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A Perspective of New Simplicity in Contemporary Composition: Song of Songs As a Case Study Isabel Maria Pereira Barata Da Rocha
MESTRADO COMPOSIÇÃO E TEORIA MUSICAL A perspective of New Simplicity in contemporary composition: Song of Songs as a case study Isabel Maria Pereira Barata da Rocha 06/2017 A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha MESTRADO M COMPOSIÇÃO E TEORIA MUSICAL A perspective of New Simplicity in contemporary composition: Song of Songs as a case study Isabel Maria Pereira Barata da Rocha Dissertação apresentada à Escola Superior de Música e Artes do Espetáculo como requisito parcial para obtenção do grau de Mestre em Composição e Teoria Musical Professor Orientador Professor Doutor Eugénio Amorim Professora Coorientadora Professora Doutora Daniela Coimbra 06/2017 A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha Dedico este trabalho a todos os homens e todas as mulheres de boa vontade. A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha A perspective of New Simplicity in contemporary composition: Song of Songs as a case study. Isabel Maria Pereira Barata da Rocha Agradecimentos À minha filha Luz, que me dá a felicidade de ser sua mãe, pelo incentivo. Aos meus pais Ana e Luís, pelo apoio incondicional. A Ermelinda de Jesus, pela ajuda sempre disponível. À Fátima, à Joana e à Mariana, pela amizade profunda. Ao José Bernardo e aos avós Teresa e António José, pelo auxílio. Ao Pedro Fesch, pela compreensão e pela aposta na formação dos professores em quem confia. -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Pace, I. (2014). Book Review: Music in Germany Since 1968 by Alastair Williams. Tempo (London, 1939): a quarterly review of modern music, 68(268), pp. 116-121. doi: 10.1017/S0040298213001940 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/4732/ Link to published version: http://dx.doi.org/10.1017/S0040298213001940 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Tempo 68 (268) 1–5 © 2014 Cambridge University Press 1 1 2 3 4 books 5 6 7 Music in Germany Since 1968 by Alastair Williams. Constructing Musicology;1 Williams does not 8 Cambridge: Cambridge University Press, 2013. match the dialectical oppositions within the 9 £60.00. field of enquiry with much of a dialectical sens- 10 ibility of his own. The result is a ‘history’ 11 Musicology has faced many challenges in recent which is in large measure a study of two ‘great 12 decades, including critiques of canons and the men’, Lachenmann and Wolfgang Rihm, with 13 exclusive focus upon ‘great composers’ and other composers and issues viewed relative to 14 autonomous ‘works’, the centrality of Western their work and world-view. -
1996-1996 Achim Heidenreich
Neue Namen, alte Unbekannte Die EDITION ZEITGENÖSSISCHE MUSIK stärkte von Anfang an Individualität – nicht Lehrmeinungen (1986-1996) von Achim Heidenreich Seit 1986 gibt es die EDITION ZEITGENÖSSISCHE MUSIK (EDITION) des Deutschen Musikrats. Sie besteht aus musikalischen Porträts, in der Regel CDs, mit denen sich Komponistinnen und Komponisten, die das 40. Lebensjahr noch nicht erreicht haben sollten, häufig erstmals einer größeren Öffentlichkeit präsentieren können, sei es mit einem repräsentativen Querschnitt durch ihr Schaffen oder auch mit einem selbstgewählten Schwerpunkt. Ein größerer Bekanntheitsgrad und nicht selten weitere Aufträge sind die Folge. Auf diese Weise werden nicht nur die jungen Komponistinnen und Komponisten gefördert, auch wird das jeweils aktuelle Musikleben schwerpunktmäßig dokumentiert. Komponistinnen stellen insgesamt eher die Minderheit in den Veröffentlichungen dar. In der ersten Dekade bis 1996 waren es nur zwei: ADRIANA HÖLSZKY (*1953 / CD 1992) und BABETTE KOBLENZ (*1956 / CD 1990), inzwischen hat der Anteil deutlich zugenommen. Weitere Bewerbungsbedingungen um eine solche CD sind die deutsche Staatsbürgerschaft oder ein über eine längere Dauer in Deutschland liegender