DOCSLIB.ORG

UC San Diego UC San Diego Electronic Theses and Dissertations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
UC San Diego UC San Diego Electronic Theses and Dissertations UC San Diego UC San Diego Electronic Theses and Dissertations Title Conducting, Teaching, Curating: Re-channelings of a Percussive Education Permalink https://escholarship.org/uc/item/00x5v9r5 Author Hepfer, Jonathan David Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California 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 Mattis, Jon Nelson, and Jonathan Golove for the illumination. ! Christian Dierstein, Robert Van Sice, Anders Loguin, Bob Becker, Roland Auzet, and Pascal Pons for the encouragement. ! Jean-Pierre Drouet, Gaston Sylvestre, Maurizio Ben Omar, Christoph Caskel, and Sylvio Gualda for your bravery in carving out truly original paths, and your willingness to share your adventures with me. ! Pierluigi Billone, Steven Takasugi, Chaya Czernowin, Rolf Riehm, Roger Reynolds, Klaus Lang, Brian Ferneyhough, Vinko Globokar, Georges Aperghis, Alvin Lucier, Salvatore Sciarrino, Helmut Lachenmann, David Felder, Joyce Cutler-Shaw and Paul Griffiths for taking me seriously, and sharing your wisdom. ! Keith Sczepanski, Matt Jenkins, Ross Karre, Brian Archinal, Nick Tolle, and Zach Crystal for the unavoidable friendly competition. You’ve each made me so much better. ! Mark Menzies, Amy Knoles, David Johnson, Vicki Ray, and David Rosenboom for welcoming me to Cal Arts with open arms. ! Greg Stuart, Justin DeHart, Fabio Olivera, and Eric Derr for being out of control. Also for causing a sensation, and diffusing everything with laughter (“…ah tell yew whut…”) ! Brendan Nguyen, Richard Valitutto, Stephen Menotti, Curt Miller, Solon Gordon, Sam Dunscombe, Judith Hamman, Brian Walsh, Andrew McIntosh, Andrew Tholl, Ashley Walters, Christine Tavolacci, and Pavlos Antoniadis for your generosity in collaboration. ! Alexei Lubimov, Rei Nakamura, Jay Campbell, Séverine Ballon, Yegor Shevtsov, Natalia Pschenitschnikova, Nicholas Isherwood, Mario Caroli, Movses Pogossian, and Alexander Lonquich for the inspiration through example. ! Dustin Donahue, Ryan Nestor, Leah Bowden, Fiona Digney, Bonnie Whiting, Steve Solook, Kjell Nordeson, Julien Annoni, Louise Devenish, Julian Belli, Nick Reed, Chris Sande, and Max Riefer for tolerating me in my brattiest moments. ! Michael Hayes, Benjamin Genchel, Leanna Goddard, Brietta Greger, Kelly Furniss, and Tionna Brunson for affording me the inexpressible responsibility, privilege and satisfaction of being your teacher. ! Håkon Stene, Alex Lipowski, John Langford, Fredrik Wallberg, Justin Urcis, Sayan Benbady, and Alessandra Belloni for all the unofficial mentorship. ! Timothy McCormack, Mark Barden, Simon Steen-Andersen, Marianthi Papalexandri-Alexandri, Evan Johnson, Aaron Helgeson, Rick Burkhart, Jason Eckardt, and Ian Power for giving me faith in the future of this art form. ! Artemisa Clark, Melinda Guillen, Samara Kaplan, Wanda Orme, Kylie King, and Mileece I’anson for showing me that the future is female. ! Jean Claude, Carolina Aboumrad, Susann Moore, Geisha, Alegre Bianco, Eve Smith, Jeni Ni, Donna Lew, Matthew Amendola, Aaron JPG, BJ Panda Bear, Andrew Dryden, Patrick Moss, Andrü Sisson, Andrew Tonkery, Alison Baar, Emily Wells, Nichole Fitch, and Jason Lev for making me feel welcome in the city I can now call home (“choose your tribe wisely, and protect your magic.”) ! Isaac Malitz, Valerie Stalvey, and Margaret Morgan for entrusting me with the responsibilities of my dream position, and showing me nothing but love and support. ! Peter Yates, Lawrence Morton and Dorrance Stalvey: I never got to meet you, but I will try to make you proud. ! Alice for a beautiful decade. You showed me the world and made me who I am today. ! Viktoria for your consistency and generosity in love. ! Belgica for reasons I will never be able to explain. iv EPIGRAPHS I write, and talk, in order to find out what I think. ~ Susan Sontag “To be alive is just this pouring in and out. Find, lose, demand, obsess, move head slightly closer. Try to swim without thinking how strong it looks. Try to do what you do without mockery of our heartbroken little era.” ~ Anne Carson “I don’t work on the poem, I work on the poet.” ~ Stanley Kunitz v TABLE OF CONTENTS Signature Page............................................................................................................................iii Dedication...................................................................................................................................iv Epigraph......................................................................................................................................v Table of Contents.......................................................................................................................vi List of Figures..........................................................................................................................viii