Concert Band

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2020-2021 John Horn High School Concert Band Last First Grade Instrument Balderas Stephanie 9 Flute Contreras Melissa 9 Flute De la cruz Yasmin 9 Flute Griffin Shakira 9 Flute Munoz Giovanna 9 Flute Ramirez Kassandrea 9 Flute Roman Gomez Daniela 9 Flute Salas Elisabeth 9 Flute Sears Natalee 9 Flute Syblik Robert 9 Flute Torres Brianna 9 Flute Cano Nevaeh 10 Flute Freeman Morgyn 10 Flute Moncivais Garcia Leslie 10 Flute Taylor Aniyah 10 Flute Assefa Roman 9 Oboe Hernandez Hector 9 Bassoon Jasso Bryan 9 Bassoon Garcia Amalio 9 Clarinet Lujan Daniela 9 Clarinet Sanchez Hector 9 Clarinet Taylor Ja'Niyah 9 Clarinet Garcia Erick 10 Clarinet Leon Ingrid 10 Clarinet Syblik Charles 11 Clarinet Browning Deonte 10 Bass Clar Gonzalez Miralria Erick 9 Saxophone Hammett Jacob 9 Saxophone Melgareljo Oliveras Kevin 9 Saxophone Picazo Kelvin 9 Saxophone Shapter Cody 9 Saxophone Torres Jorge 9 Saxophone Castillo Christian 11 Saxophone Calito Otto 12 Saxophone Tenor Mares Noel 9 Saxophone Parada Adrian 9 Bari Sax Moreno Oscar 9 Trumpet Morvan Christopher (Patrick) 9 Trumpet Vicente Brissa 9 Trumpet Zachary Brandon 9 Trumpet Arellano George 9 Horn Castillo Isaac 9 Horn Guadarrama Christopher 9 Horn Sanchez Alan 9 Horn Craft Joshua 10 Horn Garcia Hernandez Gabriela 9 Trombone Hidrogo Leonardo 9 Trombone Lynch Ricardo 9 Trombone Yepez Christopher 9 Trombone Cummings Maicee 10 Trombone Eyi Ethan 9 Euphonium Lira Jaasiel 9 Euphonium Madi Adam 9 Euphonium Martinez Rubio Dulce 9 Euphonium Suppa Jackson 11 Euphonium Alfaro Javier 9 Tuba Vargas Alazio 9 Tuba Valdez Raul 10 Tuba Andrade Martinez Nelson 9 Chavez Nino Diego 9 Sim Samali 9 VargasValdez Luis 9 Dagley Anthony 10 Merez Nadelyn 10 Mfebe Nwebi Jason 10 Molina Samara 10 Morales Isabela 10 .

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Pink – Wind Symphony Blue – Symphonic Band Green
CBDA CHAIR AUDITION RESULTS This does not include students who did not have to chair audition (WS tenor/bari sax, percussion, etc). Pink – Wind Symphony Blue – Symphonic Band Green – Concert Band First Last Inst School Grade Chair Dillon Halpin Flute Mira Mesa HS 12 1 Samantha Anderson Flute Valencia HS 11 2 Ashley Fang Flute Diamond Bar HS 12 3 Laura Gong Flute Westmont HS 11 4 Ellen Cheng Flute Homestead HS 10 5 Erica Wang Flute Torrey Pines HS 9 6 Ellie Huang Flute Amador Valley HS 11 1 Anna Lee Flute Orange County School of the Arts 11 2 Curtis Li Flute Amador Valley HS 10 3 Heidi Harris Flute Reedley HS 12 4 Jana Bridi Flute Harmony Magnet Academy 11 5 Ella Watson Flute Oak Ridge HS 11 6 Juliet Fang Flute University HS (Fresno) 10 7 Audrey Moeller Flute Santa Monica HS 11 8 Aadya Abhyankar Flute West Ranch HS 9 9 Joanna Hsieh Flute Los Altos HS 11 1 Caroline Gong Flute Head Royce School 10 2 Jennifer Su Flute Rio Americano HS 12 3 Minseo Kim Flute California HS 9 4 Elizabeth Rodriguez Flute Central HS 11 5 Ananya Navale Flute Dougherty Valley HS 11 6 Tansy Chen Flute Folsom HS 11 7 Annie Ping Flute Valley Christian HS 12 8 Alex Park Flute Northwood HS 9 9 Jasmine Yu Flute James Logan HS 10 10 Ashley Park Flute Crescenta Valley HS 10 11 Ivy Gin Flute Santiago HS 11 12 Cate Collard Flute Crescenta Valley HS 11 13 Phoebe Liu Flute Amador Valley HS 11 14 Jack Lichterman Flute Santa Monica HS 11 15 First Last Inst School Grade Chair Jackson Van Vooren Bb Clarinet Los Altos HS 11 1 Nicholas Kim Bb Clarinet Agoura HS 11 2 Nathan Nguyen
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Magnus Lindberg 1
21ST CENTURY MUSIC FEBRUARY 2010 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $96.00 per year; subscribers elsewhere should add $48.00 for postage. Single copies of the current volume and back issues are $12.00. Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. email: [email protected]. Typeset in Times New Roman. Copyright 2010 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Copy should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors are encouraged to submit via e-mail. Prospective contributors should consult The Chicago Manual of Style, 15th ed. (Chicago: University of Chicago Press, 2003), in addition to back issues of this journal.
