655338855 2024861 15 91 sm14-2_layout_W3_AD.qxd 9/25/08 7:57 PM Page 3 sm14-2_layout_W3_AD.qxd 9/25/08 10:18 PM Page 4 sm14-2_layout_W3_AD.qxd 9/25/08 10:18 PM Page 5 sm14-2_p06_Contents.qxd 9/26/08 12:03 PM Page 6 RÉDACTEURS FONDATEURS / FOUNDING EDITORS Wah Keung Chan – Philip Anson VOL. 14.2 – OCTOBRE 2008 OCTOBER CONTENTSOMMA / ÉDITEUR/PUBLISHER La Scène Musicale CONSEIL D’ADMINISTRATION / BOARD OF DIRECTORS Wah Keung Chan (prés.), Sandro Scola, Gilles Cloutier, Holly Higgins-Jonas PHOTO ALLISON CORDNER PHOTO RÉDACTEUR EN CHEF/EDITOR Wah Keung Chan RÉDACTRICE ADJOINTE / ASSISTANT EDITOR Nisa Malli RÉDACTEUR JAZZ / JAZZ EDITOR Marc Chénard RÉDACTEUR MUSIQUES DU MONDE / WORLD MUSIC EDITOR Bruno Deschênes COORDONNATEUR CD / CD COORDINATOR Laura Bates COLLABORATEURS / CONTRIBUTORS Lyette Ainey, Renée Banville, René Bricault, Louis- Pierre Bergeron, Simon Bertrand, Hélène Boucher, Andrew Buziak, Frédéric Cardin, Rebecca Anne Clark, Philippe Gervais, W.S. Habington, Félix-Antoine Hamel, Annie Landreville, Alexandre Lazaridès, Hannah Rahimi, Lucie Renaud, Paul E. Robinson, Julie Roy, Paul Serralheiro, Jean-Pierre Sévigny, Joseph K. So TRADUCTEURS / TRANSLATORS Alain Cavenne, Michèle Gaudreau, Laurent Royal RÉVISEURS / COPY EDITORS & PROOFREADERS Laura Bates, Marthe Beauregard, Alain CONTENTS SOMMAIRE Cavenne, Michèle Gaudreau, Nisa Malli, Annie Prothin, Jef Wyns / CALENDRIER RÉGIONAL / REGIONAL CALENDAR Eric Legault ASSISTANTS AU CALENDRIER / CALENDAR ASSISTANTS Dominic Spence, Andie Sigler, CHRISTOPHER JACKSON › P.8 Christian Szczepanik, Laura Bates DIRECTEUR ARTISTIQUE / ART DIRECTOR Bruno Dubois GRAPHISME / GRAPHICS Nellie Renaud, Román Varela SITE WEB / WEBSITE Normand Vandray, Michael Vincent CE MOIS-CI • THIS MONTH PHOTO DE COUVERTURE / COVER PHOTO Allison Cordner ADJOINTS ADMINISTRATIFS / ADMIN. ASSISTANTS SOMMAIRE Laura Bates, Langakali Halapua DIRECTRICE DE LA DISTRIBUTION / DISTRIBUTION MANAGER Langakali Halapua ACTUALITÉS / IN THE NEWS COMPTABILITÉ/ACCOUNTING Kamal Ait Mouhoub, Mourad Ben Achour BÉNÉVOLES / VOLUNTEERS Marthe Beauregard, Susan Callaghan, Wah Wing Chan, 8 Christopher Jackson & Studio de musique Yannick Chartier, Filipe Estrela, Holly Higgins-Jonas, Virginia Lam, Linda Lee, CTOBER ancienne de Montréal Lilian I. Liganor, Stephen Lloyd, Annie Prothin, Jef Wyns ADRESSES / ADDRESSES 12 Editorial 5409, rue Waverly, Montréal CONTENTS (Québec) Canada H2T 2X8 13 Notes - Québec Tél. : (514) 948-2520 / Téléc./Fax : (514) 274-9456 30 Notes - Internationale / International [email protected] • Web : www.scena.org production – artwork : [email protected] 2008 O 14 Summer Opera PUBLICITÉ /ADVERTISING (514) 948-0509 • http://ads.scena.org 16 OSM 75e : Defauw Michael James, Julie Roy LA SCENA MUSICALE, publié dix fois par année, est consacré à la promotion de la 18 Louise Bessette: Interpréter Messiaen musique classique et jazz. Chaque numéro contient des articles et des critiques 19 David Fray ainsi qu’un calendrier de concerts, de conférences, de films et d’émissions. LSM est publié par La Scène Musicale, un organisme sans but lucratif. La Scena Musicale SOMMAIRE / 19 José Antonio Escobar est la traduction italienne de La Scène Musicale. LA SCENA MUSICALE is dedicated to the promotion of classical music and jazz. It is CTOBRE 20 Election féderale : Arts / Federal Election : Arts published ten times per year. Inside, readers will find articles and reviews, as 24 well as listings of live concerts, lectures, films and broadcasts. LSM is O Radio Ville-Marie published by The Music Scene, a registered non-profit charity. La Scena Musicale is 26 Bach et l’orgue Italian for The Music Scene. 34 50e anniversaire de Twigg Musique ABONNEMENTS / SUBSCRIPTIONS CONTENTS L’abonnement postal (Canada) coûte 40 $ / an (taxes incluses). Veuillez envoyer / nom, adresse, numéros de téléphone, télécopieur et courrier électronique. Tous JAZZ les dons seront appréciés et sont déductibles d’impôt (no 14199 6579 RR0001). 