Ein Semester Der Super Lative!
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Me Israel Aestra JULU 3-QUGUSU 8 1979 Me Israel Assam Founoed Bu A.Z
me Israel Aestra JULU 3-QUGUSU 8 1979 me Israel Assam FOunoeD bu a.z. ppopes JULU 3-aUGUSB 8 1979 Member of the European Association of Music Festivals Executive Committee: Asher Ben-Natan, Chairman Honorary Presidium: ZEVULUN HAMMER - Minister of Education and Culture Menahem Avidom GIDEON PATT - Minister of Industry, Trade and Tourism Gary Bertini TEDDY KOLLEK - Mayor of Jerusalem Jacob Bistritzky Gideon Paz SHLOMO LAHAT - Mayor of Tel Aviv-Yafo Leah Porath Ya'acov Mishori Jacob Steinberger J. Bistritzky Director, the Israel Festival. Director, The Arthur Rubinstein International Piano Master Competition. Thirty years of professional activity in Artistic Advisor — Prof. Gary Bertini the field of culture and arts, as Director of the Department of International The Public Committee and Council: Cultural Relations in the Ministry of Gershon Achituv Culture and Arts, Warsaw; Director of the Menahem Avidom Polish Cultural Institute, Budapest: Yitzhak Avni Director of the Frédéric Chopin Institute, Warsaw. Mr. Bistritzky's work has Mordechai Bar On encompassed all aspects of the Asher Ben-Natan Finance Committee: development of culture, the arts and mass Gary Bertini Menahem Avidom, Chairman media: promotion, organization and Jacob Bistritzky Yigal Shaham management of international festivals and Abe Cohen Micha Tal competitions. Organizer of Chopin Sacha Daphna competitions in Warsaw and International Meir de-Shalit Chopin year 1960 under auspices of Walter Eytan Festival Staff: U.N.E.S.C.O. Shmuel Federmann Assistant Director: Ilana Parnes Yehuda Fickler Director of Finance: Isaac Levinbuk Daniel Gelmond Secretariat: Rivka Bar-Nahor, Paula Gluck Dr. Reuven Hecht Public Relations: Irit Mitelpunkt Dr. Paul J. -
Piano; Trio for Violin, Horn & Piano) Eric Huebner (Piano); Yuki Numata Resnick (Violin); Adam Unsworth (Horn) New Focus Recordings, Fcr 269, 2020
Désordre (Etudes pour Piano; Trio for violin, horn & piano) Eric Huebner (piano); Yuki Numata Resnick (violin); Adam Unsworth (horn) New focus Recordings, fcr 269, 2020 Kodály & Ligeti: Cello Works Hellen Weiß (Violin); Gabriel Schwabe (Violoncello) Naxos, NX 4202, 2020 Ligeti – Concertos (Concerto for piano and orchestra, Concerto for cello and orchestra, Chamber Concerto for 13 instrumentalists, Melodien) Joonas Ahonen (piano); Christian Poltéra (violoncello); BIT20 Ensemble; Baldur Brönnimann (conductor) BIS-2209 SACD, 2016 LIGETI – Les Siècles Live : Six Bagatelles, Kammerkonzert, Dix pièces pour quintette à vent Les Siècles; François-Xavier Roth (conductor) Musicales Actes Sud, 2016 musica viva vol. 22: Ligeti · Murail · Benjamin (Lontano) Pierre-Laurent Aimard (piano); Bavarian Radio Symphony Orchestra; George Benjamin, (conductor) NEOS, 11422, 2016 Shai Wosner: Haydn · Ligeti, Concertos & Capriccios (Capriccios Nos. 1 and 2) Shai Wosner (piano); Danish National Symphony Orchestra; Nicolas Collon (conductor) Onyx Classics, ONYX4174, 2016 Bartók | Ligeti, Concerto for piano and orchestra, Concerto for cello and orchestra, Concerto for violin and orchestra Hidéki Nagano (piano); Pierre Strauch (violoncello); Jeanne-Marie Conquer (violin); Ensemble intercontemporain; Matthias Pintscher (conductor) Alpha, 217, 2015 Chorwerk (Négy Lakodalmi Tánc; Nonsense Madrigals; Lux æterna) Noël Akchoté (electric guitar) Noël Akchoté Downloads, GLC-2, 2015 Rameau | Ligeti (Musica Ricercata) Cathy Krier (piano) Avi-Music – 8553308, 2014 Zürcher Bläserquintett: -