Vita.............................................................................................................................................ix Abstract of the Dissertation.........................................................................................................x Lebenslauf...................................................................................................................................1 I. Conducting...............................................................................................................................5 Basic Physicality.........................................................................................................................9 Analysis / Creating Shorthand Scores.......................................................................................11 Degrees of Interpretation...........................................................................................................18 Objective Conducting...................................................................................................22 Expressive Conducting.................................................................................................24 Finding Subtext: Billone, Tarkovsky, Crazy Horse..................................................................26 II. Teaching................................................................................................................................29 Gordon Gottlieb – Prelude............................................................................................32 Michael Rosen – Craft..................................................................................................34 Steven Schick – Interpretation......................................................................................36 Bernhard Wulff – Metaphysics.....................................................................................42 Jan Williams – Aesthetics.............................................................................................46 Lewis Nielson – Ethics.................................................................................................49 Brian Alegant – Analysis..............................................................................................51 William Arctander O’Brien – Philosophy....................................................................53 vi III. Curating...............................................................................................................................57 Curating Solo Concerts..............................................................................................................60 Junior Recital................................................................................................................61 Senior Recital...............................................................................................................62 Master’s Recital............................................................................................................63 Abschlüßkonzert...........................................................................................................64
Load more

Recommended publications
  • 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.
    [Show full text]
  • Programm Denkfabrik
    Hören, wann und wo Sie wollen: als Podcast oder im Radio, über DAB+, Online-Stream oder UKW Seite 3 2019 September Programm Denkfabrik 2 Editorial Inhalt Liebe Leserinnen 2 Editorial und Leser, 3 Aktuell Viele Wege führen der klassische Radiohörer sitzt vor dem Empfangs gerät zu Deutschlandradio Von UKW bis Podcast, in Küche oder Wohnzimmer und wartet darauf, Programm Deutschlandradio/ von DAB+ bis Social Media Bettina Fürst-Fastré © serviert zu bekommen ... Sollte diese Vorstellung jemals gestimmt haben, dann gehört sie jedenfalls der Vergangenheit an. Und trifft 4 Musik schon gar nicht auf Sie zu – unsere Hörerinnen und Hörer von Deutschlandfunk, Musikfest Berlin – Zum 150. Todestag von Hector Berlioz Deutschlandfunk Kultur und Deutschlandfunk Nova. Die Welt der schweizerisch- Radio lebt schon immer auch vom Gespräch mit den Hörerinnen und albanischen Sängerin Elina Duni Hörern. Sendungen mit Hörerbeteiligung sind Klassiker und gehören fest ins 8 Literatur Programm – und das wird auch so bleiben. Längst mischen aber auch die Nut- Theodor Fontane zer in den sozialen Netzwerken mit. Die Menschen wollen immer häufiger mit ‚Lesezeit‘ mit Sibylle Lewitscharoff uns in den Dialog treten – und Antworten von uns haben. 10 Lange Nacht Ob Mail, Anruf oder Facebook-Post: Viele wollen zum Beispiel wissen, Alles nur Routinen! warum sich die Programmmacherinnen und Programmmacher für ein Thema Geschichte und Geschichten entschieden haben und für ein anderes nicht. Sie wollen wissen, wie wir arbei- der Programmiersprachen in einer ten. Und das ist gut so. Das 25-jährige Jubiläum von Deutschlandradio haben Langen Nacht wir deshalb zum Anlass genommen, unsere Funkhäuser wieder einmal zu 11 Landeskorrespondentinnen öffnen(deutschlandradio.de/25) .
