Download Booklet
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Pace Final 26.11.15
Positions, Methodologies and Aesthetics in the Published Discourse about Brian Ferneyhough: A Critical Study Ian Pace1 Since Brian Ferneyhough achieved a degree of public recognition following the premiere of his Transit (1972-75) in March 1975 at the Royan Festival, a range of writings on and reviews of his work have appeared on a relatively regular basis. The nature, scope, style, and associated methodologies of these have expanded or changed quite considerably over the course of Ferneyhough's career––in part in line with changes in the music and its realization in performance––but nonetheless one can discern common features and wider boundaries. In this article, I will present a critical analysis of the large body of scholarly or extended journalistic reception of Ferneyhough's work, identifying key thematic concerns in such writing, and contextualizing it within wider discourses concerning new music. Several key methodological issues will be considered, in particular relating to intentionality and sketch study, from which I will draw a variety of conclusions that apply not only to Ferneyhough, but to wider contemporary musical study as well. Early Writings on Ferneyhough The first extended piece of writing about Ferneyhough's work was an early 1973 article by Elke Schaaf2 (who would become Ferneyhough's second wife),3 which deals with Epicycle (1968), Missa Brevis (1969), Cassandra's Dream Song (1970), Sieben Sterne (1970), Firecyle Beta (1969-71), and the then not-yet-complete Transit. Schaaf’s piece already exhibits one of the most -
D4.2 BIC Annual Forum and IAG Meeting
D4.2 BIC Annual Forum and IAG meeting Grant Agreement 258655 number: Project acronym: BIC Project title: Building International Cooperation for Trustworthy ICT: Security, Privacy and Trust in Global Networks & Services Funding Scheme: ICT Call 5 FP7 Project co-ordinator: James Clarke Programme Manager Waterford Institute of Technology Tel: +353-71-9166628 Fax: + 353 51 341100 E-mail: [email protected] Project website http://www.bic-trust.eu address: Revision: Final Project co-funded by the European Commission within the Sixth Framework Programme (2002-2006) Dissemination Level PU Public up to and including Annex III RE Annex IV (IAG meeting minutes) Building International Cooperation for Trustworthy ICT: Security, Privacy and Trust in Global Networks & Services 1st Annual Forum 29th November 2011 Brussels, Belgium BIC Partners BIC is a Coordination Action Project within the European Commission, DG INFSO Unit F5, Trust and Security Jan. 2011—Dec. 2013 http://www.bic-trust.eu Page 2 / 103 Table of Contents EXECUTIVE SUMMARY ......................................................................................5 INTRODUCTION ..................................................................................................6 MISSION AND OBJECTIVES OF THE ANNUAL FORUM ...................................6 AGENDA...............................................................................................................7 RESULTS OF THE ANNUAL FORUM..................................................................8 Panel session 1. Other INCO-related -
IAN PACE, P Iano
University of Washington 2001-2002 School ofMusic sc. Presents a Guest Artist Recital: P3 3 4 2. 0 '02 ,-I~ IAN PACE, p iano April 19, 2002 8:00 PM Brechemin Auditorium PROGRAM THREE PIECES FOR PIANO OP. 11 (1909) ..... ..... ....... ... ......... ...... ....... ARNOLD SCHOENBERG 1. Massige ( 1874-1951) / . ' L!::"~, ~ :"" :~~~ :; 3. Bewegte POL VERI LATERALI (1997) ..... ......................... .......... .. ... SALVATORRE SClARRINO (b. 1947) OPUS CONTRA NATURAM (2000-2001) .............................. BRlAN FERNEYHOUGH (b. 1943) INTERMISSION LE CHEMIN (1994) ..... .. .. .... .................... ..... ............... .JOEL-FRANc;:orS DURAND (b. 1954) BAGATELLES OP. 126 (1824) ...................... .. .; .. ...... .. ................. LUDWIG VAN BEETIlOVEN 1. Andante can mota cantabile e compiacevole (1770-1 82 7) 