Seminar Archive
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Violinoctet Violin First European Quintet Performs
ViolinOctetOctet New Voices for the 21st Century Volume 2, Number 6 Spring 2007 First European Quintet Performs says that van Laethem likes to participate in new and unusual concerts and performance set- tings, which gave Wouters the idea that van Laethem might be interested in the octet in- struments, which he was. Van Laethem is also a teacher at the Academie voor Muziek en Woord in Mol, and took it upon himself to fi nd others who would like to play the new instruments in concert. Jan Sciffer, who played the alto, is the cello in- structor at the Academy. All the other performers were stu- dents. The performers were enthusias- tic about the new instruments, and although the performance was planned to be a single event, the payers want to keep on playing them. A quintet of New Violin Family instruments in rehearsal in Belgium. (l to r) Bert van Laethem, soprano; Eveline Debie, mezzo; Jan Sciff er, alto; Jef Kenis, tenor; and Greg Brabers, baritone. The concert took place on February 10, 2007 at to Belgium via email; “Purcell’s Fantasia on One 8:00 p.m. in the Saint Peter and Paul Church in Note,” and the aria from Bach’s Cantata 124. Mol, Belgium, a small city about 40 km east of Antwerp. There were an estimated 200 people Before the ensemble played, the director of the attending, most of whom were local residents of school gave a short introduction. Wouters says it Mol. The quintet, which was made up of teach- was clear that this gentleman (name unavailable ers and students from a local music academy, at press time) had done his homework and had performed only a few selections because their carefully read all the information Wouters had performance was just one part of the music acad- given him. -
Pacific 231 (Symphonic Movement No
Pacific 231 (Symphonic Movement No. 1) Arthur Honegger (1892–1955) Written: 1923 Movements: One Style: Contemporary Duration: Six minutes As a young man trying to figure his way in the world of music, Miklós Rózsa (a Hollywood film composer) asked the French composer Arthur Honegger “How are we composers expected to make a living?” “Film music,” he said. “What?” I asked incredulously. I was unable to believe that Arthur Honegger, the composer of King David, Judith and other great symphonic frescos, of symphonic poems and chamber music, could write music for films. I was thinking of the musicals I had seen in Germany and of films like The Blue Angel, so I asked him if he meant foxtrots and popular songs. He laughed again. “Nothing like that,” he said, ‘I write serious music.’ As a young man, Honegger was part of a group of renegade composers in Paris grouped around the avant-garde poet Jean Cocteau called “Les Six.” Unlike, the other composers in “Les Six,” Honegger’s music is weightier and less flippant. In the 1920s, Honegger worked on three short orchestral pieces that he called Mouvements symphonique. In his autobiography, I am a Composer, he recounts his intent with the first: To tell the truth, In Pacific I was on the trail of a very abstract and quite ideal concept, by giving the impression of a mathematical acceleration of rhythm, while the movement itself slowed. It was only after he wrote the work that he gave it the title. “A rather romantic idea crossed my mind, and when the work was finished, I wrote the title, Pacific 231, which indicates a locomotive for heavy loads and high speed.” Given a title, people heard things that weren’t there. -
R. 2013, Č. 01-02
(( 1–2 2013 M Spravodajstvo: Next, Nová slovenská hudba / Andrej Gál / < ISCM World New Music Days v Bruseli / História: L. M. Gottschalk / Jazz: Ján Hajnal N „” Richard H. Hoppin Hudba stredoveku Antológia stredovekej hudby $ % 8 ! 8 $ & ! 8% 8 ( ) * ! $ $ .$/0 12343543333643247 .