MORTON FELDMAN and SOLOISTS by Eberhard Blum
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Morton Feldman: a Celebration of His 80Th Birthday
Morton Feldman : A Celebration of His 80th Birthday Curated by John Bewley June 1 – September 15, 2006 Case 1 Morton Feldman was born January 12, 1926 in New York City to Irving and Frances Feldman. He grew up in Woodside, Queens where his father established a company that manufactured children’s coats. His early musical education consisted of piano lessons at the Third Street Settlement School in Manhattan and beginning at age twelve, with Vera Maurina Press, an acquaintance of the Russian composer, Alexander Scriabin, and a student of Ferruccio Busoni, Emil von Sauer, and Ignaz Friedman. Feldman began composing at age nine but did not begin formal studies until age fifteen when he began compositional studies with Wallingford Riegger. Morton Feldman, age 13, at the Perisphere, New York World’s Fair, 1939? Unidentified photographer Rather than pursuing a college education, Feldman chose to study music privately while he continued working for his father until about 1967. After completing his studies in January 1944 at the Music and Arts High School in Manhattan, Feldman studied composition with Stefan Wolpe. It was through Wolpe that Feldman met Edgard Varèse whose music and professional life were major influences on Feldman’s career. Excerpt from “I met Heine on the Rue Furstenburg”, Morton Feldman in conversation with John Dwyer, Buffalo Evening News, Saturday April 21, 1973 Let me tell you about the factory and Lukas Foss (composer and former Buffalo Philharmonic conductor). The plant was near La Guardia airport. Lukas missed his plane one day and he knew I was around there, so he called me up and invited me to lunch. -
CD One-Sheet Lifesketches
Release Date: September 2014 Naxos Records Catalog Number: 9.70126 New Release on Naxos Records: Jenny Q Chai, Piano Life Sketches: Piano Music of Nils Vigeland Life Sketches is the latest digital re- The five pieces on this recording span forty years in their date of composition lease of the esteemed Classical label and constitute about half of the music for solo piano written by composer Nils Naxos. This world première recording Vigeland. They appear in reverse order of composition, from most recent, 2013, is the product of a long-time collabora- to oldest, 1973. Of the seventeen individual movements, the most common link tion between the Chinese pianist Jenny between them is duration – more than half of them are less than three minutes Q Chai and American composer Nils long and, with the exception of all in due time, none are longer than six minutes. Vigeland. Catalog Number: 9.70126 Tracks ! Allora e Ora (2013) 15:38 [1] Santa Fina (1238-1253) 3:57 [2] Accusi va er monno 2:22 G.G. Belli-Roma, 14 November 1831 [3] Ricercare 6:23 [4] I Turisti 2:47 ! Five Pieces (2010)! 18:03 [5] 1. 1:32 [6] 2. 2:09 [7] 3. 4:47 [8] 4.— 4:23 [9] 5. 5:08 ! Life Sketches (1994)! 14:52 in memory of Yvar Mikhashoff [10] 1. Wild Hopes 1:24 [11] 2. Profane Dance 2:15 [12] 3. Trumpets 2:02 [13] 4. Im Volkston 1:09 [14] 5. Cambiata Waltz 2:12 [15] 6. Barcarolle 5:48 [16]! L'empire des lumières (1993) 5:06 hommage à René Magritte [17]! All in due time (1973)! 11:03 Distribution Sources Available from major digital services providers for downloading and streaming. -
RED LIGHT NEW MUSIC Presents Its SECOND MAINSTAGE CONCERT of the 2011/2012 SEASON