Lebensmittelpunkt. Wer also nur eine der beiden Vorgaben erfüllt, ist antragsberechtigt, die deutsche Staatsbürgerschaft ist nicht eine grundsätzliche Notwendigkeit. Wie die Geschichte der EDITION zeigt, wurden diese Antragsbedingungen sehr weise formuliert. Mit seiner hohen Orchester- und Opernhausdichte sowie seinen weitgehend studiengebührenfreien Studiengängen und der erstklassigen musikalischen Ausbildung an den Musikhochschulen gilt Deutschland weltweit nach wie vor als eine Art gelobtes Land, zumindest der klassischen und damit auch der zeitgenössischen und Neuen Musik. Entsprechend gestalten und entwickeln internationale Künstler das deutsche Musikleben entscheidend mit, was die CD-Reihe eindrucksvoll widerspiegelt. Die EDITION ist jedoch nicht nur eine reine Porträt-Reihe für Komponierende. -
CHRISTIAN WOLFF ANDREW Mcintosh CATHERINE LAMB
1 CONTENTS VOL. 2 CHRISTIAN WOLFF SHORT NOTE RE: INTONATION .......................................................................... 6 ANDREW McINTOSH QUESTIONS FOR COMPOSERS AND LISTENERS ...............................................8 CATHERINE LAMB THE INTERACTION OF TONE ...............................................................................15 ALEXANDER MOOSBRUGGER THE PRELUDE IS ALL. SKETCHES ON THE HOW AND WHAT OF INTONATION ................................22 STEPHA SCHWEIGER IN-TONARE ............................................................................................................28 EDU HAUBENSAK MUSIC IN SCORDATURA ..................................................................................... 35 JOHANNES KELLER MEANTONE AND MANY-TONED MUSIC.......................................................... 40 WALTER ZIMMERMANN THE LOST HARMONIKA .......................................................................................47 GLOSSARY OF TERMS WITH RESPECT TO INTONATION ................................ 52 BY CLARENCE BARLOW BIOGRAPHIES ........................................................................................................ 61 2 CONTENTS VOL. 1 MARC SABAT INTONATION GARY SCHULTZ CARE OF EDITIONS CHIYOKO SZLAVNICS O GLISSAND-O! JEREMY WOODRUFF TONAL DISCREPANCIES AND COGNITIVE DISSONANCE IN PETER ABLINGER’S VOICES AND PIANO: ANGELA DAVIS ANTJE VOWINCKEL TERRA PROSODIA – SOUND COMPOSITIONS WITH DIALECT MELODIES CLARENCE BARLOW A: ON RAMIFICATIONS OF INTONATION B: GLOSSARY OF TERMS WITH -
CURRICULUM VITAE September 2018
CURRICULUM VITAE September 2018 Wolfgang von Schweinitz Wolfgang von Schweinitz was born on February 7, 1953 in Hamburg, Germany. After initial compositional attempts since 1960, he studied composition in 1968-1976 with Esther Ballou at the American University in Washington, D.C., with Ernst Gernot Klussmann and György Ligeti at the State Music Conservatory in Hamburg, and with John Chowning at the Center for Computer Research in Music and Acoustics in Stanford, California. Then he pursued his freelance composing work, living in Munich, Rome and Berlin, for twelve years in the countryside of Northern Germany and from 1993 to 2007 again in Berlin. In 1980 he lectured at the International Summer Courses for New Music in Darmstadt, and in 1994-1996 he was a guest professor at the Music Conservatory “Franz Liszt” in Weimar, Germany. He is currently based in Southern California, where he assumed James Tenney’s teaching position in September 2007 as a professor at the California Institute of the Arts. Since 1997, his compositions have been concerned with researching and establishing microtonal tuning and ensemble playing techniques based on non-tempered just intonation. Website: www.plainsound.org EDUCATION 1961 – 67 Private piano lessons 1965 Private music theory lessons with Christoph Weber, Hamburg 1968 – 69 Piano, music theory and composition lessons with Dr. Esther Ballou at the American University, Preparatory Division, Washington, D.C. 1970 Private counterpoint lessons with Prof. Ernst G. Klussmann, Hamburg 1971 High-school diploma at -
