EMANUELE ARCIULI Century

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ITALY / MUSIC languorous theme, Round Midnight seems to spring WORLD PREMIERE from Monk's creative heart and soul. The piece became both the dramatic and musical thematic material for a moody, blues tinged film (starring jazz great Dexter Gordon) by the French director Bertrand Tavernier in the late 1980s. John Adams China Gates Judd Greenstein First Ballade George Crumb Eine Kleine Mitternachtmusik Talib Rasul Hakim Sound Gone Frederic Rzewski Winnsboro Cotton Mill Blues Few pianists possess the incredible technique to encompass Thelonious Monk’s futurist musical visions. Arciuli is definitely an artist for the 21st EMANUELE ARCIULI century. ROUND MIDNIGHT His CD releases have earned numerous awards—and a Italian virtuoso, Emanuele Arciuli has long Grammy nomination—and in 2011 his genius was established himself as one of the most original and recognised with the most important Italian critic’s interesting performers on today’s classical music prize, the Permio Franco Abbiati follows in the scene. His repertoire ranges from Bach to footsteps of Mauizio Pollini, Radu Lupu and Zubin contemporary music, with a strong affinity for Mehta. composers from the United States. Melbourne Recital Centre, Elisabeth Murdoch Hall His affinity with American music has made him a Thu 19 Oct 8pm leading interpreter of John Adams, George Crumb and 1 hr, no interval Chick Corea. A Reserve $69 / $59 B Reserve $59 / $49 In an exclusive for Melbourne Festival, he offers us the Under 30s $30 opportunity of exploring two of his landmark commissions paying tribute to the famous theme by www.festival.melbourne Thelonius Monk’s Round Midnight, reimagined as Melbourne Recital Centre 03 9699 3333 suites. #melbfest Always striving for new artistic limits, Arciuli is the perfect artistic incubator for the Monk project. These have not only become his signature, but also a symbol of how he thinks, crossing the bridge from jazz to avant-garde in a single handspan. Thelonious Monk was one of the most original, inventive jazz artists of our time. At once a ground- breaker and a classicist, Monk infused jazz with the gossamer textures of Debussy. Round Midnight was Monk's most famous composition. A bluesy, .

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Orchestra Del Teatro Petruzzelli Pinchas Steinberg Emanuele Arciuli
ORCHESTRA DEL TEATRO PETRUZZELLI PINCHAS STEINBERG direttore EMANUELE ARCIULI pianoforte Pizzetti | Beethoven FONDATORI PARTNERS CONSIGLIO DI INDIRIZZO Presidente Sovrintendente Antonio Decaro Direttore artistico Massimo Biscardi Vice Presidente Corrado Petrocelli Consiglieri Direttore stabile Sara Allegretta Giampaolo Bisanti Michele Bollettieri Vito Mormando Maestro del coro Matteo Pertosa Fabrizio Cassi COLLEGIO REVISORI DEI CONTI Presidente Anna Luisa Carra 2 3 Membri effettivi Sergio Lafortezza Rosa Valicenti SPONSOR TECNICO FONDATORI Ministero per i Beni e le Attività Culturali e per il Turismo Regione Puglia Comune di Bari Città Metropolitana di Bari PER UN TEATRO DA TUTELARE. Costruzioni Barozzi Altamura [ Bari ] - Italy ORCHESTRA PROGRAMMA DEL TEATRO PETRUZZELLI Ildebrando Pizzetti [1880 - 1968] Canti della stagione alta, concerto per pianoforte e orchestra I. Mosso e fervente, ma largamente spaziato PINCHAS STEINBERG II. Adagio direttore III. Rondò: Allegro EMANUELE ARCIULI pianoforte Ludwig van Beethoven [1770 - 1827] Sinfonia n. 5, in do minore, op. 67 I. Allegro con brio 10 II. Andante con moto 11 III. Allegro IV. Allegro - Presto TEATRO PETRUZZELLI trasmissione in streaming giovedì 3 dicembre 2020 ore 20.30 LA MUSICA DEL DESTINO E L’ «ALTA » STAGIONE DEL CUORE di Livio Costarella Ildebrando Pizzetti, Canti della stagione alta, Concerto per pianoforte e orchestra (1930) Tensione creativa, vigore intellettuale, coerenza musicale. E un’invenzione melodica di grande freschezza e spontaneità. Con queste caratteristiche che hanno sempre permeato la sua produzione, ad Ildebrando Pizzetti (1880-1968) si deve una stagione felice della musica italiana che ha abbracciato quasi un secolo di vita, nel delicato passaggio dal diciannovesimo al ventesimo secolo. Come accaduto a compositori del calibro di Nino Rota, anche dell’autore emiliano si è troppo spesso parlato di «caso isolato», allorché non aveva abbracciato la dodecafonia, né le avanguardie più estreme, per non parlare della «musique concrète» o elettronica.
