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Advance Program Notes Powaqqatsi: Life in Transformation Philip Glass Ensemble Friday, November 1, 2013, 8 PM
Advance Program Notes Powaqqatsi: Life in Transformation Philip Glass Ensemble Friday, November 1, 2013, 8 PM These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. CENTER FOR THE ARTS AT VIRGINIA TECH presents POWAQQATSI LIFE IN TRANSFORMATION The CANNON GROUP INC. A FRANCIS FORD COPPOLA and GEORGE LUCAS Presentation Music by Directed by PHILIP GLASS GODFREY REGGIO Photography by Edited by GRAHAM BERRY IRIS CAHN/ ALTON WALPOLE LEONIDAS ZOURDOUMIS Performed by PHILIP GLASS and the PHILIP GLASS ENSEMBLE conducted by Michael Riesman with the Blacksburg Children’s Chorale Patrice Yearwood, artistic director PHILIP GLASS ENSEMBLE Philip Glass, Lisa Bielawa, Dan Dryden, Stephen Erb, Jon Gibson, Michael Riesman, Mick Rossi, Andrew Sterman, David Crowell Guest Musicians: Ted Baker, Frank Cassara, Nelson Padgett, Yousif Sheronick The call to prayer in tonight’s performance is given by Dr. Khaled Gad Music Director MICHAEL RIESMAN Sound Design by Kurt Munkacsi Film Executive Producers MENAHEM GOLAN and YORAM GLOBUS Film Produced by MEL LAWRENCE, GODFREY REGGIO and LAWRENCE TAUB Production Management POMEGRANATE ARTS Linda Brumbach, Producer POWAQQATSI runs approximately 102 minutes and will be performed without intermission. SUBJECT TO CHANGE PO-WAQ-QA-TSI (from the Hopi language, powaq sorcerer + qatsi life) n. an entity, a way of life, that consumes the life forces of other beings in order to further its own life. POWAQQATSI is the second part of the Godfrey Reggio/Philip Glass QATSI TRILOGY. With a more global view than KOYAANISQATSI, Reggio and Glass’ first collaboration, POWAQQATSI, examines life on our planet, focusing on the negative transformation of land-based, human- scale societies into technologically driven, urban clones. -
The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-27-2013 Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the Music Commons Recommended Citation Chapman, David Allen, "Collaboration, Presence, and Community: The hiP lip Glass Ensemble in Downtown New York, 1966-1976" (2013). All Theses and Dissertations (ETDs). 1098. https://openscholarship.wustl.edu/etd/1098 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Peter Schmelz, Chair Patrick Burke Pannill Camp Mary-Jean Cowell Craig Monson Paul Steinbeck Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966–1976 by David Allen Chapman, Jr. A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri © Copyright 2013 by David Allen Chapman, Jr. All rights reserved. CONTENTS LIST OF FIGURES .................................................................................................................... -
Philip Glass
DEBARTOLO PERFORMING ARTS CENTER PRESENTING SERIES PRESENTS MUSIC BY PHILIP GLASS IN A PERFORMANCE OF AN EVENING OF CHAMBER MUSIC WITH PHILIP GLASS TIM FAIN AND THIRD COAST PERCUSSION MARCH 30, 2019 AT 7:30 P.M. LEIGHTON CONCERT HALL Made possible by the Teddy Ebersol Endowment for Excellence in the Performing Arts and the Gaye A. and Steven C. Francis Endowment for Excellence in Creativity. PROGRAM: (subject to change) PART I Etudes 1 & 2 (1994) Composed and Performed by Philip Glass π There were a number of special events and commissions that facilitated the composition of The Etudes by Philip Glass. The original set of six was composed for Dennis Russell Davies on the occasion of his 50th birthday in 1994. Chaconnes I & II from Partita for Solo Violin (2011) Composed by Philip Glass Performed by Tim Fain π I met Tim Fain during the tour of “The Book of Longing,” an evening based on the poetry of Leonard Cohen. In that work, all of the instrumentalists had solo parts. Shortly after that tour, Tim asked me to compose some solo violin music for him. I quickly agreed. Having been very impressed by his ability and interpretation of my work, I decided on a seven-movement piece. I thought of it as a Partita, the name inspired by the solo clavier and solo violin music of Bach. The music of that time included dance-like movements, often a chaconne, which represented the compositional practice. What inspired me about these pieces was that they allowed the composer to present a variety of music composed within an overall structure. -