Richard Toop
Shadows of Ideas: on Walter Zimmermann's Work[1] Richard Toop Introduction It may well seem strange to you that an Englishman who emigrated to Australia long ago should be invited here to talk about the work of a composer currently living in Berlin. At the time, it rather surprised me too. But perhaps it can be justified on two grounds. First, we have had personal contact for almost 30 years, and a kind of 'co-existence' that goes back even further. In the third volume of Stockhausen's Texte[2], as well as the Stockhausen entry in the first edition (1980) of the New Grove Dictionary of Music, there is a photo of Stockhausen playing one of the Aus den sieben Tagen texts at the 1969 Darmstadt Summer Courses. Behind him one can see a small part of the audience, including the composer Nicolaus A. Huber and the now celebrated Wagner specialist John Deathridge. Also in the picture are the 20-year-old Walter Zimmermann, and the 24-year-old Richard Toop. As far as I can remember, we didn't meet at the time, and didn't get to talk to one another. But 4 years later, once I was Stockhausen's teaching assistant at the Staatliche Hochschule für Musik in Cologne, we were in regular contact. Walter's flat was barely 500 m. away from mine, which was where I gave my classes. But even this short distance encapsulated some basic social divisions. Where I lived, in Kleverstrasse, there was a modestly endowed Polish Consulate to the left of my flat, and above it, according to the house owner, was a very discreetly run brothel. -
Rebecca Saunders Awarded Roche Commission to Write New Piano Concerto for Nicolas Hodges
Rebecca Saunders awarded Roche Commission to write new piano concerto for Nicolas Hodges 30 October, Wigmore Hall 12 January, Glasgow City Halls Lutyens, Clarke, ThomallaWORLD PREMIERES Steen-Andersen Piano ConcertoUK PREMIERE 24 November, Lucerne Festival 2 March, Barbican Tsukamoto, Ciurlo, HilliWORLD PREMIERES Ligeti Piano Concerto 29 August 2020, Lucerne Festival Rebecca Saunders Piano ConcertoWORLD PREMIERE On 29 August 2020, the prolific contemporary pianist Nicolas Hodges will inaugurate the world premiere performance of Rebecca Saunders’ Piano Concerto at the Lucerne Festival. Roche, in collaboration with the Lucerne Festival and the Lucerne Festival Academy, has awarded Rebecca Saunders their prestigious Roche Commission to enable her to compose a piano concerto for Hodges, who breaks new ground in 2018-19 with a series of world and UK premieres, including three premieres at the Wigmore Hall on 30 October and the UK premiere of Simon Steen-Andersen’s Piano Concerto on 12 January. The biannual Roche Commissions have previously been awarded to several high-profile composers, including Sir Harrison Birtwistle and Sir George Benjamin. Rather than commissioning works that will cater to mainstream fashions, Roche Commissions enables musical works to venture beyond the conventional and provide intellectual stimulation. Saunders will interact with leading scientists over the following two years and in 2020 the newly-developed commission will be premiered at the Lucerne Summer Festival. With piano soloist Hodges, the work will be performed by the Orchestra of the Lucerne Festival Academy conducted by previous Roche Commissions award-winner Matthias Pintscher. Nicolas Hodges is an ideal collaborator for Saunders’ commission. Never shying away from challenging new writing, Hodges continues to push the boundaries of modern piano music with bold and incisive performances. -
Biography Canadian Composer of Ukrainian Descent Marc Sabat (*1965) Has Been Based in Berlin Since 1999