    [Show full text]
  • Expanding Horizons: the International Avant-Garde, 1962-75
    452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary.
    [Show full text]
  • SWR School CLASSIX
    SWR School CLASSIX Konzertdidaktische Kooperation des SWR mit dem Ministerium für Kultus, Jugend und Sport Baden-Württemberg Schuljahr 2015/2016 Schülern den Weg in den Konzertsaal ebnen – ein zentrales Anliegen von SWR School CLASSIX SWR School CLASSIX Konzertdidaktisches Angebot für die Konzerte der SWR Orchester und Ensembles Jedes Konzert ist ein Schulprojekt! Unter diesem Motto geben die SWR Orchester und Ensembles gemeinsam mit dem Ministerium für Kultus, Jugend und Sport Baden-Würt- temberg jedes Schuljahr die Broschüre SWR School CLASSIX heraus. Sie enthält alle Konzertermine des Radio-Sinfonieorchesters Stuttgart des SWR, des SWR Vokalensembles Stuttgart, des SWR Sinfonieorchesters Baden-Baden und Freiburg und des EXPERIMENTALSTUDIOS des SWR, sowie Altersempfehlungen und Hinweise auf vor- bereitendes Unterrichtsmaterial. Die beim Ministerium für Kultus, Jugend und Sport angesiedelte konzertdidaktische Kooperationsgruppe erarbeitet gemeinsam mit dem SWR altersgemäß aufbereitete Unterrichtsmaterialien, die Informationen zu den gespielten Werken und den Kompo- nisten, sowie Vorschläge zur methodisch-didaktischen Umsetzung im Unterricht enthal- ten. SWR School CLASSIX bietet Ihnen so die Möglichkeit, ihre Schüler noch gezielter auf einen Konzertbesuch beim SWR vorzubereiten. Die Materialien stehen vier Wochen vor dem jeweiligen Konzerttermin unter schulmusik-online.de zum kostenlosen Download zur Verfügung. Weitere Möglichkeiten der Konzertvorbereitung: Planet Schule: Das aus dem Schulfernsehen hervorgegangene Gemeinschaftsprojekt von SWR und WDR stellt zu ausgewählten Projekten multimediales Material unter planet-schule.de zur Verfügung. SESAM ist ein Online-Angebot des Landesmedienzentrums, das von Lehrerinnen und Lehrern in Baden-Württemberg kostenlos abgerufen werden kann: lmz-bw.de/medien/ sesam.html. Die im Auftrag des Ministeriums für Wissenschaft, Forschung und Kunst eingerichtete Internetplattform »Kultur und Schule« informiert ebenfalls über die Angebote des SWR: kultur-und-schule-bw.info.