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Beginning Band and Orchestra Information and Welcome
______________________________________________________________________________________________________ Beginning Band and Orchestra Information and Welcome Welcome to the Warrior Instrumental Music Program at Heritage and Friendly Hills Middle Schools! This packet contains information regarding required class materials, as well as information specific to instruments in our bands and orchestras and how to obtain your instrument. In order to be ready to play in band or orchestra, students need to acquire their instrument/book. The following page outlines the 3 options for obtaining your instrument/book: 1) Rent-to-own from a local Music Store 2) Purchase online, family, or friend 3) Rent from the school. Our goal is to begin using instruments/books the week of October 5. Renting Large Instruments: Students playing larger instruments (F horn, baritone, tuba, bass) will be able to keep their rented instrument at home and use a school instrument during any at-school playing. Rental Fees and Financial Limitations No student will be turned away from participating in instrumental music due to the inability to pay for a rental. If financial limitations prevent a family from renting, each middle school has a limited supply of instruments available to families at a reduced rate (or free if needed). Please inform your teacher if you think you might need a school instrument. *We need to know how you plan on obtaining your instrument/book by Friday, September 25th. All the best, District 197 Middle School Music Staff Lauri Booth Claire Dill Galen
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RODGERS, HAMMERSTEIN &Am
CONCERT NO. 1: IT'S ALL IN THE NUMBERS TUESDAY JUNE 14, 2005 ARTEL METZ DRIVE, 7:30 pm SOLOISTS: Trumpet Quartet Lancaster HS Concert Choir - Gary M. Lee, Director SECOND CENTURY MARCH A. Reed SECOND SUITE FOR BAND G. Holst FOUR OF A KIND J. Bullock Trumpet Quartet IRISH PARTY IN THIRD CLASS R. Saucedo SELECTIONS FROM A CHORUS LINE J. Cavacas IRVING BERLIN'S AMERICA J. Moss WHEN THE SAINTS GO MARCHIN' IN Traditional Lancaster HS Concert Choir - Gary M. Lee, Director 23 SKIDOO Whitcomb STAR SPANGLED SPECTACULAR G. Cohan GALLANT SEVENTH MARCH J. P. Sousa CONCERT NO. 2: RODGERS, HAMMERSTEIN & HART, WITH HEART TUESDAY JUNE 21, 2005 ARTEL METZ DRIVE, 7:30 pm SOLOISTS: Deborah Jasinski, Vocalist Bryan Banach, Piano Pre-Concert Guests: Lancaster H.S. Symphonic Band RICHARD RODGERS: SYMPHONIC MARCHES Williamson SALUTE TO RICHARD RODGERS T. Rickets LADY IS A TRAMP Hart/Rodgers/Wolpe Deborah Jasinski, Vocalist SHALL WE DANCE A. Miyagawa SHOWBOAT HIGHLIGHTS Hammerstein/Kerr SLAUGHTER ON 10TH AVENUE R. Saucedo Bryan Banach, Piano YOU'LL NEVER WALK ALONE arr. Foster GUADALCANAL MARCH Rodgers/Forsblad CONCERT NO. 3: SOMETHING OLD, NEW, BORROWED & BLUE TUESDAY JUNE 28, 2005 ARTEL METZ DRIVE, 7:30 pm SOLOISTS: Linda Koziol, Soloist Dan DeAngelis & Ben Pulley, Saxophones The LHS Acafellas NEW COLONIAL MARCH R. B. Hall THEMES LIKE OLD TIMES III Barker SHADES OF BLUE T. Reed Dan DeAngelis, Saxophone BLUE DEUCE M. Leckrone Dan DeAngelis & Ben Pulley, Saxophones MY OLD KENTUCKY HOME Foster/Barnes MY FAIR LADY Lerner/Lowe BLUE MOON Rodgers/Hart/Barker Linda Koziol, Soloist FINALE FROM NEW WORLD SYMPHONY Dvorak/Leidzon BOYS OF THE OLD BRIGADE Chambers CONCERT NO.