FOR IMMEDIATE RELEASE Composer collective, new music ensemble and concert series RED LIGHT NEW MUSIC presents its SECOND MAINSTAGE CONCERT of the 2011/2012 SEASON THE VIOLA IN MY LIFE: THE INFLUENCE OF MORTON FELDMAN 8pm MONDAY February 27, 2012 in NEW YORK CITY at PETER NORTON SYMPHONY SPACE’s LEONARD NIMOY THALIA "The composer makes plans, music laughs." – MORTON FELDMAN On Monday, February 27, 2012, 8pm the enterprising composer collective new music ensemble and concert series RED LIGHT NEW MUSIC presents its second mainstage concert of the season at New York City’s pre- eminent multi-disciplinary performing arts center, PETER NORTON SYMPHONY SPACE’s LEONARD NIMOY THALIA: THE VIOLA IN MY LIFE: THE INFLUENCE OF MORTON FELDMAN. This program is part of the third annual New York City based Composers Now Festival. THE VIOLA IN MY LIFE: THE INFLUENCE OF MORTON FELDMAN SCOTT WOLLSCHLEGER: Brontal No. 3 (world premiere, RLNM commission) MORTON FELDMAN: The Viola in My Life I TED HEARNE: Crispy Gentlemen (world premiere, RLNM commission) FELDMAN: The Viola in My Life II KEERIL MAKAN: Mercury Songbirds Curated by the co-directors of Red Light New Music, Scott Wollschleger, Liam Robinson, Vincent Raikhel and Christopher Cerrone, led by resident conductor Ted Hearne, and featuring long-time Red Light violist ERIN WIGHT in the Feldman works, THE VIOLA IN MY LIFE: THE INFLUENCE OF MORTON FELDMAN explores various aspects of the continuing impact of New York City based composer MORTON FELDMAN’s life, works and musical philosophy on a growing number of composers writing in a wide breadth of styles. -
Solo Percussion Is Published Ralph Shapey by Theodore Presser; All Other Soli for Solo Percussion
Tom Kolor, percussion Acknowledgments Recorded in Slee Hall, University Charles Wuorinen at Buffalo SUNY. Engineered, Marimba Variations edited, and mastered by Christopher Jacobs. Morton Feldman The King of Denmark Ralph Shapey’s Soli for Solo Percussion is published Ralph Shapey by Theodore Presser; all other Soli for Solo Percussion works are published by CF Peters. Christian Wolff Photo of Tom Kolor: Irene Haupt Percussionist Songs Special thanks to my family, Raymond DesRoches, Gordon Gottlieb, and to my colleagues AMERICAN MASTERPIECES FOR at University of Buffalo. SOLO PERCUSSION VOLUME II WWW.ALBANYRECORDS.COM TROY1578 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2015 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. AMERICAN MASTERPIECES FOR AMERICAN MASTERPIECES FOR Ralph Shapey TROY1578 Soli for Solo Percussion SOLO PERCUSSION 3 A [6:14] VOLUME II [6:14] 4 A + B 5 A + B + C [6:19] Tom Kolor, percussion Christian Wolf SOLO PERCUSSION Percussionist Songs Charles Wuorinen 6 Song 1 [3:12] 1 Marimba Variations [11:11] 7 Song 2 [2:58] [2:21] 8 Song 3 Tom Kolor, percussion • Morton Feldman VOLUME II 9 Song 4 [2:15] 2 The King of Denmark [6:51] 10 Song 5 [5:33] [1:38] 11 Song 6 VOLUME II • 12 Song 7 [2:01] Tom Kolor, percussion Total Time = 56:48 SOLO PERCUSSION WWW.ALBANYRECORDS.COM TROY1578 ALBANY RECORDS U.S. TROY1578 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. -
Frauenspuren Yopic.Pdf
1 Einführung In den letzten sechs Monaten haben sich die Teilnehmer/innen der Maßnahme „Frauenspuren“auf Spurensuche gemacht. Das sollte kein leichtes Unterfangen werden, das war von Anfang an vollkommen klar: denn die Teilnehmer/innen waren keine Autoren, Journalisten, gelernte Rechercheure, professionelle Texter oder Fotografen. Umso mehr erfreut es, diese Broschüre in den Händen zu halten. Die Projektleiterin Christiane Oehlmann unterstützte die Teilnehmer/innen, leitete sie an, lobte und kritisierte sie, denn eine Broschüre zu schreiben, Texte zu verfassen oder in Archiven zu recherchieren war zuvor die Sache der meisten Teilnehmenden nicht. Aber mit viel Mühe und Geduld gelang es. Es ist keine wissenschaftliche Arbeit, und YOPIC e.V. hat nach bestem Wissen recherchiert und dokumentiert, eventuell auftretende kleine Fehler bitten wir jetzt schon zu entschuldigen. Eine echte Pionierarbeit ist die Übersicht der einzelnen Schulfusionen von Schulen in Steglitz-Zehlendorf, die es in dieser vorliegenden Form bisher nicht gibt. Dank sei den fleißigen Teilnehmenden