    [Show full text]
  • Jazz Concert
    Aritst Series presents: City of Tomorrow Woodind Quintet Wednesday, October 7, 2015 at 8 pm Lagerquist Concert Hall, Mary Baker Russell Music Center Pacific Lutheran University School of Arts and Communication / Department of Music present Artist Series presents: City of Tomorrow Woodwind Quintet Elise Blatchford, Flute Stuart Breczinski, Oboe Rane Moore, Clarinet Nanci Belmont, Bassoon Leander Star, Horn Wednesday, October 7, 2015, at 8 pm Lagerquist Concert Hall, Mary Baker Russell Music Center Welcome to Lagerquist Concert Hall. Please disable the audible signal on all watches, pagers and cellular phones for the duration of the concert. Use of cameras, recording equipment and all digital devices is not permitted in the concert hall. PROGRAM Rotary........................................................................................................... Karlheinz Stockhausen (1928-2007) Blow (1989) .............................................................................................................Franco Donatoni (1927-2000) INTERMISSION Daedalus ........................................................................................................................... John Aylward (b. 1980) East Wind ......................................................................................................................... Shulamit Ran (b. 1949) Elise Blatchford, flute Music for Breathing .............................................................................................................. Nat Evans (b. 1980) About the
    [Show full text]
  • Programme Détaillé Du Colloque « Hommage À Jean-Claude Risset
    1 Hommage à Jean-Claude Risset Pour un monde sonore virtuel Colloque international Vendredi 23 novembre Samedi 24 novembre 2018 Au Cdmc - Paris et Concert au Triton - Les Lilas le 23 novembre à 20h30 Programme détaillé du colloque Direction scientifique Márta Grabócz avec la collaboration de György Kurtág junior et Nicolas Vérin Coproduction du CDMC, du Labex GREAM de l’université de Strasbourg, de l’équipe LISAA (EA4120) de l’Université Paris-Est Marne-la-Vallée, du PRISM (Aix-Marseille Université), avec le soutien de l’IUF et de la Fondation Salabert. 3 SOMMAIRE INTRODUCTION par Márta Grabócz ...................... 7 PROGRAMME DU COLLOQUE ............................... 9 PROGRAMME ET NOTICE DU CONCERT .............. 15 RESUMÉS DES COMMUNICATIONS ..................... 25 BIOGRAPHIES DES INTERVENANTS ..................... 35 5 Introduction par Márta Grabócz Jean-Claude Risset (1938-2016), l’un des fondateurs et le pionnier majeur de la musique par ordinateur, aurait eu 80 ans en mars 2018. Dans ce colloque international nous lui rendons hommage en soulignant quelques aspects de son esthétique, en mettant l’accent sur ses œuvres mixtes, sur ses œuvres vocales et sur la question de l’interprétation de ses pièces mixtes, tout en donnant la parole à quelques de ses interprètes, collègues, amies et amis. En 1994 il a publié un article sous le titre « Virtual Sound Worlds. Illusions of Senses, Truths of Perception »1 [Mondes sonores virtuels. Illusions de sens, vérités de perception], où il précise que « la synthèse par ordinateur rend possible la création d’un monde sonore illusoire, sans contrepartie ou équivalent matériel. Par un choix conscient des paramètres de synthèse et en profitant des caractéristiques spécifiques de la perception auditive, on peut créer des illusions auditives et des paradoxes musicaux »2.
    [Show full text]
  • Spectralism in the Saxophone Repertoire: an Overview and Performance Guide
    NORTHWESTERN UNIVERSITY Spectralism in the Saxophone Repertoire: An Overview and Performance Guide A PROJECT DOCUMENT SUBMITTED TO THE BIENEN SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSICAL ARTS Program of Saxophone Performance By Thomas Michael Snydacker EVANSTON, ILLINOIS JUNE 2019 2 ABSTRACT Spectralism in the Saxophone Repertoire: An Overview and Performance Guide Thomas Snydacker The saxophone has long been an instrument at the forefront of new music. Since its invention, supporters of the saxophone have tirelessly pushed to create a repertoire, which has resulted today in an impressive body of work for the yet relatively new instrument. The saxophone has found itself on the cutting edge of new concert music for practically its entire existence, with composers attracted both to its vast array of tonal colors and technical capabilities, as well as the surplus of performers eager to adopt new repertoire. Since the 1970s, one of the most eminent and consequential styles of contemporary music composition has been spectralism. The saxophone, predictably, has benefited tremendously, with repertoire from Gérard Grisey and other founders of the spectral movement, as well as their students and successors. Spectral music has continued to evolve and to influence many compositions into the early stages of the twenty-first century, and the saxophone, ever riding the crest of the wave of new music, has continued to expand its body of repertoire thanks in part to the influence of the spectralists. The current study is a guide for modern saxophonists and pedagogues interested in acquainting themselves with the saxophone music of the spectralists.