46 Surface mail subscriptions (Canada) cost $40 / yr (taxes included) to cover pos- Les instruments «autres» du jazz tage and handling costs. Please mail, fax or email your name, address, telepho- 47 Au rayon du disque / Off the Record ne no., fax no., and email address. Donations are always welcome and are tax- deductible. (no 14199 6579 RR0001). MUSIQUES DU MONDE Ver : 2008-10-26 © La Scène Musicale. Le contenu de LSM ne peut être reproduit, en tout ou en partie, sans autorisation 49 Critiques de l’éditeur. La direction n’est responsable d’aucun document soumis à la revue. All rights reserved. No part of this publication may be reproduced without the SECTION CALENDRIER / CALENDAR SECTION written permission of LSM. 32 Calendrier détachable/Pull-Out Calendar ISSN 1486-0317 Version imprimée / Printed ISSN 1206-9973 Version Internet 38 Calendrier régional/Regional Calendar Envois de publication canadienne, Contrat de vente / CONTENTS SOMMAIRE Canada Post Publication Mail Sales Agreement No.40025257 45 Petites annonces/Classified Ads cW]Wp_d / j^ [ & Wm ) W [ h 49 Jazz + ^ Z LE PROCHAIN NUMÉRO / NEXT ISSUE j i b d [ [ Novembre 2008 - Études supérieures i _ <_dWb_ij ) Z & 50 CRITIQUES W d November 2008 - Higher Education [ f W h Y _ n [ d Z REVIEWS _ k p W c ] DATE DE TOMBÉE PUBLICITÉ : 20 octobre 2008 W ADVERTISING DEADLINE: October 20, 2008 SOMMAIRE 6 Octobre 2008 October sm14-2_layout_W3_AD.qxd 9/26/08 2:28 AM Page 7 SM14-2_p08-11_Cover Story.qxd 9/26/08 1:26 PM Page 8 35 YEARS OF MUSICAL RHETORIC CHRISTOPHER JACKSON 35 ANS DE RHÉTORIQUE MUSICALE Wah Keung Chan and Nisa Malli hristopher Jackson, cofondateur du Studio de hristopher Jackson, co-founder of the Studio de musique ancienne de Montréal, trouve souvent musique ancienne de Montréal, believes a lot of le répertoire baroque un peu ennuyeux. «Il y a Baroque music is rather boring. “How much Vivaldi une limite à écouter du Vivaldi et du Telemann! and Telemann can one person take? My personal preference is CJe préfère la musique de transition du XVIIe siècle. La fin 17th-century transitional music. At the end of the 16th century, e C du XVI bourdonnait de créativité!» Jackson aime you find much inventiveness and creativity.” Jackson prefers Monterverdi, Haendel et, surtout, Bach. « On peut lui Monteverdi, Handel and especially Bach. “You could dedicate consacrer toute une vie», dit-il. Ce que, précisément, il a your whole life to Bach,” he says. And he has. Jackson formed fait. Jackson fonde le Studio de musique ancienne il y a the Studio 35 years ago, at a time when baroque or early music 35 ans, à une époque où les concerts de musique baroque performance was rare in North America and generally discou- n’existent pour ainsi dire pas en Amérique du Nord et où raged. Today the Studio is Canada’s premier vocal ensemble personne ne s’y intéresse. Le Studio, pionnier de ce réper- and still a pioneer in the realm of early music. Jackson, who toire, en est aujourd’hui un éminent représentant au originally conducted the choir, took over artistic direction Canada. when the group focused on vocal music. Photo : Allison Cordner 8 Octobre 2008 October SM14-2_p08-11_Cover Story.qxd 9/26/08 3:30 PM Page 9 LES DÉBUTS DU STUDIO BEGINNINGS OF THE STUDIO La fondation du Studio est le fruit d’une rencontre entre Jackson’s meeting with Réjean Poirier and Hélène Dugal in Paris in 1973, Christopher Jackson, Réjean Poirier et Hélène Dugal à Paris en 1973. at Christmas, was the founding inspiration for the group. Despite the dear- En dépit de son caractère inédit, le premier concert du Studio attire th of early music in North America, a ready public of 400 attended the first 400 auditeurs. À l’origine, Jackson souhaitait mettre sur pied un