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Recensione Radio WNTI Newyork
'Round Midnight Variations Emanuele Arciuli, Pianist Thursday, November 14, 2002 at 8:00 P.M. American Piano Series Miller Theatre at Columbia University 2960 Broadway at 116th Street N.Y., N.Y. ______________________________________________________ What a fabulous idea! Commission a multitude of composers to write a variation(s) on the Thelonius Monk classic 'Round Midnight. Once the works arrive on delivery the challenge then becomes arranging the disparate works into a working order that will convey emotional verisimilitude and heft. Mr. Arciuli's arrangement of the works offers just those characteristics in plenty. The premise is to go through the hours of the day ruminating on the musical possibilities and richness of the song in all of it's variational and harmonic fullness. That it works so well is homage not just to the genius of Mr. Monk but to the fertile talents of Italian pianist Emanuele Arciuli. The first part of the program was a harbinger of the evening's showpiece. It featured three world premieres and two American premieres as well as composer George Crumb's extended opus, Eine Kleine Mitternachtmusik. The evening began with a suite entitled ...........Waiting for Monk. First up, Eric Reed's Variation (World Premiere and the first of two Miller commissions), offered a cool series of harmonics with some dissonant voicings although not too cool. This was followed by Uri Caine's Variation (World premiere) embodied by disparate juxtapositioning of rapid arpeggiated runs offset by stabbing angular chords. A virtuosic piece expertly played by Mr. Arciuli. Alberto Barbero's The Monk and Me (American premiere), is part of a larger work and wraps itself up in a study of the harmonic fourth, a standard of jazz repertory.
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Mercoledì 5 Settembre 2001 Ore 17 Aula Magna Del
mercoledì 5 settembre 2001 ore 17 Aula Magna del Politecnico Emanuele Arciuli, pianoforte In collaborazione con il Politecnico di Torino e Iniziativa CAMT, Sede Regionale del Piemonte Emanuele Arciuli si è imposto di recente all’attenzione del pubblico e della critica per le sue interpretazioni della musica del Novecento, con particolare predilezione per la Scuola di Vienna e la musica americana contemporanea. Ha studiato, fra gli altri, con Michele Marvulli, Leon Fleisher, Paolo Bor- doni, Piero Rattalino. La sua attività concertistica lo vede regolarmente ospite di numerose istituzioni di prestigio, tra cui il Festival Interna- zionale Pianistico di Brescia e Bergamo, il Teatro San Carlo di Napoli, l’Orchestra Sinfonica “Verdi” di Milano, l’Orche- stra Sinfonica Siciliana, l’Orchestra della Radiotelevisione della Svizzera Italiana, l’Unione Musicale di Torino, l’Orchestra Haydn di Bolzano e Trento, la Società dei Concerti e le Serate Musicali di Milano, la Hungarian Philharmonic Orchestra a Miskolc, la Fondazione Cini di Venezia, la Sagra Malatestiana di Rimini, l’Orchestra Regionale del Lazio, collaborando con direttori come Matthias Aeschbacher, Petr Altrichter, Marc Andreae, Laslo Kovacs, Daniel Oren, Stefan Anton Reck. Ha inciso sette cd per la Stradivarius di Milano, tra i quali l’integrale pianistica di Berg e Webern, che ha guadagnato importanti premi della critica discografica, ed Americans!, una recentissima antologia di musica americana. È titolare della cattedra di pianoforte principale al Conser- vatorio di Bari e dal 1998 è Guest Faculty (professore ospite) all’Università di Cincinnati. ’Round Midnight Variations (Homage to Thelonious Monk) composed for Emanuele Arciuli sponsorized by College-Conservatory of Music at the University of Cincinnati 1ª esecuzione mondiale Introduction and Theme Matthew Quayle Monk sits down to write a tune… First Part In the morning..