    [Show full text]
  • Thesis Is Presented in Partial Fulfilment of the Requirements for the Doctor of Musical Arts
    Redefining Moments: Interpreting Flexible Moment Form in the Late Solo Works of Franco Donatoni Ashley William Smith B.Mus (Hons.)W.Aust, M.Mus Yale This thesis is presented in partial fulfilment of the requirements for the Doctor of Musical Arts University of Western Australia Conservatorium of Music 2020 i Thesis Declaration I, Ashley William Smith, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. Third party editorial assistance was provided in preparation for this thesis by Laura Biemmi. This thesis does not contain work that I have published, nor work under review for publication. 3 March, 2020 ii Portfolio Components Required Material i) A dissertation of 37,000 words ii) Two recitals: Donatoni in Context, presented on 22 May 2016 at the University of Western Australia (DVD1) The Walk of Shame, presented on 16 June 2019 at the University of Western Australia (DVD2) iii) A lecture recital: Redefining Moments: An Introduction to Moment Form Theory, presented on 25 February 2020 at the University of Western Australia (DVD3) Supplementary Material iv) Recital Program (DVD1).
    [Show full text]
  • Beyond the Machine 21.0
    Beyond the Machine 21.0 The Juilliard School presents Center for Innovation in the Arts Edward Bilous, Founding Director Beyond the Machine 21.0: Emerging Artists and Art Forms New works by composers, VR artists, and performers working with new performance technologies Thursday, May 20, 2021, 7:30pm ET Saturday, May 22, 2021, 2 and 7pm ET Approximate running time: 90 minutes Juilliard’s livestream technology is made possible by a gift in honor of President Emeritus Joseph W. Polisi, building on his legacy of broadening Juilliard’s global reach. Juilliard is committed to the diversity of our community and to fostering an environment that is inclusive, supportive, and welcoming to all. For information on our equity, diversity, inclusion, and belonging efforts, and to see Juilliard's land acknowledgment statement, please visit our website at juilliard.edu. 1 About Emerging Artists and Art Forms The global pandemic has compelled many performing artists to explore new ways of creating using digital technology. However, for students studying at the Center for Innovation in the Arts, working online and in virtual environments is a normal extension of daily classroom activities. This year, the Center for Innovation in the Arts will present three programs featuring new works by Juilliard students and alumni developed in collaboration with artists working in virtual reality, new media, film, and interactive technology. The public program, Emerging Artists and Artforms, is a platform for students who share an interest in experimental art and interdisciplinary collaboration. All the works on this program feature live performances with interactive visual media and sound.
    [Show full text]
  • Sardinian Composers of Contemporary Music
    Interdisciplinary Studies in Musicology 12,2012 © PTPN & Wydawnictwo Naukowe UAM, Poznań 2012 CONSUELO GIGLIO Music Conservatory, Trapani Sardinian composers of contemporary music ABSTRACT: The meeting point between the school headed by Franco Oppo and the rich traditional music of the island gave birth in Sardinia to an intense flowering in the field of New Music, with a strong feeling of belonging and a constant call for a positive concept of identity. Thus, since the time of Oppo (1935) and his contemporary Vittorio Montis, we come across many composers that differ between each other but are almost always recognizably “Sardinian”. Oppo has been one of the most interesting figures on the international scene during the last few decades. After his studies in Rome, Venice and Poland in the early 1960s, he remained, by his own choice, in his home territory, sharing his “Sardinian-ness” in a free and dialectic manner with the avant-garde. After formulating his own particular aleatory approach, Oppo reached a turning point halfway through the 1970s: in Musica per chitarra e quartetto d’archi, Praxodia and, finally, in Anninnia I, the meeting point between avant-garde research and the special phonic quality of tra­ ditional music became more and more close-knit and organic, at the same time also acting on the founding language structure whilst still remaining under the control of incisive and informed dis­ ciplines (during the same period, moreover, he put forward new methodologies of analysis which were also necessary for his teaching). In this sense the most important works are chamber pieces like Anninnia I and II (1978, 1982), Attitidu (1983) and Sagra (1985), the theatrical work Eleonora d’Arborea (1986), some piano “transcriptions” - the Three berceuses (1982), Gallurese and Baroniese (1989; 1993) - Trio III (1994), Sonata B for percussion and piano (2005) and the two Concerts for piano and orchestra (1995-97; 2002).