PGE Retro: Philip Glass Ensemble (1969–1983)
FESTSPILLENEFESTSPILLENE I BERGEN PROGRAM1 2016 I BERGEN KR 20 GRIEGHALLEN PEER GYNT–SALEN FREDAG 27. MAI KL 21:00 PGE Retro: Philip Glass Ensemble (1969–1983) BERGEN 25. MAI — 08. JUNI INTERNATIONAL 2016 FESTIVAL WWW.FIB.NO 1 2 FESTSPILLENE I BERGEN FESTSPILLENE I BERGEN 3 2016 2016 PGE Retro: Philip Glass Ensemble (1969–1983) GRIEGHALLEN PEER GYNT-SALEN Fredag 27. mai kl 21:00 Friday 27 May at 21:00 Varighet: 2 t 25 min inkludert pause Duration: 2 h 25 min including interval Philip Glass komponist, keyboard composer, keyboard Michael Riesman dirigent, keyboard music director, keyboard Lisa Bielawa keyboard, vokal keyboard, voice All kultur er Dan Bora live lydmix live sound mix Peter Hess sopran-, alt- og tenorsaksofon soprano, smal for noen alto and tenor saxophone Jon Gibson fløyte, sopransaksofon flute, soprano Man kan tvile på om Norge er et saxophone Ryan Kelly lyd audio engineer kulturland, men det er sabla mye Eleonor Sandresky keyboard keyboards kultur her. Derfor velger vi vekk Andrew Sterman fløyte, piccolo, bassklarinett flute, nesten alt. Vi skriver om det vi har piccolo, bass clarinet lyst til å diskutere videre etter møtet, Yousif Sheronick, Frank Cassara gjestemusikere, perkusjon guest musicians, percussion etter lunsj og etter kontortid. Fordi Pomegranate Arts, Inc. produksjonsledelse nysgjerrighet smitter, og enighet er production management skrinn jord for nye tanker. Vi kan ikke Linda Brumbach produsent producer love at alle finner sine favoritter hver uke – men vi gjør vårt beste for at Sponset av Sponsored by Morgenbladet alle skal finne noe de er uenig i. Espen Hauglid, kulturredaktør En ukeavis om politikk, kultur og forskning 2 WWW.FIB.NO WWW.FIB.NO 3 4 FESTSPILLENE I BERGEN FESTSPILLENE I BERGEN 5 2016 2016 PHILIP GLASS (1937–) Parts 1 and 2 Fra From CIVIL warS – Cologne section (1984) MUSIC IN 12 PARTS (1971-1974) CIVIL warS #2 Music in 12 Parts ble påbegynt i mai 1971 og ferdigstilt i april 1974. -
PHILIP GLASS PHILIP GLASS ● Words XXXXXXXX XXXXXXX Cover Words JULIAN DAY
● PHILIP GLASS PHILIP GLASS ● WORDS XXXXXXXX XXXXXXX cover WORDS JULIAN DAY HE ART of GLASS Composer Philip Glass couple of summers ago I was sitting in a hot Brooklyn backyard among musicians from sparked the musical A MATA, a festival for young composers that revolution of minimalism Philip Glass helped set up in the ’90s. As cold drinks were gratefully drained I found myself chatting to a – then pronounced it dead. cheery man who introduced himself as Glass’s tour But, at the age of 75, he is manager. At one point he drew from his back pocket a crumpled sheet of paper that on close inspection still propelled by the manic yielded a long list of cities and dates. energy of those early works, “This,” he declared, “is Phil’s schedule. Right now he ought to be in a cab in Kuala Lumpur heading towards as Julian Day discovered the concert hall. In a few hours’ time he’ll be on a plane to Tokyo. He hits London the following morning then flies on to LA. He plays here in New York next week.” This has been the way of life for Glass for as long as anyone can remember. At 75, an age when many have long retired and hit the golf courses of Florida, he’s on the go as much as ever. Even with the bulge of birthday events already scheduled, 2012 is pretty much business as usual – a constant stream of performances, commissions, collaborations and obligatory chats to the press. It’s almost as if Glass’s early minimalist works – all giddying arpeggios and whirring electric scales – were somehow just winding him up for a life of perpetual motion, in the studio, on stage, on the road and in the air. -
Philip Glass' Days and Nights Festival Launches Streaming Portal Featuring Films of Landmark Performances