concert. The group was originally conceived as a super umbrella organiza- organisme qui chapeauterait et ferait vivre de ses revenus plusieurs tion for early music, which would generate revenues for instrumental and formations instrumentales et vocales. À son grand regret, ce projet ne vocal ensembles. To Jackson’s chagrin, that dream never materialized, and s’est pas réalisé. À la place, de nombreuses formations indépendantes many ensembles have formed independently. ont vu le jour, «chacune avec sa propre infrastructure». Au départ, Jackson se charge du chœur; lorsque le Studio se tourne définitive- MUSICAL BEGINNINGS ment vers la musique vocale, il en devient le directeur artistique. Born a minister’s son in a family of musicians, music was always part of Jackson’s youth. At 12,Jackson was a church organist. After studying with nuns in L’ENFANCE Moncton, he moved to the Ecole Vincent-D’Indy and the Montreal Conservatory, Né dans une famille de musiciens et fils de pasteur, Jackson studying organ with Bernard Lagacé and analysis with Gilles Tremblay, before baigne dans la musique depuis l’enfance. À 12 ans, il touche l’orgue working for Casavant in organ building. Jackson cites Lagacé’s influence as a à l’église. Il prend des cours à Moncton chez les religieuses, puis va major factor in his later success.“It was more than just organ lessons, it was art étudier à l’École Vincent-d’Indy et finalement au Conservatoire de and life all mixed in. It was a real experience, studying with him,” he says. musique de Montréal auprès de Bernard Lagacé (orgue) et Gilles Tremblay (analyse). Ensuite le voilà facteur d’orgue chez Casavant. BACH MILESTONE Jackson attribue à l’influence de Lagacé une bonne part de ses suc- When Jackson talks about Bach, his passion is palpable. “Bach was a cès ultérieurs. «À ses côtés je n’ai pas seulement appris à jouer de milestone,” he says. “After Bach, we left all the apparatus of rhetoric. Music l’orgue. J’ai appris l’art, la vie. Travailler avec lui, quelle expérience!» lost all other functions and became entertainment.” He refers to the music of that time as Lego music, a formulaic creation.
Load more

Recommended publications
  • EMAIL INTERVIEW with Pachi Tapiz, Spanish Music Critic December 2009 to February 2010. Published in Spanish by Tomajazz in June
    EMAIL INTERVIEW with Pachi Tapiz, Spanish Music Critic December 2009 to February 2010. Published in Spanish by Tomajazz in June 2010 http://www.tomajazz.com/perfiles/ochs_larry_2010.html Q1: Why did Rova decide to join its creative forces with Nels Cline Singers? Ochs: Rova has employed all these guys over the past 12 years or so in different bands. Scott Amendola and I work together in Larry Ochs Sax & Drumming Core as well as in a new band called Kihnoua featuring the great vocals of Korean‐born Dohee Lee. (That band plays in Europe very soon, but unfortunately nothing in Spain. I thought “maybe” some place there would hire this band after all the news / nonsense in December, but no one called me except journalists. No, I was not surprised that no one called. But I do feel strongly that Kihnoua is a great band, but I would agree with those on the other side; it is not a jazz band. Jazz influenced? Definitely; jazz band? No. I will send you the just released CD in early May when I return from the tour.) Sorry for the digression: So Scott performed first with Rova in a big piece of mine in 1998 called “Pleistocene: The Ice Age.” (as well as Adams’ and Raskin pieces that same evening.) And he worked in Vancouver with us on Electric Ascension in 2005 along with Devin Hoff and Nels, of course. Nels recorded Electric Ascension with us live in 2003, played on every performance of that “event” until 2009, and he is “the man” in free jazz when it comes to playing updated versions of late‐period Coltrane on guitar.