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Detailed Biography 2017-18
Emanuele Arciuli has established himself as one of the most original and interesting performers on today’s classical music scene. His repertoire ranges from Bach to contemporary music, with a strong affinity for composers from the United States. Having gained the respect of distinguished composers such as Helmut Lachenmann Frederic Rzewski, John Adams and George Crumb, Emanuele Arciuli has had many new works written for him, including piano concertos by Michael Nyman and Louis W. Ballard, whose Indiana Concerto he premiered in 2008 with the Indianapolis Symphony Orchestra. Emanuele Arciuli continuously develops new projects and is in constant pursuit of new ideas and innovative programmes. Round Midnight Variations, a group of 16 compositions that were written expressively for Arciuli by composers such as Crumb, Babbitt, Kernis, Rzewski, Torke, Daugherty, Bolcom and Harbison, has recently sparked the interest of international critics. The variations, which were released by Stradivarius on CD under the title ‘Round Midnight – Hommage to TheloniousMonk in May 2011, have been celebrated by the international press. His special interest in Native American cultures has impacted Emanuele Arciuli’s career, and resulted in him commissioning works from a number of Native American composers. His most recent project is called Indian Gallery and will feature new works inspired by Native American visual art by composers such as John Luther Adams, Martin Bresnick, Michael Daugherty, Kyle Gann, Peter Garland, Huang Ruo and Morton Subotnick. His numerous recordings include Walk in Beauty (Innova records), a large anthology of American piano music featuring also Native American composers, Gates to Everywhere, with music by Carla Bley, Fred Hersch, and Chick Corea, the complete piano works of Berg and Webern, and the world premiere of Bruno Maderna’s Concerto for Piano and Orchestra and many others.
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The Italian Academy for Advanced Studies in America Annual Report 2011–2012
columbia university The Italian Academy for Advanced Studies in America annual report 2011–2012 The Mission of The Italian acadeMy Founded in 1991 on the basis of an agreement between Columbia University and the Republic of Italy, the Academy sponsors advanced research in all areas relating to Italian history, science and society; presents distinguished examples of Italian culture and art; and promotes academic, cultural and scientific exchange at the highest level. abouT The acadeMy At the core of the Italian Academy’s work lies its Fellowship Program. Fellowships are open to scholars at the postdoctoral level and above who wish to devote a semester or a full academic year to genuinely innovative work in any field relating to culture, cultural memory, and the relations between culture, the sciences, and the social sciences. Fellows are chosen by a jury of experts in the relevant fields. The most advanced part of the Fellowship Program is the Academy’s ongoing Project in Art and Neuroscience, in which scholars in both the humanities and the sciences work together in assessing the significance of the latest developments in genetics and the neurosciences for the humanities—and vice versa. The Academy also serves as the chief reference point in the United States for all links between the worlds of higher education in Italy and the U.S. Thanks to its prestige and its location in New York, the Academy has become a critical site for meetings between distinguished members of the Italian and American business and political communities. Its theater, library, and other public spaces offer important locations for a variety of conferences, concerts, films, and exhibitions.
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American Berserk Avant-Garde Treatments of American Jazz Idioms and Legends
Kyle Adam Blair presents: AMERICAN BERSERK AVANT-GARDE TREATMENTS OF AMERICAN JAZZ IDIOMS AND LEGENDS 11.18.2012 Conrad Prebys Concert Hall Stuart Saunders Smith – Pinetop (1977) George Crumb – Eine Kleine Mitternachtmusik (Ruminations on ‘Round Midnight by Thelonius Monk) (2002) 1. Nocturnal Theme 2. Charade 3. Premonition 4. Cobweb and Peaseblossom (Scherzo) 5. Incantation 6. Golliwog Revisited 7. Blues in the Night 8. Cadenza with Tolling Bells 9. Midnight Transformation John Adams – American Berserk (2001) -10-minute intermission- Elliott Carter – Piano Sonata (1945-46) Thank you, *Aleck: For more wisdom, counsel, and patience that I could ever ask for. *J-Flo: For helping to make this shindig possible, and for informing me of my favorite nickname to date. “CAF” forever *All my UCSD friends and colleagues: For always embracing me and my work with open ears and open arms. *My family: For a blank check’s worth of love and support. *My beautiful wife-to-be Ashley: For all of your love and your patience with a man following a dream. In partial fulfillment of the Masters of Arts in Music Performance degree. Pinetop Stuart Saunders Smith’s interest in “inventing music of extreme rhythmic and melodic complexity” certainly reveals itself in Pinetop. The piece largely consists of a non-metered two-part contrapuntal dialogue between the left and right hands. Each hand has an ever-shifting number of subdivisions (between 1 and 9 usually) to perform within each successive beat. The hands almost never agree on this number, however, and the result is a tour de force in polyrhythmic permutations.