PHILIP GLASS’ DAYS AND NIGHTS FESTIVAL LAUNCHES STREAMING PORTAL FEATURING FILMS OF LANDMARK PERFORMANCES VISIONARY MODEL AIMS TO PROVIDE INCOME TO ARTISTS 10TH ANNIVERSARY EDITION OF FESTIVAL TO BE VIRTUAL IN 2021 Jerry Quickley performing Whistleblower at the 2014 Days and Nights Festival; Photo credit: Arturo Béjar February 4, 2021—The annual multidisciplinary Days and Nights Festival—which since 2011 has taken place in and around Big Sur, California and has brought together luminaries and pioneers in fields including music, dance, theater, literature, film and the sciences—launches today its premiere streaming portal featuring exclusive films of a selection of its landmark performances and events. Click HERE or visit PhilipGlassCenterPresents.org, and see below for upcoming film details and release dates. Conceived and developed by world-renowned American composer Philip Glass—who has taken part every year since inception—Days and Nights is designed to encompass arts of all disciplines and nurture them in a way that welcomes the future while exploring seminal developments throughout history. Key to that vision are collaborations between artists from across a broad range of disciplines, and the selection of films slated for release includes contributions by such wide-ranging figures as JoAnne Akalaitis, Tibetan artist Tenzin Choegyal, Danny Elfman, Molissa Fenley, María Irene Fornés, Allen Ginsberg, Dev Hynes (Blood Orange), Jerry Quickley and Glass himself. Featured performers and ensembles include Dennis Russell Davies, Ira Glass, Matt Haimovitz, Tara Hugo, Lavinia Meijer, Maki Namekawa, Gregory Purnhagen, Third Coast Percussion, Opera Parallèle and Glass and his Philip Glass Ensemble. See below for details. “From the beginning, I wanted it to be a cross-cultural festival, but not just in terms of musicians from different parts of the world. -
Einstein on the Beach an Opera in Four Acts ROBERT WILSON & PHILIP GLASS
CAL PERFORMANCES PRESENTS PROGRAM Friday, October 26, 2012, 6pm Saturday, October 27, 2012, 5pm Sunday, October 28, 2012, 3pm Zellerbach Hall Einstein on the Beach An Opera in Four Acts ROBERT WILSON & PHILIP GLASS Choreography by Lucinda Childs with Helga Davis Kate Moran Jennifer Koh Spoken Text Jansch Lucie Christopher Knowles/Samuel M. Johnson/Lucinda Childs with The 2012 production of Einstein on the Beach, An Opera in Four Acts was commissioned by: The Lucinda Childs Dance Company Cal Performances; BAM; the Barbican, London; Luminato, Toronto Festival of Arts and Creativity; De Nederlandse Opera/The Amsterdam Music Theatre; Opéra et Orchestre Music Performed by National de Montpellier Languedoc-Rousillon; and University Musical Society of the The Philip Glass Ensemble University of Michigan. Michael Riesman, Conductor World Premiere: March 16, 2012, Montpellier, France. Music/Lyrics Direction/Set and Light Design Originally produced in 1976 by the Byrd Hoffman Foundation. Philip Glass Robert Wilson Lighting Sound Costumes Hair/Makeup Urs Schönebaum Kurt Munkasci Carlos Soto Campbell Young Associates: Because Einstein on the Beach is performed without intermission, the audience is invited to leave Luc Verschueren and re-enter the auditorium quietly, as desired. Café Zellerbach will be open for your dining pleasure, serving supper until 8pm and smaller bites, spirits, and refreshments thereafter. The Café is located on the mezzanine level in the lobby. Associate Producer Associate Producer Senior Tour Manager Production Manager Kaleb Kilkenny Alisa E. Regas Pat Kirby Marc Warren Music Director Co-Director Directing Associate Michael Riesman Ann-Christin Rommen Charles Otte These performances are made possible, in part, by the National Endowment for the Arts, and by Patron Sponsors Louise Gund, Liz and Greg Lutz, Patrick McCabe, and Peter Washburn. -
Chatter Presents Philip Glass Ensemble Pieces