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Iiiiiii 1HE UNIVERSI'iy WIND SINFONIETTA --.- Walter C
Sunday Hub Ballroom February 23, 1969 3:30 P.M. IiiIIii 1HE UNIVERSI'IY WIND SINFONIETTA --.- Walter C. Welke, Conduator PROGRAM R*(-S2.~~ ~rr. R. F. GOLDMAN Washington's Grand March (1784) !('1S: eM g-ll..et (b. 1910) HYACINTHE JADIN (;tflt Overture in F (1795) Rfl ~-17-,q (1769-1800) FRANK ERICKSON I~Joo Double Concerto for Trumpet, Trombone and Band (1952)" (b. 1923) * Terry Nickels, trwnpet CH !J-II-G' * Bobbi Presson, trombone CARL M. von WEBER6~/~Concerto No. II for Clarinet 0 . 1786-1826) Introduction &Polacca * John Albert, alarinet DOMENICO CIMAROSA Con~to for ~oe c, (1749-1801) Mary Oppelt, oboe JOHN CACAVAS /fror Parada Espagno1a, Concert March (1968) ell '3-il-61 INTERMISSION (Cantiones Profane) 1936) OH "3-1/-'7 (Band Arrangement) (1967) EUGENE BOZZA En Foret Op. 40 for French Horn \I (b.1905) * Cynthia Wagner, Frenah Horn EDWARD MADDEN Fantasia on a Folk Tune (1968) JOSEPH CONSTANTINO Warwick - A Festival Piece for Band (1968) * Students of Walter C. Welke ,," .;, ~. l' . ':.~. 'h:. ,r "': ,~ ',' " . ' .. " " , UNIVERSITY WIND SINFONIETTA PERSONNEL PiaaoZo Baritone Saxophone '~ ......) Kathy Albert Martin Lund Ftute Fr-eneh Hor-n George J. Cohan Quartet A Janet Flickinger Cynthia Wagner Robbie Buell Marshall Boyd Kathy Kirschner John Kirkpatrick Oboe Leroy Lehman Quar-tet B Mary K. Oppelt Martin Hill Trina Clouse Jackie Bertran Raymond Smith Steven Kenyon EngZish Hor-n Jeanette Collins Cor-net-Trwnpet Mary K. OppeIt Bassoon Terry Nickels John Wines Ralph Jeffords Ginni Paynton Kathy Krogslund Thomas Hopkins Eb CZarinet James
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Takemi Sosa Magnus Lindberg — Musical Gesture and Dramaturgy
Magnus Lindberg —Musical Gesture and Dramaturgy ACTA SEMIOTICA FENNICA Editor Eero Tarasti Associate Editors Paul Forsell Richard Littlefield Editorial Board Pertti Ahonen Jacques Fontanille André Helbo Pirjo Kukkonen Altti Kuusamo Ilkka Niiniluoto Pekka Pesonen Hannu Riikonen Vilmos Voigt Editorial Board (AMS) Márta Grabócz Robert S. Hatten Jean-Marie Jacono Dario Martinelli Costin Miereanu Gino Stefani Ivanka Stoianova TAKEMI SOSA Magnus Lindberg — Musical Gesture and Dramaturgy in Aura and the Symphonic Triptych Acta Semiotica Fennica LIII Approaches to Musical Semiotics 26 Academy of Cultural Heritages, Helsinki Semiotic Society of Finland, Helsinki 2018 E-mail orders [email protected] www.culturalacademy.fi https://suomensemiotiikanseura.wordpress.com Layout: Paul Forsell Cover: Harumari Sosa © 2018 Takemi Sosa All rights reserved Printed in Estonia