Milko Kelemen: Life and Selected Works for Violoncello
MILKO KELEMEN: LIFE AND SELECTED WORKS FOR VIOLONCELLO by JOSIP PETRAČ (Under the Direction of David Starkweather) ABSTRACT Milko Kelemen (b. 1924) is one of the most extraordinary Croatian composers of the post-World War II era. He has received numerous prestigious awards for his work, while his compositions are published by major companies, including Schott, Universal, Peters, and Hans Sikorski editions. His music is little studied or known internationally. This paper examines this innovative, avant-garde musician and sheds light both on Kelemen’s life and his compositional technique. The latter is examined in four compositions featuring cello as the main subject: Changeant (1968), Drammatico (1983), Requiem for Sarajevo (1994), and Musica Amorosa (2004). The examination of these compositions is placed in a biographical context which reveals how Kelemen’s keen political and cultural interests influenced his development as a composer. In particular, this document looks at Kelemen’s role as one of the founders, and the first president, of the Zagreb Music Biennale Festival, an event known for its ground-breaking work in bringing together artists and composers from the eastern and western blocs during the Cold War, as well as revitalising Croatia’s old-fashioned and provincial cultural scene. This festival of avant-garde music has been running since 1961. INDEX WORDS: Milko Kelemen, Zagreb Biennale, cello, avant-garde music, Changeant, Drammatico, Requiem for Sarajevo, Musica Amorosa MILKO KELEMEN:LIFE AND SELECTED WORKS FOR CELLO by JOSIP -
A Guide to Extended Techniques for the Violoncello - By
Where will it END? -Or- A guide to extended techniques for the Violoncello - By Dylan Messina 1 Table of Contents Part I. Techniques 1. Harmonics……………………………………………………….....6 “Artificial” or “false” harmonics Harmonic trills 2. Bowing Techniques………………………………………………..16 Ricochet Bowing beyond the bridge Bowing the tailpiece Two-handed bowing Bowing on string wrapping “Ugubu” or “point-tap” effect Bowing underneath the bridge Scratch tone Two-bow technique 3. Col Legno............................................................................................................21 Col legno battuto Col legno tratto 4. Pizzicato...............................................................................................................22 “Bartok” Dead Thumb-Stopped Tremolo Fingernail Quasi chitarra Beyond bridge 5. Percussion………………………………………………………….25 Fingerschlag Body percussion 6. Scordatura…………………………………………………….….28 2 Part II. Documentation Bibliography………………………………………………………..29 3 Introduction My intent in creating this project was to provide composers of today with a new resource; a technical yet pragmatic guide to writing with extended techniques on the cello. The cello has a wondrously broad spectrum of sonic possibility, yet must be approached in a different way than other string instruments, owing to its construction, playing orientation, and physical mass. Throughout the history of the cello, many resources regarding the core technique of the cello have been published; this book makes no attempt to expand on those sources. Divers resources are also available regarding the cello’s role in orchestration; these books, however, revolve mostly around the use of the instrument as part of a sonically traditional sensibility. The techniques discussed in this book, rather, are the so-called “extended” techniques; those that are comparatively rare in music of the common practice, and usually not involved within the elemental skills of cello playing, save as fringe oddities or practice techniques. -