    [Show full text]
  • Nicholas Isherwood Performs John Cage
    aria nicholas isherwood performs john cage nicholas isherwood BIS-2149 BIS-2149_f-b.indd 1 2014-12-03 11:19 CAGE, John (1912–92) 1 Aria (1958) with Fontana Mix (1958) 5'07 Realization of Fontana Mix by Gianluca Verlingieri (2006–09) Aria is here performed together with a new version of Fontana Mix, a multichannel tape by the Italian composer Gianluca Verlingieri, realized between 2006 and 2009 for the 50th anniversary of the original tape (1958–2008), and composed according to Cage’s indications published by Edition Peters in 1960. Verlingieri’s version, already widely performed as tape-alone piece or together with Cage’s Aria or Solo for trombone, has been revised specifically for the purpose of the present recording. 2 A Chant with Claps (?1942–43) 1'07 2 3 Sonnekus (1985) 3'42 4 Eight Whiskus (1984) 3'50 Three songs for voice and closed piano 5 A Flower (1950) 2'58 6 The Wonderful Widow of Eighteen Springs (1942) 3'02 7 Nowth Upon Nacht (1984) 0'59 8 Experiences No. 2 (1945–48) 2'38 9 Ryoanji – version for voice and percussion (1983–85) 19'36 TT: 44'53 Nicholas Isherwood bass baritone All works published by C.F. Peters Corporation, New York; an Edition Peters Group company ere comes Cage – under his left arm, a paper bag full of recycled chance operations – in his right hand, a copy of The Book of Bosons – the new- Hfound perhaps key to matter. On his way home he stops off at his favourite natural food store and buys some dried bulgur to make a refreshing supper of tabouleh.
    [Show full text]
  • Zeitgenössische Musik
    Montag, 9. bis Freitag, 13. Februar 2015 AKADEMIE FÜR ZEITGENÖSSISCHE MUSIK Internationale Masterclasses Luzern Flöte | Saxofon | Klarinette | Trompete | Gitarre | Violine | Violoncello | Kontrabass | Klavier | Akkordeon | Gesang | Schlagzeug | Harfe | Kammermusik | Komposition | Improvisation 2 Im Mittelpunkt des Kurses steht eine intensive Auseinandersetzung mit dem Repertoire des 20. und 21. Jahrhunderts. Neben der Zusammenarbeit mit dem Composer-in-Residence Wolfgang Rihm finden diverse Workshops und Seminare zu den Themen Aufführung, Geschichte und Analyse der Neuen Musik statt. Die Dozierenden sind Mitglieder der europaweit führenden Ensembles für Neue Musik sowie international gefragte Solistinnen und Pädagogen. Sie werden im Unterricht sowie in Form von Vorträgen Fragen thematisieren, die für Verständnis und Ausführung von zeitgenössischer Musik entscheidend sind. 3 Dozierende David Alberman, Dieter Ammann, Sascha Armbruster, Anne Bassand, Marco Blaauw, Erik Borgir, Andreas Brenner, Uli Fussenegger, Pirmin Grehl, Florian Hoelscher, Anne-Maria Hölscher, Angelika Luz, Urban Mäder, Heinrich Mätzener, Ulrich Mosch, Pascal Pons, Wolfgang Rihm, Mats Scheidegger Kursprogramm Montag, 09. Februar 2014 09.00 Uhr Einschreibung 10.00 bis 12.45 Uhr Instrumentalunterricht | Seminare 14.00 bis 17.30 Uhr Kammermusik | Workshops 19.00 Uhr Dozierendenkonzert Dienstag, 10. bis Freitag, 13. Februar 2015 09.15 bis 12.45 Uhr Instrumentalunterricht | Seminare 14.00 bis 17.30 Uhr Kammermusik | Workshops 19.00 bis 21.00 Uhr Abendveranstaltungen Workshops
    [Show full text]