    [Show full text]
  • Norwich Kids Change the World One Circus Trick at a Time Elder Profile
    Norwich, Vermont 05055 Holiday 2016 Est. September 1997 Norwich Kids Change the World Tyler Kirschner’s Legacy: One Circus Trick at a Time The Rusty Berrings Skatepark Tamar Schreibman Jennifer MacMillen ver February break, twenty American kids, mostly from the Upper Valley, will spend two n September 24th of this year, a beautiful thing happened. weeks in Zambia, developing their circus skills alongside kids from Chibolya, an Close to 350 kids of all ages (2-40+) gathered at Riverside Oimpoverished section of the Zambian capital of Lukhasa. For many of the kids from the OCommunity Park in West Lebanon to celebrate the U.S., this will be a return trip after their first journey there last winter. renaming of the skatepark The seeds were sown for this unlikely pairing of circus-loving kids from far ends of the earth and to commit to its during a snowstorm in New York City on Valentine’s Day of 2014. Norwich resident Brooke revitalization. As with Continued on page 18 most successful endeavors, this was and continues to be a joint effort between dedicated individuals and public and private entities. As is often the case, it seems that when tragedy occurs, magic soon follows. Thus is the case with the new life and energy being poured into the recently named Rusty Berrings Skatepark. Yes, “Rusty” knew how to spell “bearing” Tyler Kirschner, aka Rusty Berrings but being more than a little unconventional was how he rolled (no pun intended!). An avid skateboarder, artist and overall creative genius, Tyler Kirschner’s (aka Rusty Berrings) memory will live on in the Upper Valley’s local skatepark.
    [Show full text]
  • QUASIMODE: Ike QUEBEC
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ QUASIMODE: "Oneself-Likeness" Yusuke Hirado -p,el p; Kazuhiro Sunaga -b; Takashi Okutsu -d; Takahiro Matsuoka -perc; Mamoru Yonemura -ts; Mitshuharu Fukuyama -tp; Yoshio Iwamoto -ts; Tomoyoshi Nakamura -ss; Yoshiyuki Takuma -vib; recorded 2005 to 2006 in Japan 99555 DOWN IN THE VILLAGE 6.30 99556 GIANT BLACK SHADOW 5.39 99557 1000 DAY SPIRIT 7.02 99558 LUCKY LUCIANO 7.15 99559 IPE AMARELO 6.46 99560 SKELETON COAST 6.34 99561 FEELIN' GREEN 5.33 99562 ONESELF-LIKENESS 5.58 99563 GET THE FACT - OUTRO 1.48 ------------------------------------------ Ike QUEBEC: "The Complete Blue Note Forties Recordings (Mosaic 107)" Ike Quebec -ts; Roger Ramirez -p; Tiny Grimes -g; Milt Hinton -b; J.C. Heard -d; recorded July 18, 1944 in New York 34147 TINY'S EXERCISE 3.35 Blue Note 6507 37805 BLUE HARLEM 4.33 Blue Note 37 37806 INDIANA 3.55 Blue Note 38 39479 SHE'S FUNNY THAT WAY 4.22 --- 39480 INDIANA 3.53 Blue Note 6507 39481 BLUE HARLEM 4.42 Blue Note 544 40053 TINY'S EXERCISE 3.36 Blue Note 37 Jonah Jones -tp; Tyree Glenn -tb; Ike Quebec -ts; Roger Ramirez -p; Tiny Grimes -g; Oscar Pettiford -b; J.C. Heard -d; recorded September 25, 1944 in New York 37810 IF I HAD YOU 3.21 Blue Note 510 37812 MAD ABOUT YOU 4.11 Blue Note 42 39482 HARD TACK 3.00 Blue Note 510 39483 --- 3.00 prev. unissued 39484 FACIN' THE FACE 3.48 --- 39485 --- 4.08 Blue Note 42 Ike Quebec -ts; Napoleon Allen -g; Dave Rivera -p; Milt Hinton -b; J.C.