2. Allegro 3. Andante, cantabile e grazioso 4. Presto 5. Quasi allegretto 6. Presto - Andante amabile e can mota ARNOLD SCHOEl\IBERG: THREE PIECES FOR PlANO OP. 11 It was around 1908 that Arnold Schoenberg began to use the piano as a solo instrument. Perhaps no other composition was as crucial to Schoenberg's future, and, if one accepts the eventualities of that future, then also to twentieth-century music, as the Three Piano Pieces Op. 11 . They were not his first atonal works, for besides the last movement of the Second String Quartet, many of the songs in his magnificent cycle Das Buch der hangenden Garten, Op. 15, predated Op. 11. But in tenns of sustained structure (the second of the Three Pieces runs to nearly seven minutes), Op. 11 was the first major test of the possibilities of survival ina musical universe no longer dominated by a triadi cally centered harmonic orbit. And the survival potential was, on the basis of Op. 11, eminently satis factory. -
Michael Finnissy (Piano)
MICHAEL FINNISSY (b. 1946) THE HISTORY OF PHOTOGRAPHY IN SOUND CD1: 1 Le démon de l’analogie [28.29] 2 Le réveil de l’intraitable réalité [20.39] Total duration [49.11] CD2: 1 North American Spirituals [23.41] 2 My parents’ generation thought War meant something [35.49] Total duration [59.32] CD3: 1 Alkan-Paganini [13.37] 2 Seventeen Immortal Homosexual Poets [34.11] 3 Eadweard Muybridge-Edvard Munch [26.29] Total duration [74.18] CD4: 1 Kapitalistisch Realisme (met Sizilianische Männerakte en Bachsche Nachdichtungen) [67.42] CD5: 1 Wachtend op de volgende uitbarsting van repressie en censuur [17.00] 2 Unsere Afrikareise [30.35] 3 Etched bright with sunlight [28.40] Total duration [76.18] IAN PACE, piano IAN PACE Ian Pace is a pianist of long-established reputation, specialising in the farthest reaches of musical modernism and transcendental virtuosity, as well as a writer and musicologist focusing on issues of performance, music and society and the avant-garde. He was born in Hartlepool, England in 1968, and studied at Chetham's School of Music, The Queen's College, Oxford and, as a Fulbright Scholar, at the Juilliard School in New York. His main teacher, and a major influence upon his work, was the Hungarian pianist György Sándor, a student of Bartók. Based in London since 1993, he has pursued an active international career, performing in 24 countries and at most major European venues and festivals. His absolutely vast repertoire of all periods focuses particularly upon music of the 20th and 21st Century. He has given world premieres of over 150 pieces for solo piano, including works by Julian Anderson, Richard Barrett, James Clarke, James Dillon, Pascal Dusapin, Brian Ferneyhough, Michael Finnissy (whose complete piano works he performed in a landmark 6- concert series in 1996), Christopher Fox, Volker Heyn, Hilda Paredes, Horatiu Radulescu, Frederic Rzewski, Howard Skempton, Gerhard Stäbler and Walter Zimmermann. -
562 Sandy Goehr Inlay
Page 1 Alexander Goehr Trio for Violin, Cello and Piano Suite for Violin and Piano Largamente from Op.18 Piano Quintet Daniel Becker - Piano Ning Kam - Violin Thomas Carroll - Cello Elias Quartet Page 2 Page 3 Alexander Goehr, composer and teacher, was born in Idées fixes, for The London Sinfonietta's 30th Season, In my Quintet, I aimed at a transparency of texture and Berlin on 10 August 1932, son of the conductor Walter received its first performance with Oliver Knussen in much of the writing both for piano alone and for piano Goehr, and was brought to England in 1933. He December 1997. Premières in 2001 included two in connection with the string instruments reflects an studied with Richard Hall at the Royal Manchester orchestral works, for the Halle Handel Festival and the interest in two-part invention, often writing in double- College of Music, where together with Harrison BBC Proms, and a Suite for Pamela Frank and Peter counterpoint. This, to be perceptible, requires a Birtwistle, Peter Maxwell Davies and John Ogdon he Serkin commissioned by the Harvard Musical Society. limited intervallic style. formed the New Music Manchester Group, and with This work is now in the repertoire of Midori, and Olivier Messiaen and Yvonne Loriod in Paris. In the featured in her groundbreaking 2005 Contemporary The Quintet divides roughly into two parts. The first early '60s he worked for the BBC and formed the Music Project. ...around Stravinsky, written for the consists of two movements: first a kind of sonata Music Theatre Ensemble, the first devoted to what has Nash Ensemble, was premièred in March 2002. -