by Dipri OÜ ISBN 978-951-51-4187-3 (nid.) ISBN 978-951-51-4188-0 (PDF) ISSN 1235-497X Acta Semiotica Fennica LIII ISSN 1458-4921 Approaches to Musical Semiotics 26 Department of Philosophy and Art Studies Faculty of Arts University of Helsinki Finland Takemi Sosa Magnus Lindberg — Musical Gesture and Dramaturgy in Aura and the Symphonic Triptych Doctoral Dissertation Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki (the main building), in auditorium XII on 04 May 2018 at 12 o’clock noon. For my Sachiko, Asune and Harunari 7 Abstract The Finnish composer Magnus Lindberg (b. 1958) is one of the leading figures in the field of contemporary classical music. Curiously, despite the fascinating characteristics of Lindberg’s works and the several interesting subjects his mu- sic brings up, his works have not been widely researched.
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Orquestra Sinfónica
31 Jan 2015 Orquestra 18:00 Sala Suggia Sinfónica do Porto Casa da Música Baldur Brönnimann direcção musical 1ª PARTE Kaija Saariaho Verblendungen (1984; c.14min.) Luca Francesconi Cobalt and Scarlet (2000; c.17min.) 2ª PARTE Pascal Dusapin Reverso, solo para orquestra nº 6 (2006; c.20min.) Magnus Lindberg Cantigas (1999; c.19min.) 17:00 Cibermúsica Palestra pré ‑concerto por Baldur Brönnimann MECENAS ORQUESTRA SINFÓNICA A CASA DA MÚSICA É MEMBRO DE Foi Compositora em Residência na Casa Kaija Saariaho da Música em 2010, e nesse âmbito foram HELSÍNQUIA, 14 DE OUTUBRO DE 1952 interpretadas obras suas pelo Remix Ensem‑ ble, Coro Casa da Música e Orquestra Sin‑ A compositora finlandesa Kaija Saariaho fónica do Porto Casa da Música – três das estudou Artes Visuais na actual Universidade quais em estreia nacional. Também por oca‑ de Arte e Design, composição com Paavo sião do Focus Nørdico, em 2008, o ano dedi‑ Heinnen na Academia Sibelius, e ainda com cado pela Casa da Música aos países nór‑ Klaus Huber e Brian Ferneyhough na Freiburg dicos, foram várias as peças de Saariaho a im Breisgau Musikhochschule. Interessou‑se integrar a programação, entre as quais Ver‑ pela música assistida por computador no blendungen. Mais recentemente, em 2013, IRCAM, em 1982. a ópera Émilie foi apresentada na Casa da O seu trabalho seguiu a tradição da escola Música pela Orquestra Gulbenkian. espectral, centrada desde os anos oitenta na exploração do princípio do “eixo tímbrico”, Verblendungen segundo o qual “uma textura granulosa e rui‑ dosa pode ser ligada à dissonância, ao passo O material de base usado na fita de Verblen‑ que uma textura suave e límpida pode corres‑ dungen consiste em dois sons de violino, uma ponder à consonância”.