    [Show full text]
  • Chris Potter Circuits Quartet
    03 Abr 2019 Erik Friedlander’s 21:00 Sala Suggia “Throw a glass” CICLO JAZZ Chris Potter Circuits Quartet Erik Friedlander’s “Throw a glass” Friedlander tomou contacto com a música muito cedo – cres‑ ceu numa casa cheia de música, começa a estudar guitarra com Erik Friedlander violoncelo apenas cinco anos e aos oito dedica ‑se ao violoncelo. Tocou e gravou Uri Caine piano com inúmeros artistas, incluindo The Mountain Goats, John Zorn, Mark Helias contrabaixo Dave Douglas e Courtney Love. O desejo de participar activamente Ches Smith bateria no turbilhão de estilos musicais que o cercava levou ‑o a encontrar novas formas de tocar violoncelo. Estas descobertas são as direc‑ Sob a inspiração das misteriosas esculturas de copos de absinto de trizes do seu trabalho como intérprete e compositor, com um catá‑ Picasso expostas no Museu de Arte Moderna (MoMA), Erik Fried- logo muito variado e original. lander e a sua banda The Throw criaram um álbum conceptual sobre a história sombria desta bebida e do seu uso como alucinogénio. Uri Caine nasceu em Filadélfia e começou a estudar piano com Friedlander formou o quarteto para uma actuação no The Stone Bernard Peiffer e composição com George Rochberg. Desde que em Nova Iorque e ficou logo “impressionado com a química que tive‑ se mudou para Nova Iorque, em 1985, gravou 33 álbuns como líder. mos”. Durante dois dias o grupo gravou Artemisia, um disco sobre Recentemente gravou Space Kiss (2017) com o Lutoslawski Quartet, aquela inspiração e a sua origem. “Muitas vezes estamos à procura Calibrated Thickness (2016) com o seu trio e Callithump (2015) com da grande revelação e a perder o milagre diário que está ali à vista de as suas composições para piano solo.
    [Show full text]
  • Annual Report 2009 Annual Report Art Stations Foundation 5050
    annual report 2009 annual report art stations foundation 5050 Foundation 5 The Mission 6 Organisational structure 7 Exhibitions program 8 Dance Program 20 Music Program 32 Film Program 40 Callendar 46 3 foundation art stations foundation 5050 Art Stations Foundation is a project designed and initiated by Grażyna Kulczyk, and is the culmination of the Founder’s philosophy for running a business.. By exploring the aesthetics of contemporary art and inspiring various types of creative processes by means of exhibitions, workshops, performances, interventions and theoretical publications, the Foundation aims to assist people in their conscious personal growth and help them to open their minds to culture and discover its values. Through its projects, the Art Stations Foundation provides an interdis- ciplinary platform for the presentation and exploration of various fields of the arts, including the fine arts, dance, film and music. The audience takes part in the activities of the Art Stations Foundation’s while visiting Stary Browar, where venues devoted to the display of art include a multi-storey exhibition space and Studio Słodownia +3. In conjunction with Stary Browar, the Art Stations Foundation defines a new category of lifestyle – an art lifestyle. 4 5 the mission / organisational structure art stations foundation 5050 The Art Stations Foundation is a privately owned non-profit The Foundation was established by its Founder – Grażyna Kulczyk. organisation founded in the belief that art has a positive influ- The Founder appoints themembers of the sta. ence on the community, and that experiencing it provides The Board: young people with a chance for a better, more creative and The Board’s duties and responsibilities: more conscious life.