1 MARC SABAT : curriculum vitae (update: November 2019) biography Canadian composer of Ukrainian descent Marc Sabat (*1965) has been based in Berlin since 1999. He makes pieces for concert and installation settings, drawing inspiration from investigations of the sounding and perception of Just Intonation and relating to various music forms—folk, experimental and classical. He is a frequent collaborator, seeking interactions with other musicians and with artists of visual and literary modes to find points of shared exploration and dialogue between various forms of experience and different cultural traditions. His works are presented internationally. Sabat studied composition, violin and mathematics at the University of Toronto, at the Juilliard School in New York, and at McGill University, as well as working privately with Malcolm Goldstein, James Tenney and Walter Zimmermann. Together with Wolfgang von Schweinitz he developed the Extended Helmholtz- Ellis JI Pitch Notation and is a pioneer of music written and performed in microtonal Just Intonation. He teaches composition and the theory and practice of intonation at the Universität der Künste Berlin. Creative commons scores and artist editions are available from Plainsound Music Edition (https://www.plainsound.org). youtube https://www.youtube.com/channel/UCKz9OLT3yZQpXPsaxEkuMEg studies 1982–86 • University of Toronto (Bachelor of Music; studies in composition, violin, mathematics) 1987–8 • Juilliard School of Music, New York (Master of Music; studies in violin, contemporary music) -
MWLTH PROG NOTES 3Rd July LANDSCAPE
MAURICIO KAGEL 24th December 1931 (Buenos Aires, Argentina) - 18th September 2008 (Cologne, Germany) music we’d like to hear Trio in Three Movements, for violin, cello and NEW ROMANTICS - Music from 1980s Cologne piano (1985) !! St Mary at Hill, London EC3R 8EE This is Kagel’s first piece for a classic !!!!! 3rd July 2015 chamber music line-up since the String Quartet I/II from 1967. In contrast to the latter, it does not rebel against the traditions of the genre, but Aisha Orazbayeva - violin interprets them mostly positively. In terms of Alice Purton - cello scale, structural complexity, craftsmanship and technical difficulty, it is very much a ‘serious’ Mark Knoop - piano composition, which would not be out of place in a traditional recital. Despite a connection of recycled music from a previous stage work, Violinist and musician Aisha Orazbayeva is in demand with a repertoire extending from Bach Trahison, it is also one of Kagel’s first pieces and Telemann to Lachenmann and Nono. Recent performances include Sergei Prokofiev’s Violin Concerto no.1 with the Kazakh Symphony Orchestra, Morton Feldman’s For John Cage with which has to be understood as absolute music: Mark Knoop, Late Junction session with Tim Etchells for BBC Radio 3, and solo violin recital at there is no theatrical, narrative or other the Reykjavik Arts Festival. As a soloist she has performed at the Aldeburgh, Radio France and conceptual idea to guide one’s perceptions. The Latitude festivals, and venues including Carnegie Hall in New York, Superdeluxe in Tokyo and largely traditional order of movements with La Maison de Radio France in Paris. -
Gordon Kampe Erhält Schneider-Schott-Musikpreis Mainz 2016
19. Juli 2016 Gordon Kampe erhält Schneider-Schott-Musikpreis Mainz 2016 (rap) Der Schneider-Schott-Musikpreis der Landeshauptstadt Mainz geht im Jahr 2016 an den 1976 geborenen Komponisten Gordon Kampe. Die mit 15.000 Euro dotierte Auszeichnung wird am Sonntag, 23. Oktober 2016, im Rahmen eines Konzertes im Peter-Cornelius-Konservatorium verliehen. 1986 von dem Musikverleger Heinz Schneider-Schott gestiftet, wird der Preis alle zwei Jahre abwechselnd an Komponisten und Interpreten verliehen. In der Jurybegründung heißt es: „Basis von Gordon Kampes künstlerischer Arbeit sind eine breite Ausbildung und eine mindestens ebenso vielfältige berufliche Tätigkeit: Er ist ausgebildeter Elektroinstallateur, promovierter Musikwissenschaftler, Komponist, Autor, Herausgeber, Hochschullehrer und Organist. Die Unverwechselbarkeit seines Stils und Auftretens resultiert aus souveräner Metierbeherrschung in Verbindung mit einer gelassen-ironischen Distanz zum eigenen Tun. Die gleichermaßen sprechenden wie irritierenden Titel seiner Stücke (,Gassenhauermaschinensuite‘, ,Nischenmusik mit Klopfgeistern‘, ,Zwerge‘) verweisen auf musikalische Landschaften, die von phantastischen Wesen bevölkert sind, von urwüchsigen Gestalten, die sich blitzschnell verwandeln, maskieren und demaskieren, zwischen Albernheit und Tiefsinn wechseln und darin dem Hörer ein fesselndes Ohrentheater präsentieren. So setzt Gordon Kampe Schillers Theorie, der Mensch sei nur da ganz Mensch, wo er spielt, in eine bestechende künstlerische Praxis um, die seinen Hörern ein ebenso großes -