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MTO 16.1: Martin, Harmonic Progression in Twine
Volume 16, Number 1, February 2010 Copyright © 2010 Society for Music Theory Harmonic Progression in Magnus Lindberg’s Twine Ed Martin NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.10.16.1/mto.10.16.1.martin.php KEYWORDS: Magnus Lindberg, piano, harmonic progression, harmony, chaconne, 12-tone, dodecaphonic ABSTRACT: In the 1980s and early 1990s, Magnus Lindberg (b. 1958) developed a sophisticated harmonic system to organize progressions of dodecaphonic chords centering on his innovative use of chaconne. This article delves into Lindberg’s harmonic system by analyzing an early work in which it is fully developed: Twine (1988) for solo piano. I will discuss the construction of the composer’s dodecaphonic chords, show the inventive techniques by which he applies chaconne to systematically arrange these harmonies into progressions, and demonstrate how these progressions define the large-scale formal structure of Twine . Received January 2009 Introduction [1] In the 1980s and early 1990s, Finnish composer Magnus Lindberg (b. 1958) developed a distinct and sophisticated harmonic system for arranging dodecaphonic chords into recurring progressions centering on his inventive use of chaconne. While much has been written about the composer’s work on a surface level—including its dazzling orchestration, intricate patterns and figures, and sheer power—and several authors have mentioned the composer’s use of chaconne, this article will delve into the composer’s underlying harmonic system by analyzing an early work in which it is fully realized: Twine (1988) for solo piano. (1) I will discuss the construction of Lindberg’s dodecaphonic chords and illustrate how he applies his innovations to the chaconne technique to systematically arrange these harmonies into progressions.
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Clarinetfest® 2015 — Madrid
Antonio Romero and his time ClarinetFest® 2015 — madrid Volume 42, Number 2 March 2015 ABOUT THE COVER… FEATURES CLARINETFEST® 2015 – MADRID, SPAIN / JULY 22–26, 2015 by Héctor Abella . 30 Antonio Romero (engraving from his Method, 2nd ed . Library of the Royal Superior MÁXIMO MUÑOZ PAVÓN: Conservatory in Madrid, signature 1/190); A BENCHMARK OF THE CLARINET IN SPAIN by Carlos Javier Fernández Cobo . 34 Romero System clarinet by Lefêvre, Paris, DON’T GIVE ME DAPHNIS: ca. 1867. Gift of William J. Maynard, AN INJURY RECOVERY GUIDE FOR CLARINETISTS Massapequa Park, New York, 1996. by Mary Alice Druhan, with Kristin Keesey, and Debbie Gillespie . 36 (Photo by Bill Willroth, Sr., courtesy of National Music HYSTERICALLY SPEAKING by Eric Hoeprich . 39 Museum, University of South Dakota, NMM 5924) A PERSPECTIVE ON ENRIQUE CALVIST (1851–1897) INDEX OF ADVERTISERS by Àngel Lluís Ferrando Morales . 40 SPANISH CLARINET MUSIC: AMB Clarinet . 46 THE PATH FROM ROMERO TO TODAY by Gregory Barrett . 44 Ann Arbor Clarinet Connection . 46 KLEZMER DANCES FOR CLARINET, Aria International Summer Academy . 96 STRINGS, PERCUSSION AND TUBA by Eugene Kavadlo . 53 AW-Reeds GbR . 45 THE ROMERO-SYSTEM CLARINET: Belgian Clarinet Academy . 93 HISTORICAL NOTES AND OTHER INQUIRIES by Pedro Rubio . 54 Brannen Woodwinds . 25 AN INTERVIEW WITH JOSÉ ANTONIO TOMÁS PÉREZ by Carlos J. Casadó . 60 Brevard Music Center . 14 Brixton Publications . 84 MIGUEL YUSTE (1870–1947): THE SEARCH FOR HIS WORKS by Malena McLaren . 64 Buffet Group USA . IFC RESTORING ALEC WILDER’S ORIGINALS by Glenn Bowen . 67 California Clarinet Clinic . 50 PATRICE SCIORTINO AND HIS WORKS WITH CLARINET by Jean-Marie Paul .