James Dillon
James Dillon New Music Biography James Dillon James Dillon is one of the UK’s most internationally celebrated and performed composers. The recipient of a number of prizes and awards including the Kranichsteiner Musikpreis and the Japan Foundation Artist Scholarship, he has also won an unprecedented four Royal Philharmonic Society awards, and most recently was awarded a BASCA British Composer Award for Stabat Mater dolorosa. In 1983, Dillon’s First String Quartet received its premiere from the Arditti Quartet at the Huddersfield Contemporary Music Festival. The Arditti Quartet has remained closely involved with the composer, having premiered and widely performed Dillon’s subsequent quartets, and Huddersfield is one of the many festivals to regularly feature Dillon’s music, most recently as Composer in Residence in 2014. In 2016, the Arditti Quartet premiered The Gates, for string quartet and orchestra, at Donaueschinger Musiktage. Nine Rivers, an enormous three-and-a-half hour sequence of works composed over more than two decades, was first performed by the BBC Scottish Symphony Orchestra in 2010 and has subsequently been heard in New York and at the 2013 Holland Festival to great acclaim. It was conceived as a collection of works with ‘internal symmetries’ and is indicative of Dillon’s tendency to think in terms of large-scale, complementary forms. In the mid-1980s, Dillon began a ‘German Triptych’, a set of works based on the idea of ‘illumination as the emanation from darkness’, which Richard Toop described as ‘a music full of figures which, like the stars, are intense, yet seem almost infinitely far away’. -
Behind the Text, Beyond the Sound: Investigations Into Processes of Creative Musical Interpretation
Behind the Text, Beyond the Sound: Investigations into Processes of Creative Musical Interpretation Author Savage, Stephen Leon Published 2009 Thesis Type Thesis (PhD Doctorate) School Queensland Conservatorium DOI https://doi.org/10.25904/1912/983 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/366061 Griffith Research Online https://research-repository.griffith.edu.au Behind the Text, Beyond the Sound: Investigations into processes of creative musical interpretation Stephen Leon Savage L.R.A.M., A.R.C.M. Queensland Conservatorium, Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy by Publication. October 2008 Table of Contents Statement of authorship ............................................................ .iv Acknowledgement. ............................... , ............. " .................... v Abbreviation ..........................................................................vi Gender and language ............................................................... vii List of approved Publications .....................................................viii Abstract. .............................................................................. .ix General Introduction ................................................................... 1 PART 1: A MUSICIAN AT WORK IN HIS COMMUNITy .................. 3 Speaking for Myself: an autoethnographic survey .................... .4 Early life ..............................................................................5 -
Kreutzer Quartet