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Musical Magic
Musical magic Round midnight at Festival Miami 2004, Thelonious Monk was one of the most original, inventive jazz artists of our time. At once an avantgardist and a classicist, Monk infused jazz with the gossamer textures of Debussy. Round Midnight was Monk's most famous composition. A bluesy, languorous theme, Round Midnight seems to spring from Monk's creative heart and soul. The piece became both the dramatic and musical thematic material for a moody, blues tinged film (starring jazz great Dexter Gordon) by the French director Bertrand Tavernier in the late 1980s. In 2000 the extraordinary Italian pianist Emanuele Arciuli collaborated with a cornucopia of American and European composers on a series of Round Midnight Variations -- a remarkable homage to Monk's fertile musical invention. On 27 September 2004 Arciuli presented his Round Midnight program at the University of Miami's Gusman Concert Hall in Coral Gables, Florida, USA -- the opening event of Festival Miami 2004. In many ways the Round Midnight concert encapsulated what Festival Miami is all about: cultural fusion, a celebration of the creative spirit, and a forum for remarkable artists who embrace the future as well as the past. Arciuli is definitely an artist for the 21st century. A scrupulous musician and scholar, both a creative and performing artist, Arciuli is a champion of modernity. Yet his rigorous musicianship and keyboard technique is second to none. Always striving for new artistic limits, Arciuli was the perfect artistic incubator for the Monk project. The heart of the program's first half -- Waiting for Monk -- is a suite of nine variations by the octogenarian composer George Crumb.
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Annual Report 2018 –2019
Annual Report – 2018 2019 a | | b The Mission of the Italian Academy Founded in 1991 on the basis of an agreement between Columbia University and the Republic of Italy, the Academy sponsors advanced research in all areas relating to Italian history, science, and society; presents distinguished examples of Italian culture and art; and promotes academic, cultural and scientific exchange at the highest level. About the Academy At the core of the Italian Academy’s work lies its Fellowship Program. Fellowships are open to scholars at the postdoctoral level who wish to devote a semester or a full academic year to innovative work in any field relating to culture, cultural mem- ory, and the relations between culture, the sciences, and the social sciences. Fellows are chosen by a jury of experts in the relevant fields. The Art, Humanities, and Neuroscience Project and the more recently-established International Observatory for Cultural Heritage are the two major projects of the Acad- emy; alongside these are a rich array of research initiatives in other disciplines. The Academy also serves as the chief refer- ence point in the United States for all links between the worlds of higher education in Italy and the United States. Thanks to its prestige and its location in New York, the Academy has become a critical site for meetings between distinguished members of the Italian and American business and political communities. Its theater, library, and other public spaces offer important locations for a variety of conferences, concerts, films, and exhibitions.
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Walk in Beauty
Walk in Beauty emanuele arciuli piano Disc A -—51:36—- Disc B -—64:04—- 1. Connor Chee: Navajo Vocable for Piano, No.9 3:32 1. Martin Bresnick: Ishi’s Song 8:43 Emanuele arciuli walk in beauty Peter Garland: Walk in Beauty 2. Louis W. Ballard: The Osage Variation 4:44 Movement 1: 2. Walk in Beauty 4:45 3. Jennifer Higdon: Secret and Glass Gardens 11:47 3. Turquoise Trail (In Memoriam Louise Varèse) 3:26 4. A Peyote Fan Peter Gilbert: Intermezzi (for Lou Harrison and William Colvig) 1:13 4. I: Gently 1:20 Movement 2: 5. II: Serenely but impetuously lilting 2:09 5. A Pine-Pitch Basket (for Susan Ohori) 3:23 6. III: Grand, but holding back somewhat 2:00 Movement 3: 7. IV: Stately and unhurried but still lyrical 3:53 6. Lightning Flash (rumba-not really…) for Conlon “El Rey” Nancarrow 1:48 Carl Ruggles: Evocations – Four Chants for Piano 7. Walk in Beauty (Calling Home my Shadow) 2:20 8. Largo 2:19 9. Andante con Fantasia 3:37 8. Kyle Gann: Earth-Preserving Chant 11:24 10. Moderato Appassionato 1:50 11. Adagio Sostenuto 3:40 9. Michael Daugherty: Buffalo Dance 5:27 12. Brent Michael Davids: Testament of Atom 2:13 10. John Luther Adams: Tukiliit 6:47 Louis W. Ballard: Four American Indian Piano Preludes 11. Raven Chacon: Nilchi’ Shada’ji Nalaghali 13. Ombaska (Daylight) 2:28 (Winds that turn on the side from Sun) 7:34 14. Tabideh (The Hunt) 1:07 15. Nikatoheh (Love Song) 1:36 16.