    [Show full text]
  • 1. Außerordentliches Konzert MAHLER Progr AK1 8.+9.9.2007 28.08.2007 15:23 Uhr Seite 2 (Schwarz/Pr
    Titel Progr_AK1_8.+9.9.20072007-08 31.07.2007 28.08.200711:53 Uhr 15:23Seite Uhr1 Seite 1 (Schwarz/Pr 2007| 2008 137. SPIELZEIT 1. Außerordentliches Konzert MAHLER Progr_AK1_8.+9.9.2007 28.08.2007 15:23 Uhr Seite 2 (Schwarz/Pr Der neue BMW 1er. Doppelte Freude. Der neue BMW 1er 3-Türer kombiniert puren Fahrspaß, ausgeprägtes Temperament und einzigartiges Design. Deutlich längere, rahmenlose Türen und das formvollendete Interieur betonen seinen sportlichen Charakter. Dazu bietet er Innovationen, die in diesem Segment einzigartig sind. So sorgen der BMW typische Hinterradantrieb und die optionale Aktivlenkung für mehr Dynamik. Die moderne Technik, wie direkte Kraftstoffeinspritzung, Bremsenergie- rückgewinnung sowie die Auto Start Stop Funktion, reduziert den Verbrauch und damit auch den CO2-Ausstoß. Erleben Sie bei uns die faszinierende Sportlichkeit des neuen BMW 1er 3-Türer. BMW Niederlassung Dresden Dohnaer Str. 99-101 01219 Dresden Tel. (0351)285250 Fax (03 51)2 85 25 92 www.bmwdresden.de Freude am Fahren Progr_AK1_8.+9.9.2007 28.08.2007 15:23 Uhr Seite 3 (Schwarz/Pr 3 Samstag, 8. September 2007 19.30 Uhr Sonntag, 9. September 2007 15.00 Uhr Festsaal im Kulturpalast 1. Außerordentliches Konzert Rafael Frühbeck de Burgos | Dirigent Roxana Briban | Sopran I – MAGNA PECCATRIX Ursula Füri-Bernhard | Sopran II – UNA POENITENTIUM Raquel Lojendio | Sopran III – MATER GLORIOSA Carmen Oprisanu | Alt I – MULIER SAMARITANA Susanne Resmark | Alt II – MATER AEGYPTIACA Marius Vlad | Tenor - DOCTOR MARIANUS Morten Frank Larsen | Bariton – PATER EXTATICUS Sorin Coliban | Bass – PATER PROFUNDUS ete et Coro Nacional de España Einstudierung Mireia Barrera Philharmonischer Kinderchor Dresden Einstudierung Jürgen Becker - ß.
    [Show full text]
  • Buletin Informativ ANCR Nr. 15-16
    ASOCIAŢIA NAŢIONALĂ CORALĂ DIN ROMÂNIA Buletin informativ 15-16 Bucureşti, 2011 Editor: Alina Pârvulescu Cuprins Foto: Daniel Ivan, Mihai Manea Tipar: gabi@etipografi e.ro 0726-221191 Dare de seamă privind activitatea A.N.C.R. în ultimii patru ani - Alba Iulia, 2010 ...........................................................6 Mesajul d-nei prof. univ. dr. Irina Odăgescu Ţuţuianu la Adu- narea Generală a ANCR din 22 mai 2010 - Alba Iulia ....10 Voicu Enăchescu, reales președinte al A.N.C.R. ....................13 Adunare Generală de dare de seamă și alegeri A.N.C.R. Alba Iulia – 22 mai 2010 ............................................................. 14 Aniversarea a 80 de ani de existenţă a coralei „Sfânta Treime” a Catedralei Reîntregirii din Alba Iulia și întrunirea anuală a A.N.C.R. ............................................................................15 Dublu eveniment coral la Alba-Iulia - 80 de ani de activitate corală .................................................................................. 19 Manifestări corale interne Festivalul coral internaţional “Ion Vidu” ................................25 Entuziasm și profesonalism la Lugoj .....................................27 O ediţie jubiliară a Festivalului Internaţional de Muzică Corală „D.G. Kiriac” Pitești – Curtea de Argeș, 19-27 iunie 2010 ................................................................31 Un festival de succes – Festivalului Coral Timotei Popovici – Ediţia a XXVIII-a ...............................................................35 Festivalul coral
    [Show full text]
  • Sarah Weaver Events Archive 2016