Ferienkurse Für Internationale Neue Musik, 25.8.-29.9. 1946
Ferienkurse für internationale neue Musik, 25.8.-29.9. 1946 Seminare der Fachgruppen: Dirigieren Carl Mathieu Lange Komposition Wolfgang Fortner (Hauptkurs) Hermann Heiß (Zusatzkurs) Kammermusik Fritz Straub (Hauptkurs) Kurt Redel (Zusatzkurs) Klavier Georg Kuhlmann (auch Zusatzkurs Kammermusik) Gesang Elisabeth Delseit Henny Wolff (Zusatzkurs) Violine Günter Kehr Opernregie Bruno Heyn Walter Jockisch Musikkritik Fred Hamel Gemeinsame Veranstaltungen und Vorträge: Den zweiten Teil dieser Übersicht bilden die Veranstaltungen der „Internationalen zeitgenössischen Musiktage“ (22.9.-29.9.), die zum Abschluß der Ferienkurse von der Stadt Darmstadt in Verbindung mit dem Landestheater Darmstadt, der „Neuen Darmstädter Sezession“ und dem Süddeutschen Rundfunk, Radio Frankfurt, durchgeführt wurden. Datum Veranstaltungstitel und Programm Interpreten Ort u. Zeit So., 25.8. Erste Schloßhof-Serenade Kst., 11.00 Ansprache: Bürgermeister Julius Reiber Conrad Beck Serenade für Flöte, Klarinette und Streichorchester des Landes- Streichorchester (1935) theaters Darmstadt, Ltg.: Carl Wolfgang Fortner Konzert für Streichorchester Mathieu Lange (1933) Solisten: Kurt Redel (Fl.), Michael Mayer (Klar.) Kst., 16.00 Erstes Schloß-Konzert mit neuer Kammermusik Ansprachen: Kultusminister F. Schramm, Oberbürger- meister Ludwig Metzger Lehrkräfte der Ferienkurse: Paul Hindemith Sonate für Klavier vierhändig Heinz Schröter, Georg Kuhl- (1938) mann (Kl.) Datum Veranstaltungstitel und Programm Interpreten Ort u. Zeit Hermann Heiß Sonate für Flöte und Klavier Kurt Redel (Fl.), Hermann Heiß (1944-45) (Kl.) Heinz Schröter Altdeutsches Liederspiel , II. Teil, Elisabeth Delseit (Sopr.), Heinz op. 4 Nr. 4-6 (1936-37) Schröter (Kl.) Wolfgang Fortner Sonatina für Klavier (1934) Georg Kuhlmann (Kl.) Igor Strawinsky Duo concertant für Violine und Günter Kehr (Vl.), Heinz Schrö- Klavier (1931-32) ter (Kl.) Mo., 26.8. Komponisten-Selbstporträts I: Helmut Degen Kst., 16.00 Kst., 19.00 Einführung zum Klavierabend Georg Kuhlmann Di., 27.8. -
Mark Morris Dance Group Thursday Though Saturday, September 22–24 Thursday Through Saturday, September 29, 30, October 1 Zellerbach Hall
CAL PERFORMANCES PRESENTS Mark Morris Dance Group Thursday though Saturday, September 22–24 Thursday through Saturday, September 29, 30, October 1 Zellerbach Hall Craig Biesecker Joe Bowie Charlton Boyd Amber Darragh Rita Donahue Lorena Egan* Marjorie Folkman Lauren Grant John Heginbotham David Leventhal Bradon McDonald Gregory Nuber Maile Okamura June Omura Noah Vinson Julie Worden Michelle Yard Artistic Director Mark Morris Executive Director Nancy Umanoff MMDG Music Ensemble Members of the Berkeley Symphony Orchestra American Bach Soloists *apprentice Altria Group, Inc. is the Premiere Sponsor of the Mark Morris Dance Group’s 25th Anniversary Season. MetLife Foundation is the official sponsor of the Mark Morris Dance Group’s 25th Anniversary National Tour. Major support for the Mark Morris Dance Group is provided by Carnegie Corporation of New York, MetLife Foundation, The Fan Fox and Leslie R. Samuels Foundation, The Shubert Foundation and Target. The Mark Morris Dance Group New Works Fund is supported by The Howard Gilman Foundation, The Andrew W. Mellon Foundation, and The Gladys Krieble Delmas Foundation. The Mark Morris Dance Group’s education and performance activities are supported by Independence Community Foundation. The Mark Morris Dance Group’s performances are made possible with public funds from the National Endowment for the Arts Dance Program and the New York State Council on the Arts, a State Agency. This presentation is made possible, in part, by Bank of America. Additional support is provided by an award from the National -