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Influences and Musical Quotation in the Solo Piano Works of Aaron Jay Kernis Joy Thurmon
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Influences and Musical Quotation in the Solo Piano Works of Aaron Jay Kernis Joy Thurmon Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC INFLUENCES AND MUSICAL QUOTATION IN THE SOLO PIANO WORKS OF AARON JAY KERNIS By JOY THURMON A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2014 Joy Thurmon defended this treatise on April 4, 2014. The members of the supervisory committee were: Read Gainsford Professor Directing Treatise Evan Jones University Representative Heidi Louise Williams Committee Member Eva Amsler Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii For my mother iii ACKNOWLEDGEMENTS I would like to sincerely thank the members of my committee for their time and support in assisting me complete this document, particularly Dr. Read Gainsford, who directed this project. I am also grateful to Dr. Heidi Louise Williams for encouraging me to meet Mr. Kernis, Dr. Evan Jones, for accepting my request to join the committee more recently, and Professor Eva Amsler, for her teaching and encouragement. I am deeply indebted to Aaron Kernis for his incredible talent and as a musician and composer, his kind and supportive nature, and his willingness to answer my questions regarding his life and music.
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Symmetry, Thematic Transformation, Quotation in George Crumb's Eine
Symmetry, Thematic Transformation, Quotation in George Crumb’s Eine Kleine Mitternachtmusik Brooks Tran A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2017 Reading Committee: Craig Sheppard, Chair Jonathan Bernard Carole Terry Program Authorized to Offer Degree: School of Music 1 © 2017 Brooks Tran 2 University of Washington Abstract Symmetry, Thematic Transformation, and Quotation in George Crumb’s Eine Kleine Mitternachtmusik Brooks Tran Chair of the supervisory committee: Craig Sheppard School of Music This dissertation examines George Crumb’s use of symmetry and asymmetry, thematic transformation, and quotation in his 2001 solo piano work, Eine Kleine Mitternachtmusik. The paper reviews these compositional hallmarks as displayed in other works by Crumb, and offers an analysis of Mitternachtmusik, thereby revealing these elements in the piece 3 for my mother 4 Table of Contents Introduction………………………………………………………………….6 Symmetry……………………………………………………………………9 Thematic Transformation…………………………………………………..32 Quotation…………………………………………………………………...55 Conclusion………………………………………………………………….61 Bibliography………………………………………………………………..63 5 Introduction Thelonious Monk’s “‘Round Midnight” is the most recorded jazz composition by any jazz musician—there are nineteen recordings made by Monk himself, and over a hundred by others. Although Monk recorded it numerous times in different settings and renditions, and while it was the recording made with his quintet that was added to the Grammy Hall of Fame, it was not Monk’s recording that first launched it to fame. According to Thomas Fitterling, Monk wrote the tune when he was eighteen years old.1 In 1944, Cootie Williams and His Orchestra recorded it, and it became popularized as the group’s theme song.
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Nytimes Novembre 2002
November 21, 2002 Many-Faceted Dreams of That Time Round Midnight Emanuele Arciuli, an Italian pianist who plays a good deal of American music, had an unusual idea for a commissioning project: a program of variations on a single theme that would represent the passage of time from morning to afternoon and evening. He settled on Thelonious Monk's "Round Midnight," a jazz standard that Monk composed in the 1940's, and he solicited contributions from composers of every stripe. The concept, and the resulting collection of works, seemed tailor made for the adventurous Miller Theater at Columbia, and Mr. Arciuli presented his " 'Round Midnight Variations" there last Thursday evening. All told, 20 composers weighed in on the Monk tune. Most found enough in it to offer surprising or illuminating twists, and Mr. Arciuli addressed what proved a hefty program with an ironclad technique as well as unflagging energy and imagination. As it turned out, only the second half of the program was devoted to the times-of-day series. The first half was given over to recent arrivals - variations on the Monk tune that Mr. Arciuli has not yet fitted into his thematic concept. The Miller Theater commissioned two of the new scores: Eric Reed's "Variation" and Fred Hersch's "Little Midnight Nocturne" approach the melody from a jazz pianist's perspective. For Mr. Reed, that means bursts of melody supported by a steady, almost Bachian bass line. For Mr. Hersch, it means keeping the chord progression but supplying a new melody. Uri Caine's "Variation" offers a more forceful, virtuosic view, as does Aaron Jay Kernis's dense, fleet "Superstar Étude No.
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