    SARAH WEAVER EVENTS ARCHIVE 2016 12/20/16 SLM ENSEMBLE SOLO AND CHAMBER WORKS FOR PEACE – THE CELL THEATRE, NYC SLM Ensemble: Solo and Chamber Works for Peace December 20, 2016 8:00pm $20/$15 Students & Seniors Location: the cell 338 W. 23rd St, New York City Tickets: http://www.thecelltheatre.org/events/2016/12/20/slm-ensemble-solo-and-chamber- works-for-peace Musicians from the SLM Ensemble perform solo and chamber music compositions and improvisations for peace. Musicians: Jane Ira Bloom, soprano saxophone, Yoon Sun Choi, voice, Julie Ferrara, oboe, english horn, Joe McPhee, saxophone, trumpet, Zafer Tawil, oud, ney, Arab percussion, Dave Taylor, bass trombone, Min Xiao-Fen, pipa, Sarah Weaver, composer, computer The SLM Ensemble is a New York City based experimental music large ensemble created by co- artistic directors bassist/composer Mark Dresser and conductor/composer Sarah Weaver. The SLM Ensemble performs and records works for large ensemble, solo and chamber works, film/multimedia, and the telematic medium via the internet by Dresser, Weaver, and at times collaborating composers. The modular roster is composed of diverse pioneering musicians of our time. The name SLM is an acronym “Source Liminal Music” as well as a tri-consonantal root of words from several languages that mean “peace”. 11/29/16 REASONS OF RESONANCE: GERRY HEMINGWAY, SARAH WEAVER, BETH WARSHAFSKY – THE CELL THEATRE, NYC Reasons of Resonance Tuesday November 29, 2016 8:00PM $20/$15 Students & Seniors Location: the cell 338 W. 23rd Street, New York City Tickets: http://www.thecelltheatre.org/events/2016/11/29/reasons-of-resonance Solo performance by percussionist/composer Gerry Hemingway of collaborative works with composer Sarah Weaver and visual artist Beth Warshafsky.
    [Show full text]
  • Free Jazz in the Classroom: an Ecological Approach to Music Educationi
    David Borgo Free Jazz in the Classroom: An Ecological Approach to Music Educationi Abandon Knowledge About Knowledge All Ye Who Enter Here. Bruno Latourii Conventional Western educational practice hinges on the notion that knowledge— or at least knowledge worth having—is primarily conceptual and hence can be abstracted from the situations in which it is learned and used. I recently came across a helpful illustration of this general tendency while watching Monty Python reruns. The sketch involved a caricature of a British talk show called “How to Do It.” John Cleese served as the show’s host: Well, last week we showed you how to become a gynecologist. And this week on “How to Do It” we're going to show you how to play the flute, how to split an atom, how to construct a box girder bridge, how to irrigate the Sahara Desert and make vast new areas of land cultivatable, but first, here’s Jackie to tell you all how to rid the world of all known diseases. After Eric Idle solves the global health crisis in a sentence or two, John Cleese explains “how to play the flute”: “Well here we are. (Picking up a flute.) You blow there and you move your fingers up and down here.” Turning again to the camera, he concludes the show with a teaser for the next installment: Well, next week we’ll be showing you how black and white people can live together in peace and harmony, and Alan will be over in Moscow showing us how to reconcile the Russians and the Chinese.
    [Show full text]
  • Some Notes on John Zorn's Cobra
    Some Notes on John Zorn’s Cobra Author(s): JOHN BRACKETT Source: American Music, Vol. 28, No. 1 (Spring 2010), pp. 44-75 Published by: University of Illinois Press Stable URL: http://www.jstor.org/stable/10.5406/americanmusic.28.1.0044 . Accessed: 10/12/2013 15:16 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Illinois Press is collaborating with JSTOR to digitize, preserve and extend access to American Music. http://www.jstor.org This content downloaded from 198.40.30.166 on Tue, 10 Dec 2013 15:16:53 PM All use subject to JSTOR Terms and Conditions JOHN BRACKETT Some Notes on John Zorn’s Cobra The year 2009 marks the twenty-fifth anniversary of John Zorn’s cele- brated game piece for improvisers, Cobra. Without a doubt, Cobra is Zorn’s most popular and well-known composition and one that has enjoyed remarkable success and innumerable performances all over the world since its premiere in late 1984 at the New York City club, Roulette. Some noteworthy performances of Cobra include those played by a group of jazz journalists and critics, an all-women performance, and a hip-hop ver- sion as well!1 At the same time, Cobra is routinely played by students in colleges and universities all over the world, ensuring that the work will continue to grow and evolve in the years to come.