Deine Ohren Werden Augen Machen
Deine Ohren werden Augen machen. 26. Programmwoche 22. Juni – 28. Juni 2019 Samstag, 22. Juni 2019 09.04 – 09.35 Uhr FEATURE „Das Heute ist das Vorgestern der nGbK“ 50 Jahre neue Gesellschaft für bildende Kunst Von Tomas Fitzel Vorgestern schon gezeigt zu haben, was heute relevant für die Kunst ist, das ist das Ziel der neuen Gesellschaft für bildende Kunst in Berlin. Seit 50 Jahren versucht der Kunstverein, allen anderen zwei Schritte voraus zu sein. Dieser ehrgeizige Anspruch ist untrennbar verknüpft mit einer utopischen Organisationsstruktur. Über alle Ausstellungen, Projekte und Personalentscheidungen wird basisdemokratisch abgestimmt. Und jeder kann voraussetzungsfrei Mitglied werden. Kann das funktionieren? Tomas Fitzel begleitet die Vorbereitungen bis zur Jubiläumsfeier. Worüber wird gestritten, welche grundsätzliche Positionen prallen aufeinander und wie einigt man sich am Ende? Konsens oder doch nur faule Kompromisse? Regie: Barbara Meerkötter Produktion: rbb 2019 - Ursendung - Sonntag, 23. Juni 2019 09.04 – 09.30 Uhr GOTT UND DIE WELT Christliche Trutzburgen in der Glaubenswüste Mormonen in Berlin und Brandenburg Von Stefanie Oswalt Ihre Heimat ist Utah in den USA. Dort gründete Joseph Smith 1830 die „Church of Christ“ - Kirche Christi. Von den großen Kirchen wird die Glaubensgemeinschaft nicht als christlich anerkannt, denn der Mann, den seine Anhänger als Propheten verehren, ist auch Verfasser ihrer heiligen Schrift, dem Buch Mormon. Diese Fortsetzung der Bibel wird auch in Deutschland gelesen: 40.000 Mormonen gibt es bundesweit. Auch in Berlin und Brandenburg leben Mormonen nach strengen Regeln: kein Sex vor der Ehe, kein Alkohol, kein Nikotin. Wie verstehen diese Anhänger Jesu ihr Christentum, von dem sie auch andere gern überzeugen würden? Wie kommt ihre Mission in der säkularen Glaubenswüste an? Ein Blick in eine immer noch ziemlich geschlossene Gemeinschaft, die sich den Veränderungen einer modernen Gesellschaft stellen muss. -
New Approaches to Performance and the Practical
New Approaches to Performance and the Practical Application of Techniques from Non-Western and Electro-acoustic Musics in Compositions for Solo Cello since 1950: A Personal Approach and Two Case Studies Rebecca Turner Submitted in Partial Fulfillment of the Requirements for the Degree of PhD in Music (Performance Practice) Department of Music Goldsmiths College, University of London 2014 Supervisor Professor Alexander Ivashkin Declaration I, Rebecca Turner, the undersigned, hereby declare that the work submitted in this thesis is my own and where the contributions of others are made they are clearly acknowledged. Signed……………………………………………… Date…………………….. Rebecca Turner ii For Alexander Ivashkin, 1948-2014 iii Acknowledgments I would like to acknowledge the wisdom, encouragement, and guidance from my academic supervisor, the late Professor Alexander Ivashkin; it was an honour and a privilege to be his student. I am also eternally grateful for the tutelage of my performance supervisor, Natalia Pavlutskaya, for her support and encouragement over the years; she has taught me to always strive for excellence in all areas of my life. I am enormously grateful to Franghiz Ali-Zadeh and Michael Cryne for allowing me to