$/0 12343543168245349 Editorial Obsah Vážení itatelia, Spravodajstvo, koncerty, festivaly 2 Slovenská lharmónia, Symfonický orchester Slovenského rozhlasu, prvé dvojíslo asopisu Hudobný Viva zbor! SOOUZVUK 2012, Nede5né matiné v Mirbachovom paláci, Hommage život v roku 2013 prináša viacero à Claude Debussy alebo nový Steinway vo Dvorane, Albrechtina, ažiskových materiálov. Zaiatkom Štátny komorný orchester Žilina, Galéria hudby v Nitre, Štátna lharmónia Košice, Trio Mediaeval, Ars Nova Cassoviae, Akadémia januára zomrel skladate Pavol súasnej hudby, NEXT 2012, Za Pavlom Baginom, Medzinárodný Bagin, ktorý pôsobil poas komunis- festival gregoriánskeho chorálu, Prehliadka mladých organistov, Nová tického režimu na viacerých význam- slovenská hudba 2012, ISCM World New Music Days 2012, Anketa: ných postoch. Pre niektorých vený Slovenská hudba 2012 funkcionár, pre iných talentovaný skladate a slušný lovek. Osobná Roman Berger Téma skúsenos nám neumožuje posúdi, 13 Viva Sitnianski rytieri!? A. Šuba aký bol Pavol Bagin. Nechceme mu Rozhovor stava pomník, ani ho súdi. Ale ke 18 Pavol Bagin: „Nechajte súdruha, ve sú tu zahraniní hostia...” sa raz bude niekto zaobera obdo- D. Jakubcová bím, od ktorého nám stále chýba dostatoný odstup, v poslednom Esej rozhovore s predstaviteom jednej 30 Raport z cesty R. Berger generácie nájde v našom asopise ISCM WNMD 2012 svedectvo pamätníka. Minipro l 33 Andrej Gál J. Kubandová Na rozdiel od Pavla Bagina je skladate a myslite Roman Berger vnímaný v hudobnej História komunite jednoznane ako lovek étosu. -
Catgut Acoustical Society Journal
http://oac.cdlib.org/findaid/ark:/13030/c8gt5p1r Online items available Guide to the Catgut Acoustical Society Newsletter and Journal MUS.1000 Music Library Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-1212 [email protected] © 2013 The Board of Trustees of Stanford University. All rights reserved. Guide to the Catgut Acoustical MUS.1000 1 Society Newsletter and Journal MUS.1000 Descriptive Summary Title: Catgut Acoustical Society Journal: An International Publication Devoted to Research in the Theory, Design, Construction, and History of Stringed Instruments and to Related Areas of Acoustical Study. Dates: 1964-2004 Collection number: MUS.1000 Collection size: 50 journals Repository: Stanford Music Library, Stanford University Libraries, Stanford, California 94305-3076 Language of Material: English Access Access to articles where copyright permission has not been granted may be consulted in the Stanford University Libraries under call number ML1 .C359. Copyright permissions Stanford University Libraries has made every attempt to locate and receive permission to digitize and make the articles available on this website from the copyright holders of articles in the Catgut Newsletter and Journal. It was not possible to locate all of the copyright holders for all articles. If you believe that you hold copyright to an article on this web site and do not wish for it to appear here, please write to [email protected]. Sponsor Note This electronic journal was produced with generous financial support from the CAS Forum and the Violin Society of America. Journal History and Description The Catgut Acoustical Society grew out of the research collaboration of Carleen Hutchins, Frederick Saunders, John Schelleng, and Robert Fryxell, all amateur string players who were also interested in the acoustics of the violin and string instruments in the late 1950s and early 1960s. -
B!.^:^ Been Tlen?!F Asi Bravo
November 1 9 1965 NEWSLETTER MO. 4 THE CATCHUP ACOUSTICAL SOCIETY As announced in the last issue,, a concert was «ivan at thn vw vm« in New York City on.. May 20,1965 at. whi* the S/vioJin "~" all eight members was presented toj public^ r,"*>"tfa^iD%««-_-, "Consort the The for True Violins",,— compose d^anf^^ed by The music gave each of the instruments a real, HenlHr^t their work-out, cSISL musical potential in various combinations of parts a^d fSfm^from solo, duo, and trio to a thick texture of the entiri oatet? B 00t f lhe"fffS? ne'w^^iSfeed^?!!.