    [Show full text]
  • NEWS RELEASE for IMMEDIATE RELEASE January 4, 2017
    NEWS RELEASE FOR IMMEDIATE RELEASE January 4, 2017 Presenting the first 2018 rendezvous at the Maison symphonique! From the moment the curtain rises on 2018, the Orchestre symphonique de Montréal will be kicking off its year of tribute to commemorate the 75th anniversary of the death of Sergei Rachmaninoff in grand style. For the occasion, under the direction of Kent Nagano, we will present the composer’s celebrated Second Piano Concerto, performed by Yevgeny Sudbin. The acclaimed pianist from St. Petersburg will also perform a recital showcasing Russian music. As well, Rachmaninoff’s moving Symphony no. 2, conducted by Conrad van Alphen, will give the public a chance to hear the young flutist Benjamin Morency, the OSM Manulife Competition’s Grand Prize winner. The year 2018 will also mark the first Montréal appearance by British pianist Paul Lewis and the return of Spanish conductor Juanjo Mena, in the concert BEETHOVEN AND TCHAIKOVSKY. Lastly, VIENNA AND PARIS, 1800, a concert of chamber music presented at Bourgie Hall, will conclude the program for January. SUDBIN PLAYS RACHMANINOFF’S SECOND CONCERTO TUESDAY 9 AND SATURDAY 13 JANUARY 2018, 8 PM Sergei Rachmaninoff’s ravishing Second Piano Concerto, whose second movement inspired Eric Carmen’s song All By Myself, will enrapture Maison symphonique audiences in this, our first musical rendezvous of 2018. Russian pianist Yevgeny Sudbin will perform the concerto’s beautiful melody. Acclaimed for his remarkable interpretations of the works of Sergei Rachmaninoff, Sudbin will be joined by Andrew Wan, violin, Brian Manker, cello and Philip Chiu, piano. This concert is presented by Air Canada.
    [Show full text]
  • String Quartets Dedicated to Joseph Haydn K
    WOLFGANG AMADEUS MOZART String Quartets dedicated to Joseph Haydn K. 421, 458 ‘Hunt’ & 464 CUARTETO CASALS FRANZ LISZT WOLFGANG AMADEUS MOZART (1756-1791) String Quartets dedicated to Joseph Haydn (vol. 2) String Quartet no. 15 in D minor K. 421 ré mineur / d-Moll 1 | I. Allegro moderato 10’47 2 | II. Andante 6’08 3 | III. Menuetto - Trio. Allegretto 3’41 4 | IV. Allegretto ma non troppo 8’26 String Quartet no. 17 in B flat major K. 458, ‘Hunt’ Si bémol majeur “La Chasse” / B-Dur „Jagdquartett“ 5 | I. Allegro vivace assai 8’13 6 | II. Menuetto - Trio. Moderato 4’07 7 | III. Adagio 6’53 8 | IV. Allegro assai 6’13 String Quartet no. 18 in A major K. 464 La majeur / A-Dur 9 | I. Allegro 6’51 10 | II. Menuetto - Trio 5’23 11 | III. Andante 10’41 12 | IV. Allegro non troppo 6’19 CUARTETO CASALS Abel Tomàs Realp, violin Vera Martínez Mehner, violin Jonathan Brown, viola Arnau Tomàs Realp, cello Mozart : Trois Quatuors dédiés à Haydn Les trois Quatuors à cordes K. 421, 458 et 464, ainsi que les Quatuors K. 387, 428 et 465 forment un cycle d’œuvres que Le Quatuor à cordes en si bémol majeur K. 458 fut achevé le 9 novembre 1784, selon l’indication du catalogue de Mozart fait publier à Vienne, en 1785. L’édition princeps est dédiée au “Signor Giuseppe Haydn, Maestro di Cappella ses œuvres que Mozart lui-même a rédigé. Bien qu’il soit chronologiquement le quatrième des “Quatuors dédiés à di S.[ua] A.[ltezza] il Principe d’Esterházy” ; c’est pourquoi ces six quatuors de Mozart sont également connus sous Haydn” (le troisième, le K.
    [Show full text]