an dieser Maßnahme. Frauen in Steglitz-Zehlendorf, deren Leben von sozialer, kultureller oder politischer Bedeutung war, sind zahlreich vorhanden, mehr als vermutet. Die männlich geprägte Geschichtsschreibung vergaß nur leider häufig, ihre Bedeutung für die Nachwelt festzuhalten. Oft war es ein Kampf der Frauen, ihre Ziele, ihre Vorhaben durchzusetzen. Geschenkt wurde ihnen nichts. Die Broschüre will nicht nur einzelne Frauenporträts skizzieren, sondern sie gibt auch jeweils Informationen über den jeweiligen gesellschaftspolitischen Kontext: Die Rolle der Frau in Bildung und Wissenschaft, wie und wo entwickelte sich das Engagement in der Sozialarbeit, wann und wie konnten Frauen mit ihren Talenten und Künsten ans Licht der Öffentlichkeit treten und wie verhielten sich Frauen in der NS-Zeit. -
Liner Notes, Visit Our Web Site
“Music of Our Time” When I worked at Columbia Records during the second half of the 1960s, the company was run in an enlightened way by its imaginative president, Goddard Lieberson. Himself a composer and a friend to many writers, artists, and musicians, Lieberson believed that a major record company should devote some of its resources to projects that had cultural value even if they didn’t bring in big profits from the marketplace. During those years American society was in crisis and the Vietnam War was raging; musical tastes were changing fast. It was clear to executives who ran record companies that new “hits” appealing to young people were liable to break out from unknown sources—but no one knew in advance what they would be or where they would come from. Columbia, successful and prosperous, was making plenty of money thanks to its Broadway musical and popular music albums. Classical music sold pretty well also. The company could afford to take chances. In that environment, thanks to Lieberson and Masterworks chief John McClure, I was allowed to produce a few recordings of new works that were off the beaten track. John McClure and I came up with the phrase, “Music of Our Time.” The budgets had to be kept small, but that was not a great obstacle because the artists whom I knew and whose work I wanted to produce were used to operating with little money. We wanted to produce the best and most strongly innovative new work that we could find out about. Innovation in those days had partly to do with creative uses of electronics, which had recently begun changing music in ways that would have been unimaginable earlier, and partly with a questioning of basic assumptions. -
EMPTY WORDS Other
EMPTY WORDS Other Wesley an University Press books by John Cage Silence: Lectures and Writings A Year from Monday: New Lectures and Writings M: Writings '67-72 X: Writings 79-'82 MUSICAGE: CAGE MUSES on Words *Art*Music l-VI Anarchy p Writings 73-78 bv WESLEYAN UNIVERSITY PRESS Middletown, Connecticut Published by Wesleyan University Press Middletown, CT 06459 Copyright © 1973,1974,1975,1976,1977,1978,1979 by John Cage All rights reserved First paperback edition 1981 Printed in the United States of America 5 Most of the material in this volume has previously appeared elsewhere. "Preface to: 'Lecture on the Weather*" was published and copyright © 1976 by Henmar Press, Inc., 373 Park Avenue South, New York, New York 10016. Reprint pernr~sion granted by the publisher. An earlier version of "How the Piano Came to be Prepared" was originally the Introduction to The Well-Prepared Piano, copyright © 1973 by Richard Bunger. Reprinted by permission of the author. Revised version copyright © 1979 by John Cage. "Empty Words" Part I copyright © 1974 by John Cage. Originally appeared in Active Anthology. Part II copyright © 1974 by John Cage. Originally appeared in Interstate 2. Part III copyright © 1975 by John Cage. Originally appeared in Big Deal Part IV copyright © 1975 by John Cage. Originally appeared in WCH WAY. "Series re Morris Graves" copyright © 1974 by John Cage. See headnote for other information. "Where are We Eating? and What are We Eating? (Thirty-eight Variations on a Theme by Alison Knowles)" from Merce Cunningham, edited and with photographs and an introduction by James Klosty. -