feature their compositions in my case studies, and also for generosity giving up their time for our interviews. I am indebted to the staff of the Music Department at Goldsmiths College, London University, both for supporting me in my research and also being so generous with the use of the available facilities; in particular the Stanley Glasser Electronic Music Studios. I also thank C.f. Peters Corp., Breitkopf & Härtel, Schott Music Ltd, MUSIKVERLA HANS SIKORSKI GMBH & CO, for their kind permission to quote from copyrighted material. -
Lutoslawski Transcript
Lutoslawski Transcript Date: Thursday, 17 March 2005 - 12:00AM Location: Barnard's Inn Hall Lutosławski's Cello Concerto Professor Adrian Thomas Introduction In this, the fifth of this year's discussion of key works and composers of Central European music since the late 19th-century, I shall not only be exploring a landmark in music of the last 50 years. I shall also be outlining how a writer may set about the task of researching a book or topic. And my topic is the Cello Concerto (1969-70) by the Polish composer Witold Lutosławski (1913- 94). Preparatory Background My interest in Lutosławski's music started with his Trois poemes d'Henri Michaux, for which I was one of the two conductors at the UK premiere in Nottingham in 1969. Ten years later, I heard Lutosławski conduct his Cello Concerto, with Heinrich Schiff as the soloist, at the Dublin Festival of Contemporary Music. Then, a couple of years ago, I entered into a contract with Ashgate Publishing to write a monograph as part of its new series, Landmarks in Music since 1950. Three of the volumes have already appeared: a study of Kurtag's The Sayings of Peter Bornemiszaby Rachel Beckles Willson, whom I had the pleasure of interview during last year's eries of Gresham lectures, a book on Andriessen's De Staat by Robert Adlington and a study of Shostakovich's Eighth String Quartet by David Fanning. I'm delighted that when we next meet I shall be discussing this quartet with David Fanning, partly as a prelude to its performance a couple of weeks later as part of the City of London Festival. -
Swr2 Programm Kw 24
SWR2 PROGRAMM - Seite 1 - KW 24 / 13. - 19.06.2016 ”Nußdorfer Walzer” Anlagevermögen der Montag, 13. Juni Philharmonia Schrammeln Wien Schattenbanken auf die unglaubliche Johann Friedrich Fasch: Summe von 35 Billionen US-Dollar. 0.05 ARD-Nachtkonzert Trompetenkonzert D-Dur Schattenbanken und Steueroasen Joseph Haydn: Gabriele Cassone (Trompete) bilden eine ideale Kombination für Sinfonie Nr. 87 A-Dur “Pariser Zefiro Geldwäsche aus illegalen Sinfonie” Leitung: Alfredo Bernardini Geschäften. In zehn Jahren hat sich MDR Sinfonieorchester dieses Volumen fast verdreifacht und Leitung: Bruno Weil 6.00 SWR2 am Morgen entspricht der Hälfte des Franz Schubert: darin bis 8.00 Uhr: Weltsozialprodukts. Behält die Politik 4 Impromptus D 899 noch das Heft des Handelns in der Gerlint Böttcher (Klavier) 6.00 Aktuell Hand? Lassen sich die Robert Schumann: zersplitternden Finanzmärkte noch Streichquartett F-Dur op. 41 Nr. 2 6.30 Kurznachrichten bändigen? Oder können anonyme Gewandhaus-Quartett Finanzmarktakteure weiter ihr Spiel Felix Mendelssohn Bartholdy: 6.36 SWR2 Zeitwort treiben? (Produktion 2015) Violinkonzert e-Moll op. 64 13.06.1926: Mies van der Rohe Alina Pogostkina (Violine) enthüllt sein Revolutionsdenkmal in 8.58 SWR2 Programmtipps MDR Sinfonieorchester Berlin Leitung: Mario Venzago Von Paul Assall 9.00 Nachrichten, Wetter 2.00 Nachrichten, Wetter 6.44 SWR2 Globales Tagebuch 9.05 SWR2 Musikstunde Die sieben Leben des Hermann 2.03 ARD-Nachtkonzert 6.52 Pressestimmen Scherchen (1) Andreas Hammerschmidt: Zum 50. Todestag des Suite d-Moll 7.00 -