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2019 Delta State University Honor Band Clinic Honors Symphonic Band
2019 Delta State University Honor Band Clinic Honors Symphonic Band Flute Alto Saxophone John Goodson Stanton Smallwood Lexi Terry Marilyn Hall Miracle Johnson Kaelyn Fann Paige Craig Conner Cook Britney Tzib Sophia Salguero Diana Gillespie Jordan Simmons Alex Williams Maya Eddins Tenor Saxophone Vanessa Pena Sidney Guntharp Annie Haddock Brendon Boyd Amelia Pope James Harden Emily Lin Baritone Saxophone Clarinet Nicholas West Reagan Dyess Sophia Suh Horn Amoiree Kelly Hayden Joiner Grace Rogers William Victoriano Savannah Cardin Emily McNeer Audrey Christian Rebekah Ball Talia Webster Kirby Heathcock Rachel Trillet Alex Buchanan Bailey Meade Mathew Butts Madilyn Pitts Lilly McCully Lillian Starrett Audrey Clark Trumpet Chelsea Ortiz Justin Sykes Caitlin Doyle Jim Calvert Alexa Parada Hannah Lillis Kaitlynn Sykes Bass Clarinet Marissa Johnson Dominique Bobb Payton Graham Amy Almanza Mathew Tidwell Shaylin Green Contra Bass Clarinet Caleb Strawn Hannah Dolan Perashia Dunlap Chloe Mabus Austin Stokes Jacob Lawther Kameron Benton Mathew Lopez 2019 Delta State University Honor Band Clinic Honors Symphonic Band Trombone Clea Lauderdale Cooper Robertson Jonathan Dobbs Marquez Hundley Roger Braniff Braden Pegram Elena Chaney Jacob Boyd Aleyna Wilgermein Gavan Sullins Sarah Beth Thompson Roquade Spencer Tj Shepard Euphonium Logan Shive Logan Walker Dalton Heitman Reagan Watson Tuba Evan Little Anthony Gonzalez Taylor Clark Riley Dale Nicholas Cooksey Carl Dalton Amber Killough Percussion Breana Cargill Elizabeth Willis Madison Collins Tiffany Ferguson Amber Ramos Jason Nester Jill Creel James Cavallo .
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Grand Soir Lindberg Vendredi 9 Mars 2018 – 20H30
SALLE DES CONCERTS – CITÉ DE LA MUSIQUE Grand soir Lindberg Vendredi 9 mars 2018 – 20h30 NPGS_03-09_Berliner-Rattle V2.indd 2 30/08/2017 15:23 Avant le concert Clé d’écoute, « Magnus Lindberg et ses pairs », à 19h45 dans l’Amphithéâtre. PROGRAMME Magnus Lindberg Arena 2* Iannis Xenakis Palimpsest* ENTRACTE Gérard Grisey Modulations Christian Rivet Étoile Double Création mondiale. Commande de l’Ensemble intercontemporain ENTRACTE Brian Ferneyhough Time and Motion Study I Magnus Lindberg Souvenir Ensemble intercontemporain Magnus Lindberg*, Matthias Pintscher, direction Éric-Maria Couturier, violoncelle Nicolas Crosse, contrebasse Alain Billard, clarinette basse Coproduction Ensemble intercontemporain, Philharmonie de Paris. FIN DU CONCERT VERS 23H. Un chemin tout d’abord : Helsinki, Darmstadt, Sienne puis Paris. Des rencontres ensuite : Einojuhani Rautavaara, Paavo Heininen et Osmo Lindeman, Helmut Lachenmann, Brian Ferneyhough, Franco Donatoni, Vinko Globokar et Gérard Grisey. Sous le signe de l’ouverture, la forma- tion de Magnus Lindberg s’est poursuivie dans un fascinant éclectisme intellectuel et esthétique jusqu’à confronter les héritages nationaux à la scène actuelle du pop-rock ou du métal. Et le compositeur de se souvenir : « Tous ces pôles d’attraction, assez éloignés, ont constitué une somme d’influences assez heureuses. Et je recherchai cette diver- sité de références comme autant de langage, car à cette époque, d’un point de vue stylistique, je n’avais pas de véritable inquiétude, je savais exactement ce que je voulais. Ce qui n’a pas toujours été le cas par la suite. » (Entretien avec Peter Szendy, « Magnus Lindberg », Les Cahiers de l’Ircam 3, 1993.) Si un Grand soir ne peut synthétiser un tel parcours en un unique concert, ne peut-il replacer l’artiste dans le contexte sonore qui l’a vu naître ? Version révisée d’une pièce destinée à un concours de direction d’orchestre, Arena 2 est un parfait exemple d’orchestration aux extra- ordinaires effets kaléidoscopiques de Magnus Lindberg.
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Title Category Composer Arranger Catalog Notes 22Nd Regiment March March Gilmore, P.S
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