^:^ -" ° **«»"« %&£*£*£ Leopold Stokowski was in the large audience, and was del igbtS'd He told Louis Condax that he would never forget the sound of thf viola in The New York Times' Howard Klein quoted Maestro Stokowski ?s "We need to revise all. the orchestral instruments. The strings have needed this treatment for a long time. Now the woodwinds nS! -1 Z _LXi^ o motIL- In his review of May 21 „ 1.Q65,. Mr. Klein went on to say- "The produced wonderful and rumblings, the sonorities of. the Mgher viol fes re m high registers. The resonance of the c.foodTh p .food middle rln^e lis M lnst ent3 > whe paying their lowest notes, soundfd tiLT or¥?J£&nasal, so "there is workf to be done. But a the major step toward rwSvat'n* strings for the first time in 200 years has been tLen?!f aSi bravo^ msiola 8 who Vl^* «» new weref * instruments in their premiere concert __ Max Pollikoff Treble vjolin Lrnestine Briemeister Soprano violin Lllla Ealman — Mezzo violin lll^L^yf —- (vertical viola) Peter Rosenfeld TenorA"?.^?violinl^ Joseph Tekula Baritone violin David Walter Bass violin Stuart Sankey G ontrabass viol in Many members of the Catgut Acoustical Sooiaty, who shared m the have actually work of developing these instruments over the past sev-n years, were in the audience. -
+Nmc Talks with TOBIAS PICKER
nmc talks with +TOBIAS PICKER NMC: Your opera Emmeline pieces and vocal works. I had been composer premiered at Santa Fe Opera in residence for the Houston Symphony in 1996. It was your first for five years. I had honed my craft as an opera. Three operas then orchestrator and my voice as a composer. I followed in swift succes- knew I was finally ready to tackle the largest sion: Fantastic Mr. Fox two of all genres, opera, a genre for which I’d years later, Therese Raquin developed a great reverence. two years after that, then An American Tragedy, a The earliest example of literature influencing Metropolitan Opera com- my work was The Encantadas from 1983. It mission, in 2005. That’s four is a work for speaker (or actor) and orchestra operas in nine years! Had and it is full of word painting inspired by the you always wanted to write rich prose of Herman Melville’s descriptions opera, or did the experience of the Galapagos Islands which he’d visited of working on Emmeline , as a young man in the Merchant Marines. and its success, push you in The Encantadas is a theatrical work – a a direction you would not melodrama – not a narrated travelogue. There have anticipated? is a drama between the speaker and the orchestra and a constant interplay that casts TP: I wanted to (or knew the speaker in different moods and characters I would eventually) write throughout. operas since I was a small child and watched them on From the time I began composing as a child, TV. -
21St Century Consort Composer Performance List
21st Century Consort Composer List 1975 - 2019 Archive of performance recordings Hans Abrahamsen Winternacht (1976-78) 1986-12-06 (15:27) flute, clarinet, trumpet, French horn, piano, violin, cello, conductor John Adams Hallelujah Junction 2016-02-06 (17:25) piano, piano Road Movies 2012-05-05 (15:59) violin, piano Shaker Loops (1978) 2000-04-15 (26:34) violin, violin, violin, viola, cello, cello, contrabass, conductor Bruce Adolphe Machaut is My Beginning (1989) 1996-03-16 (5:01) violin, cello, flute, clarinet, piano Miguel Del Agui Clocks 2011-11-05 (20:46) violin, piano, viola, violin, cello Stephen Albert Treestone (1984) 1991-11-02 (38:15) soprano, tenor, violin, violin, viola, cello, bass, trumpet, clarinet, French horn, flute, percussion, piano, conductor Distant Hills Coming Nigh (1989-90) 1991-05-11 (31:28) tenor, soprano, violin, cello, bassoon, clarinet, viola, piano, French horn, double bass, flute, conductor Tribute (1988) 2002-01-26 (9:55) violin, piano Into Eclipse [New Version for Cello Solo Prepared by Jonathan Leshnoff] (2002) 2002-01-26 (31:53) violin, violin, viola, cello, cello, contrabass, flute, clarinet, trumpet, percussion, percussion, piano, conductor To Wake the Dead (1978) 1993-02-13 (27:24) soprano, violin, conductor Treestone (1978) 1984-03-17 (30:22) soprano, tenor, flute, clarinet, trumpet, horn, harp, violin, violin, viola, cello, bass, piano, percussion, conductor To Wake the Dead (1978) (Six Sentimental Songs and an Interlude After Finnegans Wake) 2013-02-23 (28:24) violin, clarinet, piano, flute, conductor, -
Inside the Guide the Guide