A PHILIP GLASS MINI-FEST IN 2 PARTS PART 1 ENSEMBLES ~ MON · MAR 14, 2011 · KELLER HALL PART 2 SOLO PIANO ~ TUE · MAR 15, 2011 · SIMMS AUDITORIUM PART 1 · ENSEMBLES Chatter Violin 1 · Megan Holland ~ Kathie Jarrett ~ Debra Terry ~ Steve Ognacevic ~ Barbara Morris Violin 2 · Carol Swift-Matton ~ Justin Pollak ~ Valerie Turner ~ Renee Hemsing Viola · Kim Fredenburgh ~ Ikuko Kanda ~ Cherokee Randolph ~ Lisa DiCarlo Cello · Dana Winograd ~ James Holland ~ Lisa Collins Bass · Jean-Luc Matton ~ Terry Pruitt David Felberg Conductor Albuquerque Youth Symphony Program Violin 1 · Brian Wade ~ Andrew Lin ~ Rachel Schleisinger ~ Maggie Mulkern Violin 2 · Rachel Gallegos ~ Donna Bacon ~ Mirinisa Stewart-Tango Viola · Kelsey Georgeson ~ Maia Scarpetta ~ Thomas Chavez ~ Maggie Jensen ~ Laura Steiner ~ Alex Rubin Cello · Briana Reed ~ Emma Johnson ~ Jonathan Lee ~ Kayla Mathis ~ Maris Daugherty ~ Johnny Mok ~ Dylan Reams Bass · Ben Metzner ~ Sam Brown ~ Evan Davenport ~ Akeylah Corbett Gabriel Gordon Conductor Philip Glass Symphony No 3 for Strings (1995) Chatter plays Movements I through IV without pause ~ ~ ~ ~ ~ ~ ~ SEVEN-MINUTE PAUSE ~ ~ ~ ~ ~ ~ ~ A SIDE-BY-SIDE PERFORMANCE ~ CHATTER AND THE ALBUQUERQUE YOUTH SYMPHONY PROGRAM Philip Glass String Quartet No 2 ‘Company’ (1984) Parts I through IV Samuel Barber Adagio for Strings (1938) ~ ~ ~ ~ ~ ~ ~ SEVEN-MINUTE PAUSE ~ ~ ~ ~ ~ ~ ~ Philip Glass Glassworks (1981) Ikuko Kanda Viola ~ James Holland Cello Valerie Potter | Jesse Tatum Flute ~ James T Shields Clarinet Ashley Kelly | Jamie Schippers Soprano saxophone ~ Jennifer Macke | Matt Harris Tenor Saxophone Peter Ulffers | Nathan Ukens French horn ~ Conor Hanick Piano Movements: Opening ~ Floe ~ Island ~ Rubric ~ Façades ~ Closing This performance is made possible in part by grants from About Philip Glass Boulanger (who also taught Aaron Copland , Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso Through his operas, his symphonies, his compositions for and composer Ravi Shankar. -
Echoes of the Avant-Garde in American Minimalist Opera
ECHOES OF THE AVANT-GARDE IN AMERICAN MINIMALIST OPERA Ryan Scott Ebright A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2014 Approved by: Mark Katz Tim Carter Brigid Cohen Annegret Fauser Philip Rupprecht © 2014 Ryan Scott Ebright ALL RIGHTS RESERVED ii ABSTRACT Ryan Scott Ebright: Echoes of the Avant-garde in American Minimalist Opera (Under the direction of Mark Katz) The closing decades of the twentieth century witnessed a resurgence of American opera, led in large part by the popular and critical success of minimalism. Based on repetitive musical structures, minimalism emerged out of the fervid artistic intermingling of mid twentieth- century American avant-garde communities, where music, film, dance, theater, technology, and the visual arts converged. Within opera, minimalism has been transformational, bringing a new, accessible musical language and an avant-garde aesthetic of experimentation and politicization. Thus, minimalism’s influence invites a reappraisal of how opera has been and continues to be defined and experienced at the turn of the twenty-first century. “Echoes of the Avant-garde in American Minimalist Opera” offers a critical history of this subgenre through case studies of Philip Glass’s Satyagraha (1980), Steve Reich’s The Cave (1993), and John Adams’s Doctor Atomic (2005). This project employs oral history and archival research as well as musical, dramatic, and dramaturgical analyses to investigate three interconnected lines of inquiry. The first traces the roots of these operas to the aesthetics and practices of the American avant-garde communities with which these composers collaborated early in their careers. -
~Lag(8Ill BAM 2000 Spring Season Is Sponsored by B~ ~L1 Snri Og Sp;:),On
March 2000 Brooklyn Academy of Music 2000 Spring Season BAMcinematek Brooklyn Philharmonic 651 ARTS Saint Clair Cemin, L'lntuition de L'lnstant, 1995 ~lAG(8Ill BAM 2000 Spring Season is sponsored by B~ ~L1 Snri og Sp;:),on Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Producer in association with Pomegranate Arts Inc. presents Philip on Film Running times: BAM Howard Gi lman Opera House Anima Mundi & Anima Mundi & Music for Film March 21, 2000, at 7:30pm Music for Film will Koyaanisqatsi/Live! March 22, 2000, at 7:30pm run for approximately Powaqqatsi/Live! March 23 & 24, 2000, at 7:30pm 90 minutes, with one Dracula: The Music and Film March 25, 2000, at 7:30pm & 20-minute intermis March 26, 2000, at 3pm sion; Koyaanisqatsi will run for approxi Original Music by Philip Glass mately 85 minutes, with no intermission; Performed by Philip Glass Powaqqatsi will run and the Philip Glass Ensemble: Lisa