Kreutzer Quartet Anne Boyd | String Quartet No.2, 'Play on the Water' (1973) Thomas Metcalf | Pixelating the River (2020) 21 May 2021 5:00PM Online This project was generously funded by The Oxford Research Centre for the Humanities, through the Humanities Cultural Programme Fund. Programme Content & Design: Thomas Metcalf Videography: Tim Hand Audio Engineer: Martin Wiggins Humanities Cultural Programme Events Manager: Elizabeth Green Humanities Cultural Programme Events Officer: Krisztina Lugosi About this Project The goal of this project was to investigate the impact of graphical stimuli in new music on contemporary audiences. These stimuli can take many forms, ranging from the Medieval practice of Augenmusik (eye-music), where the music is arranged to create shapes and symbols, to fully graphic scores, e.g. Cornelius Cardew's Treatise (1963-1967), where staff- notation is either removed or hybridised to create a performative stimulus for the performer. Baude Cordier Belle, Bonne, Sage (c. 14th century): an example of Augenmusik where the music is laid out in the shape of a heart to reinforce the content of the song. An excerpt from Cornelius Cardew's Treatise: an example of a graphic score where the music will be guided by a performers interpretation of the symbols, rather than traditional music notation. My particular interest lies in what is known as 'ekphrasis'. This term, deriving from the ancient greek for 'description', is where one art work is represented in another using a different medium. A well-known example is Keats' Ode on Grecian Urn (1819) – the ekphrasis of decorative pottery through poetry. There are many examples of musical ekphrasis, a subject that has been written on extensively by scholars including Siglind Bruhn and Lawrence Krarmer, which 'transmedialise' texts or visual imagery into music. -
MUSICWEB INTERNATIONAL Recordings of the Year 2020
MUSICWEB INTERNATIONAL Recordings Of The Year 2020 This is the eighteenth year that MusicWeb International has asked its reviewing team to nominate their recordings of the year. Reviewers are not restricted to discs they had reviewed, but the choices must have been reviewed on MWI in the last 12 months (December 2019-November 2020). The 146 selections have come from 28 members of the team and 69 different labels, the choices reflecting as usual, the great diversity of music and sources; I say that every year, but still the spread of choices surprises and pleases me. Of the selections, ten have received two nominations: • Eugene Ormandy’s Saint-Saëns Organ symphony on Dutton • Choral music by Jančevskis on Hyperion • Stephen Hough’s Beethoven concertos on Hyperion • Lutosławski symphonies on Ondine • Stewart Goodyear’s Beethoven concertos on Orchid Classics • Maria Gritskova’s Prokofiev Songs and Romances on Naxos • Giandrea Noseda’s Dalapiccola Il Priogioniero on Chandos • Les Kapsber'girls Che fai tù? on Muso • Edward Gardner’s Peter Grimes on Chandos • Véronique Gens recital Nuits on Alpha Hyperion was this year’s leading label with 16 nominations, and Chandos with 11 deserves an honourable mention. MUSICWEB INTERNATIONAL RECORDING OF THE YEAR In this twelve-month period, we published more than 2300 reviews. There is no easy or entirely satisfactory way of choosing one above all others as our Recording of the Year. Ludwig van BEETHOVEN Piano Concertos 1-5 - Stephen Hough (piano), Finnish Radio Symphony Orchestra/Hannu Lintu rec. 2019 HYPERION CDA68291/3 It being a big Beethoven anniversary year, that seemed to provide a clue as to where to look for a choice. -
Modal Art-Making Pauline Amos Doctor of Philos
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2004 SELF(ISH)-FUSION THINKING AND PRACTICE- A (MAINLY) VISUAL INVESTIGATION OF POLY-MODAL ART-MAKING AMOS, PAULINE http://hdl.handle.net/10026.1/2637 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. SELF(ISH)- FUSION THINKING AND PRACTICE- A (MAINLY) VISUAL INVESTIGATION OF POLY-MODAL ART-MAKING by PAULINE AMOS A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY Dartington College of Arts April2004 .. ' ,• ·'-:. ' I'' ' ' Copyright Statement ~his copy ofthe thesis. has !Jeerrsupplied:on.condiiion:that:anyone who.consJil!s it is underslood'to ·recognis.e'.!hat.its copyright, rests with it~ author and that no quoiaiion from theithesis and no information!derived'.from itrjlf/)lcbepublishedwithoutthe .(luthor 's, conseni. 2 Word count: 41,361 ABSTRACT If it could be seen that a 'body of training' has a crucial impact on a creative practice, my own history of 'training' would be difficult to trace within any specific discipline or mode of self-expression. I have been 'trained' as a visual artist, actor, performance artist, and to some extent, musician/sonic performer. This coexistence of modalities with associated meta-praxis, has in fact created a set of parallel dimensions embodied within a collective of theories as well as practices. -