wttw11 wttw Prime wttw Create wttw World wttw PBS Kids wttw.com THE GUIDE 98.7wfmt wfmt.com The Member Magazine for WTTW and WFMT THE MINIATURIST A new adaptation of Jessie Burton’s gripping bestseller BEGINS SUNDAY, SEPT. 9 at 8:00 PM September 2018 ALSO INSIDE WFMT’s series Introductions, showcasing aspiring young classical musicians, marks its 10th anniversary this year. We’ll celebrate with a special live concert with the Chicago Youth Symphony Orchestras and Chicago Children’s Choir at Pritzker Pavilion in Millennium Park. From the President & CEO The Guide The Member Magazine Dear Member, for WTTW and WFMT Renée Crown Public Media Center This year, WFMT’s weekly series Introductions, showcasing aspiring young classical 5400 North Saint Louis Avenue Chicago, Illinois 60625 musicians, marks its 10th anniversary. Fittingly, WFMT will mark the occasion with a special live concert – Chicago’s first Youth Arts Showcase – as part of the citywide Year of Main Switchboard Creative Youth celebration. Join us on air and online on Saturday morning, September 22 (773) 583-5000 Member and Viewer Services as WFMT’s Michael San Gabino welcomes the Chicago Youth Symphony Orchestras and (773) 509-1111 x 6 Chicago Children’s Choir to Pritzker Pavilion in Millennium Park. Websites On WTTW, we observe Hispanic Heritage Month with a variety of relevant content, some wttw.com wfmt.com of it new and local (see page 7). Golden Age Amsterdam comes alive in a new miniseries adaptation of Jessie Burton’s bestselling novel The Miniaturist. Poldark, The Durrells in Publisher Corfu, and 800 Words are back with new seasons along with another Anne of Green Gables Anne Gleason Art Director special; Ken Burns focuses his lens on the Mayo Clinic, and Jamestown, which first premiered Tom Peth on wttw.com, comes to WTTW11 from the creators of Downton Abbey. -
Strijkinstrumenten
Rudolf Rasch Muziekinstrumenten Hoofdstuk Zes: Chordofonen 2: Strijkinstrumenten Verwijzingen naar deze tekst graag op de volgende manier: Rudolf Rasch, Muziekinstrumenten: Hoofdstuk Zes: Chordofonen 2: Strijkinstrumenten https://muziekinstrumenten.sites.uu.nl/ Voor opmerkingen, suggesties, aanvullingen en correcties: [email protected] © Rudolf Rasch, Utrecht/Houten, 2018 23 juli 2018 23 juli 2018 Rudolf Rasch: Muziekinstrumenten Hoofdstuk Zes: Chordofonen 2: Strijkinstrumenten 6.1 INLEIDING De strijkinstrumenten vormen in feite een uitzonderingscategorie onder de chordofonen: ze zijn voor- namelijk bij de doosluiten te vinden, die in twee vormen voorkomen, de doosstokluiten (Hornbostel/Sachs 321.312) en de dooshalsluiten (321.322). De strijkinstrumenten uit de groep van de dooshalsluiten spelen in de westerse muziekgeschiedenis en ook in de westerse muziek van vandaag een buitengewoon belangrijke rol. Vanaf de zeventiende eeuw worden ensembles en orkesten gedomineerd door de strijkers. De eerste vioolpartij is de belangrijkste partij in deze muziek. Violisten behoren met pianisten, zangers en dirigenten tot de beroemdste musici aller tijden. Deze hoofdrol kan niet anders dan het gevolg zijn van een kennelijk succesvol en bruikbaar type instrument. Inderdaad: vergeleken met de tokkelinstrumenten profileren de strijkinstrumenten zich door een krachtige en aangehouden toon, vergeleken met de blaasinstrumenten door de betrouwbare en uiterst flexibele intonatie, de onafhankelijkheid van embouchureproblemen en de gemakkelijke toepasbaarheid in groepen. Strijkinstrumenten hebben noodgedwongen een licht gebogen snarenvlak en daarom ook gewoonlijk een licht gewelfd bovenblad (eventueel voorblad te noemen). Het onderblad (eventueel achterblad) kan gewelfd of vlak zijn. De bespeling kan aan de schouder zijn (zoals bij de meeste kleinere instrumenten: “da braccio”) of tussen de knieën (bij de grotere instrumenten altijd, bij de kleine soms: “da gamba”). -
Composer Nationality Piece Movement(S)