Bielawa , Dan Dryden , for approximately Jon Gibson , Philip Glass , Richard E. Peck Jr., Michael Riesman , 102 minutes, with no Eleanor Sandresky, & Andrew Sterman intermission; Dracula: The Music and Film with guest musicians will run for approxi Frank Cassara , Alexandra Montano, Valerie Naranjo, & Peter Stewart mately 80 minutes, with no intermission. Sound Design Kurt Munkacsi Musical Director Michael Riesman Production Management Pomegranate Arts, Inc. 17 Philip on F;ilm For the Philip Glass Production Stage Manager Doug Witney Ensemble Live Monitor Mix Steve Erb Assistant Sound Engineer Kevin Reilly Music Production Euphorbia Productions Music Publishing Dunvagen Music Publishing Press Representation Annie Ohayon Media Philip Glass and the Ensemble wish to thank Ladd Temple, Uoyd Trammel, John Fera, and the Peavey Corporation for their generous support and the use of the DPMC8X keyboards. -
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RIVER TO RIVER 2012 FULL PRELIMINARY SCHEDULE: SUNDAY JUNE 17 Bang on a Can Marathon June 17,12PM - June 18,12AM World Financial Center Winter Garden Bang on a Can brings its 25 Year celebration back downtown with its incomparable 12- hour super-mix of boundary-busting music from around the corner and around the globe. What started as a scruffy loft concert in Soho back in 1987, now ranks among the iconic annual concert events in NYC. This year’s edition features rare performances by some of the most innovative musicians of our time side-by-side with some of today’s newest music pioneers. Some highlights include Bang on a Can All-Stars, astonishing cellist Maya Beiser, Pauline Oliveros’ Deep Listening Band, sound pioneer Alvin Lucier, indie guitar sensation Kaki King, jazz genius Matthew Shipp, music by David Longstreth (Dirty Projectors), Thurston Moore (Sonic Youth), Steve Reich, David T Little, Ruby Fulton, Michael Harrison; film by Bill Morrison, and much more. Stay all Day! Presented by River To River Festival, Arts Brookfield and Bang on a Can. MONDAY JUNE 18 Movie Nights on the Elevated Acre presented in association with Tribeca Film Stella Days (2012) June 18, 8PM The Elevated Acre, 55 Water St. A small town cinema in rural Ireland becomes the setting for a dramatic struggle between faith and passion, Rome and Hollywood, and a man and his conscience. Martin Sheen stars as a priest in Stella Days, which encapsulates the dilemma of Ireland in the mid-1950’s – on the cusp of the modern but still clinging to the traditions of the church. -
An Original Chamber Opera and a Critical Essay on the Trajectory
VIOLETTING THROUGH AUGUST’S END (OR THE SUNSET IN WATER, THE CARILLON-CHIME IN SQUARE): AN ORIGINAL CHAMBER OPERA AND A CRITICAL ESSAY ON THE TRAJECTORY OF AMERICAN MINIMALIST OPERA James Joseph Doyle Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS December 2014 APPROVED: Joseph Klein, Major Professor and Division Chair Peter Mondelli, Minor Professor Andrew May, Committee Member Benjamin Brand, Director of Graduate Studies in the College of Music James Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Doyle, James Joseph. Violetting through August’s End (or the sunset in water, the carillon-chime in square): An Original Chamber Opera and a Critical Essay on the Trajectory of American Minimalist Opera. Master of Arts (Composition), December 2014, 130 pp., 35 figures, bibliography, 37 titles. When the dust settles, John Adams’s Nixon in China and Philip Glass’s Einstein on the Beach may stand as the most important operas of the latter twentieth century. The critical essay portion of this thesis examines the trajectory of minimalist opera, from its beginnings with Glass’s Einstein on the Beach through the more romantic operas of John Adams, Steve Reich’s multimedia opera The Cave, David Lang’s musical-influenced The Difficulty of Crossing a Field, and finally the post-minimalist operas currently being staged by young composer Nico Muhly. It examines the differences between the more abstract trajectory established by the early Glass operas and the plot driven trajectory established by operas more commonly associated with John Adams, most significantly Nixon in China.