A.Pe.Ri.Od.Ic Presents a JOHN CAGE FESTIVAL April 13-15, 2012 CHICAGO 5 Concerts Celebrating the Centennial of John Cage’S Birth
a.pe.ri.od.ic presents A JOHN CAGE FESTIVAL April 13-15, 2012 CHICAGO 5 concerts celebrating the centennial of John Cage’s birth (1) (2) April 13, 7:30 PM April 14, 1:30 PM PianoForte Chicago Chicago History Museum Rubloff Auditorium 410 S. Michigan Ave 1601 N. Clark St (3) (5) April 14, 7:00 PM Collaboraction April 15, 4:00 PM (4) Curtiss Hall April 14, 9:00 PM 410 S. Michigan Ave Collaboraction 1579 N. Milwaukee Ave Room 300 a.pe.ri.od.ic presents: A John Cage Festival April 13-15, 2012 Chicago 2012 marking the centennial of John Cage's birth will host hundreds of Cage festivals, memorial concerts, conferences, exhibits and lectures, held all over the world demonstrating not only Cage’s contributions to music, art, poetry, politics and aesthetics, but also his relevance and influence on the development of each of these fields. Wanting to appropriately celebrate and honor his life's work a.pe.ri.od.ic presents a three-day festival featuring repertoire spanning over 50 years of the composer’s output. The festival includes five concerts of John Cage’s repertoire for toy piano, percussion ensemble, vocal ensemble, string quartet, piano, duos, and multimedia arts. These works exhibit Cage’s micro-macroscopic rhythmic structure, a smattering of indeterminacy, his collaborative endeavors, three of his late Number Pieces, and a lecture on the John Cage Collection examining pieces presented on the festival. John Cage lived in Chicago early on in his career, teaching at the Chicago Institute of Design and accompanying dance classes at the University of Chicago. -
Re-Channelings of a Percussive Education a Dissertation
UNIVERSITY OF CALIFORNIA, SAN DIEGO Conducting, Teaching, Curating: Re-channelings of a Percussive Education A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts in Contemporary Music Performance by Jonathan David Hepfer Committee in charge: Professor Steven Schick, Chair Professor Anthony Burr Professor William Arctander O’Brien Professor Jann Pasler Professor Kim Rubinstein 2016 © Jonathan David Hepfer, 2016 All rights reserved. This Dissertation of Jonathan David Hepfer is approved, and it is acceptable in quality and form for publication on microfilm and electronically: ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ Chair University of California, San Diego 2016 iii DEDICATION TO: Will and Cindy for three decades of selflessness, and for saying “yes” at some crucial moments when I was really expecting to hear “no.” ! My grandfather for showing me the wisdom that nine decades of curiosity can produce. ! Anthony Miranda, Jan Williams, Gordon Gottlieb, Michael Rosen, Steven Schick, Bernhard Wulff, Lewis Nielson, Brian Alegant, Tim Weiss, and William Arctander O’Brien for watering me. THANK YOU ! Anthony Burr, Jann Pasler, Kim Rubinstein, Aleck Karis, Phil Larson, Ed Harkins, Susan Narucki, Jacob Greenberg, Olivia -
Alan Shockley, Director