875-5718; [email protected] ALAN GILBERT and the NE
FOR IMMEDIATE RELEASE January 28, 2013 Contact: Katherine E. Johnson (212) 875-5718; [email protected] ALAN GILBERT AND THE NEW YORK PHILHARMONIC ALAN GILBERT TO CONDUCT PHANTASMATA BY THE MARIE-JOSÉE KRAVIS COMPOSER-IN-RESIDENCE CHRISTOPHER ROUSE Cellist JAN VOGLER To Perform BLOCH’S SCHELOMO Program To Close with BRAHMS’S SYMPHONY NO. 1 Concluding This Season’s Survey of Brahms’s Complete Symphonies and Concertos February 21–22 Music Director Alan Gilbert will conduct the New York Philharmonic in Phantasmata by The Marie-Josée Kravis Composer-in-Residence Christopher Rouse; Bloch’s Schelomo, featuring cellist Jan Vogler; and Brahms’s Symphony No. 1 on Thursday, February 21, 2013, at 7:30 p.m. and Friday, February 22 at 11:00 a.m. Phantasmata is the first work by Christopher Rouse that the Philharmonic will perform during his two-season tenure as Composer-in-Residence. The Philharmonic will perform the World Premiere of Mr. Rouse’s Prospero’s Rooms, a Philharmonic commission, April 17–20, 2013, with Alan Gilbert conducting. Alan Gilbert said: “Chris Rouse is one of the most important composers working today. I’ve recorded a lot of his music, and it has been a very meaningful and a large part of my musical life for a long time. He has a unique voice and doesn’t leave anything to chance: he actually shapes the sound and the emotional flow of his music in a way that only great composers can. He truly writes what he hears.” Mr. Rouse said of Phantasmata: “It’s one of my rabble-rouser pieces from the earlier 1980s. -
Isang Yun Maderna, Heinz Holliger, Hans Zender, Zubin Mehta, Jesús López-Cobos, Myung-Whun Chung, and Many More
_Bara_ in Berlin in 1962. The conductors of Yun’s works have included Bruno Isang Yun Maderna, Heinz Holliger, Hans Zender, Zubin Mehta, Jesús López-Cobos, Myung-Whun Chung, and many more. It is hardly possible to list all the soloists who have mastered his very demanding scores. The connection to the tradition of Chinese-Korean court music is very clear in _Loyang_ for chamber ensemble (1962). Yun’s individual style, which is indeed obliged to Eastern-Asian idioms, emerged in _Gasa_ for violin and piano (1963) and in _Garak_ for flute and piano (1963). In _Gasa_ and _Garak_, he overlaid twelve-tone sound fields with a second, melodically dominated layer of (long sustained) main or central tones. Yun recognized Isang Yun photo © Booseyprints this long sustained tone (or sound), which "is already life itself" and – flexible within itself – contains beats, colorings, dynamic nuances, and also The Dragon from Korea ornaments (accentuated attacks, sub-beats, likewise emphasized decays), as _by Walter-Wolfgang Sparrer an essential characteristic of the East-Asian tradition. _ Isang Yun was the first composer from Eastern Asia to succeed in That he meticulously indicated in his scores the course of every individual establishing an international career based in Germany. With the Seoul tone center – Yun spoke of "main tones" – like the articulation of a word, was Cultural Prize in 1955, he received the most prestigious award conferred by new in the history of music and created certain difficulties in the execution of his South Korean homeland. He used the prize money to travel the following his imaginatively delicate, and yet in no way merely playfully demanding year, in June 1956, to Paris, where he wanted to get to know the at that time ornamental music.