Composer Nationality Piece Movement(s) Instruments Year Performed Abigana, Brett USA L'Histoire du Soldat Jouet 3 flutes, 3 dancers 2012 Abigana, Brett USA On Simple Songs Violin, viola, cello, piano 2012 Abigana, Brett USA Prelude for Piano Piano 2012 Abigana, Brett USA Sonata for Solo Flute iii. Improvisation, V. Postlude Flute 2019 Abou-Khalil, Rabih Lebanon Arabian Waltz String quartet 2015 Acimovic, Philip USA Afternoon Excursion Guitar, marimba 2007 Adams, John USA Road Movies I. Relaxed Groove II. Meditative III. 40% Swing Violin, piano 2008 Adderly, Nat USA Work Song Jazz Ensemble 1988 Adler, Samuel USA A Bonnie Tune - A Scherzo for Solo Flute Flute 2014 Adler, Samuel USA Ask Me 1. Song Now Soprano, guitar 2004 Adler, Samuel USA Canto XI for Horn Solo French Horn 2004 Adler, Samuel USA Capriccio Piano 1995 Adler, Samuel USA Concerto No. 3 Piano, string orchestra 2004 Adler, Samuel USA Dream Sequence, Thy Song Expands My Spirit Piano 2004 Adler, Samuel USA Duo Sonata I. Toccata II. Scherzo--with dance 2 Pianos, 2 Dancers 2004 Adler, Samuel USA Fantasy for Piano Piano 2018 Adler, Samuel USA Gradus I #1-6, 10 , 12 Piano 2004 Adler, Samuel USA Gradus III #1, #4 Piano 2003 Adler, Samuel USA Gradus III #4, 8, 13, 17, 19 Piano 2004 Adler, Samuel USA Gradus, Book II #17 Piano 2002 Adler, Samuel USA Meadowmountetudes I. II. Violin 2004 Adler, Samuel USA Ports of Call: A "Mediterranean" Suite I. Marseille 2 violins, guitar 2004 Adler, Samuel USA Ports of Call: A "Mediterranean" Suite II. Alexandria 2 Violins, guitar 2007 Adler, Samuel USA Sonata Breve Allegro di Bravura Piano 1985 Adler, Samuel USA Sonata Breve Allegro grazioso, Adagio con delicatezza Piano 1986 Adler, Samuel USA Sonata for Flute and Piano II. -
American Music Review Formerly the Institute for Studies in American Music Newsletter
American Music Review Formerly the Institute for Studies in American Music Newsletter The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XXXVIII, No. 1 Fall 2008 “Her Whimsy and Originality Really editorial flurry has facilitated many performances and first record- ings. The most noteworthy recent research on Beyer has been Amount to Genius”: New Biographical undertaken by Melissa de Graaf, whose work on the New York Research on Johanna Beyer Composers’ Forum events during the 1930s portrays Beyer’s public persona during the highpoint of her compositional career (see, for by Amy C. Beal example, de Graaf’s spring 2004 article in the I.S.A.M. Newsletter). Most musicologists I know have never heard of the German-born Beyond de Graaf’s work, we have learned little more about Beyer composer and pianist Johanna Magdalena Beyer (1888-1944), who since 1996. Yet it is clear that her compelling biography, as much as emigrated to the U.S. in 1923 and spent the rest of her life in New her intriguing compositional output, merits further attention. York City. During that period she composed over Beyer’s correspondence with Henry fifty works, including piano miniatures, instru- Cowell (held primarily at the New York mental solos, songs, string quartets, and pieces Public Library for the Performing Arts) for band, chorus, and orchestra. This body of helps us construct a better picture of her life work allies Beyer with the group known as the between February 1935, when her letters to “ultramodernists,” and it offers a further perspec- Cowell apparently began, and mid-1941, tive on the compositional style known as “dis- when their relationship ended. -
FITZGERALDELLA Centenni-Ella
MARCH 2017—ISSUE 179 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM FITZGERALDELLA Centenni-ella WOMEN IN JAZZ ISSUE SHERRIE NICOLE KALI Z. DOROTHY MARICLE MITCHELL FASTEAU FIELDS Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MARCH 2017—ISSUE 179 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Sherrie Maricle 6 by m.j. lester [email protected] Andrey Henkin: [email protected] Artist Feature : Nicole Mitchell 7 by robert bush General Inquiries: [email protected] On The Cover : Ella Fitzgerald 8 by andrew vélez Advertising: [email protected] Encore : Kali Z. Fasteau by clifford allen Calendar: 10 [email protected] VOXNews: Lest We Forget : Dorothy Fields 10 by alex henderson [email protected] LAbel Spotlight : Harbinger by donald elfman US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] In Memoriam Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, “Women in Jazz” CD Reviews Stuart Broomer, Thomas Conrad, 14 Ken Dryden, Donald Elfman, Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD Reviews 20 Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Mark Keresman, Miscellany 40 Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Event Calendar 42 Elliott Simon, Andrew Vélez, Ken Waxman, Scott Yanow Contributing Writers Robert Bush, Tyran Grillo, M.J.