Royal Musical Association 56Th Annual Conference
Royal Musical Association 56th Annual Conference Goldsmiths, University of London 8–10th September 2020 2 CONTENTS Programme Committee 4 Conference Team 4 Welcome from the President 5 RMA Council Election Results 5 About the RMA 6 RMA Council 7 Future RMA Events 8 Call for Proposals: RMA Annual Conference 2021 9 RMA Chapters and Study Groups 9 Joining the RMA 10 Conference Information Conference Team Programme Welcome and Acknowledgements 11 Conference Code of Conduct 11 Conference Programme 13 Overview 14 Day View 15 Sessions at a Glance: Tuesday 8 September 18 Sessions at a Glance: Wednesday 9 September 20 Sessions at a Glance: Thursday 10 September 22 The Le Huray Lecture: Marie Thompson 26 The Dent Medal Lecture: Gundula Kreuzer 28 Music Studies in the Round: Issues for the Discipline 30 1. Roundtable: High Tides: Changing Currents in Musical Higher Education 30 2. Roundtable: Location of Musical Knowledge 32 3. Bent Notes: A Year of Queer Podcasting for Musicology 33 Composition Workshop 34 Content Available Throughout the Conference 40 1. Sonic Art Listening List and A/V Playlist 40 2. Ethnographic and Documentary Film 50 3. Virtual Bookstand 54 Social Events 54 1. Quiz: ‘The Perfect Score!’ 54 2. Discussion of Early Career Pathways 54 3. Discussion of Equality, Diversity and Inclusion in the Profession 54 Sonic Scope Journal 55 Conference Abstracts 57 Abstracts: Tuesday 8 September 58 Abstracts: Wednesday 9 September 79 Abstracts: Thursday 10 September 98 3 PROGRAMME COMMITTEE Co-Convenors Dr Lauren Redhead (Goldsmiths, University -
Download Booklet
THE MOTH REQUIEM HARRISON BIRTWISTLE both sacred and secular traditions of text choice CHORAL WORKS BY HARRISON BIRTWISTLE (b.1934) 4HE 2ING $ANCE OF THE .AZARENE s 4HREE ,ATIN and treatment. -OTETS s #ARMEN 0ASCHALE s ,ULLABY s /N THE 3HEER 4HRESHOLD OF THE .IGHT s 4HE -OTH 2EQUIEM All of this gives his choral music a less 1 The Ring Dance of the Nazarene (2003) [24.14] ‘prehistoric’ slant than much of his instrumental Roderick Williams baritone Chris Brannick darbuka With two short seasonal pieces nested at its and dramatic work, but Birtwistle is not one of centre – one Easter- and one Christmas-related, those composers whose choral music seems to Three Latin Motets from ‘The Last Supper’ (1999) one early and one recent – this disc might, if its stand entirely separate from the rest of their 2 O bone Jesu [3.39] composer were a more conventional figure, have output. Recognisably Birtwistlian concerns are 3 Pange lingua [2.45] 4 In supremae nocte cenae [3.25] been a survey of sacred choral music from a present throughout this disc, and recognisably career now spanning fifty years. In fact it is Birtwistlian sounds, too – particularly in the 5 Carmen Paschale (1965) [5.50] rather less easy to categorise than that, even accompaniments, with their avoidance of Philippa Davies flute if we exclude from consideration the one work bowed string instruments and concomitant 6 Lullaby (2006) [2.08] with apparently pre-Christian subject matter. focus on woodwinds, harp and percussion. 7 On the Sheer Threshold of the Night (1980) [13.17] But perhaps Harrison Birtwistle is not so Furthermore, all but the two shortest works Eurydice - Emma Tring soprano unconventional a composer after all, and if there here relate in some way to Birtwistle’s operas, Orpheus – Margaret Cameron alto, Stephen Jeffes tenor Hades – Charles Gibbs bass is little here that the Christian liturgy could either sharing their subject matter or setting accommodate, we are not so far away as one words by one of their librettists.