Luciano Berio in Milan and in Berlin. He has also taught for many years at the Royal Conservatory. Andriessen’s music combines such influences as American minimalism and jazz, as well as the music of Stravinsky and of Claude Vivier. He is now widely acknowledged as a central figure in contemporary European composition. Like Martin Bresnick, Andriessen is also well-known as an educator, and several of his former students are noted composers themselves. Workers Union is scored for “any loud sounding group of instruments.” The composer writes that the piece “is a combination of individual freedom and severe discipline: its rhythm is exactly fixed; the pitch, on the other hand, is indicated only approximately.” The title seems to indicate political motivations, and Andriessen says that it “is difficult to play in an ensemble and to remain in step, sort of like organizing and carrying on political action.” An ensemble of twelve musicians performed the premiere, blocking an Amsterdam street and using construction materials as percussion instruments. The composer was arrested at the performance and spent the night in jail. Depending on what repeats are taken, the work is anywhere from 15 to 20 minutes long. UPCOMING COMPOSITION STUDIES EVENTS ALAN SHOCKLEY, DIRECTOR • Sunday, November 18, 2012: Laptop Ensemble, Martin Herman, director 8:00pm Daniel Recital Hall $10/7 “WORKERS UNION” MONDAY, NOVEMBER 5, 2012 8:00PM GERALD R. DANIEL RECITAL HALL For ticket information please call 562.985.7000 or visit the web at: PLEASE SILENCE ALL ELECTRONIC MOBILE DEVICES. This concert is funded in part by the INSTRUCTIONALLY RELATED ACTIVITIES FUNDS (IRA) provided by California State University, Long Beach. -
Christian Wolff: an Aesthetic of Suggestion George E
Christian Wolff: An Aesthetic of Suggestion George E. Lewis When Christian Wolff and Robyn Schulkowsky came to my Columbia University office in October 2012 for a chat about this project, I greeted them with a YouTube video they had never seen before: a performance of the concluding work on this CD, Duo 7 from 2007. After some discussion it was determined that the video was apparently made by an audience member from a 2011 performance in Buenos Aires. “We’ve played this piece many times,” Schulkowsky laughed. “That’s a funny little piece.”1 Indeed it was, and the performance was a fortuitous introduction to a conversation that I’ve reflected upon here. Robyn Schulkowsky’s path to new music seems as fortuitous as one could imagine. Since the early 1990s she has lived in Berlin, but her musical career began in South Dakota. She applied to the Eastman School of Music, but “my parents wouldn’t let me go because it was in New York State.” So she ended up going to “new music school,” as she fondly recalled. “I wasn’t expecting anything. I didn't know anything. I just wanted to be a percussionist. I’d had maybe twenty private lessons.” But she wound up as an undergraduate at the University of Iowa, one of the most exciting scenes in the emerging American new music of the 1970s, where fellow percussionist Steven Schick was a classmate, along with the trombone-violin duo of Jon English and Candace Natvig, clarinetist Michael Lytle, percussionist Will Parsons, and the African- American electronic music composer Richard McCreary, who later taught synthesis techniques to Muhal Richard Abrams and me at Governors State University near Chicago before becoming an ordained minister.2 Moving to New Mexico, Schulkowsky teamed up with saxophonist Tom Guralnick, doing improvised music concerts and organizing a concert series that brought in Anthony Braxton and Alvin Lucier, among others—“Besides us, there was nobody doing that kind of thing there”—as well as performing with the New Mexico Symphony Orchestra and teaching at the University of New Mexico. -
Examination of the Evolution of Multi-Percussion
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 10-10-2020 Examination of the evolution of multi-percussion Thomas Alexander Robertson Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Music Commons Recommended Citation Robertson, T. A. (2020). Examination of the evolution of multi-percussion. https://ro.ecu.edu.au/theses/ 2366 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/2366 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form.