Musik Und Documenta '77 Musik Der 70Er Jahre - Werk Und Prozess
KASSEL E Zum. B.li"MJ"riter- Vtr~ ,< 0 musik und documenta '77 musik der 70er jahre - werk und prozess kasseler musiktage 1977 und 7. woche für geistliche musik der gegenwart "neue musik in der kirche" Veranstaltet vorn Internationalen Arbeitskreis für Musik und der Kantorei an St. Martin in Kassel in Verbindung mit dem Hessischen Rundfunk Frankfurt/M. und mit Unterstützung des Hessischen Kultusministers der Evangelischen Landeskirche Kurhessen-Waldeck und des Magistrats der Stadt Kassel Gesamtleitung Wolfgang Rehrn, Kassel Klaus Martin Ziegler, Kassel Samstag 17. September bis Sonntag 25. September PROGRAMMAUSSCHUSS Professor Günter Bialas, München Dr. Wilfried Brennecke, Köln Heinz Enke, Frankfurt/M. Pfarrer Klaus Röhring, Hofgeismar Dr. Wolfgang Rehm, Kassel Wolfgang Timaeus, Kassel KMD Klaus Martin Ziegler, Kassel und Dr. Manfred Schneckenburger mit Dr. Marion Diederichs-Lafite und ,Dr. Joachim Diederichs von der documenta 6 Die Veranstalter danken den Komponisten, Interpreten und all denen, die an der Planung, Vorbereitung und Durchführung von "musik und documenta '77" be teiligt waren, sowie jenen, die durch ihre finanzielle Unter stützung reale Grundlagen dafür geschaffen haben; dem Bundesminister des Innern für eine Sonderzuwendung, die es ihnen ermöglichte, ausländische Freunde ihrer Arbeit einzuladen; dem Bundesminister der Verteidigung und dem Musikinspizienten der Bundeswehr, Oberst Schade, dem Heeresmusikkorps I, dem Musik korps der 2. Jägerdivision und dem Luftwaffenmusikkorps 3 für ihre Mitwirkung an der Kaskadenmusik; -
Liner Notes From
for example, he used such curiosities as the sarrusaphone, the theory of musical perception under Otto E. Laske at the heckelphone, and the "tLrogat6" (a Hungarian folk double- Institute for Sonology. Here he became acquainted with the reed instrument), not to mention clarinets and trombones in inner life of sonorities and found his own footing as a com- obsolete kevs. poser. In 1973 he studied comparative musicology at the Even though his works are more or less fully composed Jaap Kunst Centre for Ethnomusicology in Amsterdam, and notated they retain a quasi-improvisatory character. In playing in the gamelan orchestra. His first commissioned his choise of instrumental attacks and scoring he has taken a piece - "Akkordarbeit" (Piece-Work) for piano, orchestra few cues from free jazz, with which he shares a fondness for and three loudspeaker channels - was performed in Hanno- spontaneity. Like John Cage, Hespos is an advocate of the ver in 1971. This work, based on the "Grand Paganini Etu- uniqueness and irreproducibility of music: he shuns consoli- de" by Franz Liszt, is a demonstration of the basic compo- dation and ossification in any form, upholding the principles nents of labour, and involves people giving orders, others of evolution, variation and flux. Yet his works do not seem carrying them out, and still others monitoring the results. to reveal any changes in him as a composer: as far as their The composition "einer ist keiner" (one is none) for seven compositional techniques are concerned they are interchange- instruments (1972) is an attempt to translate human rela- able. Compared to his preceding oeuvre, each new work tions as accurately as possible into music on the basis of owes its character solely to its instrumentation, the indivi- "81 phases in the evolution of personality".