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Nasher Sculpture Center's Soundings Concert Honoring President John F. Kennedy with New Work by American Composer Steven Macke
Nasher Sculpture Center’s Soundings Concert Honoring President John F. Kennedy with New Work by American Composer Steven Mackey to be Performed at City Performance Hall; Guaranteed Seating with Soundings Season Ticket Package Brentano String Quartet Performance of One Red Rose, co-commissioned by the Nasher with Carnegie Hall and Yellow Barn, moved to accommodate bigger audience. DALLAS, Texas (September 12, 2013) – The Nasher Sculpture Center is pleased to announce that the JFK commemorative Soundings concert will be performed at City Performance Hall. Season tickets to Soundings are now on sale with guaranteed seating to the special concert honoring President Kennedy on the 50th anniversary of his death with an important new work by internationally renowned composer Steven Mackey. One Red Rose is written for the Brentano String Quartet in commemoration of this anniversary, and is commissioned by the Nasher (Dallas, TX) with Carnegie Hall (New York, NY) and Yellow Barn (Putney, VT). The concert will be held on Saturday, November 23, 2013 at 7:30 pm at City Performance Hall with celebrated musicians; the Brentano String Quartet, clarinetist Charles Neidich and pianist Seth Knopp. Mr. Mackey’s One Red Rose will be performed along with seminal works by Olivier Messiaen and John Cage. An encore performance of One Red Rose, will take place Sunday, November 24, 2013 at 2 pm at the Sixth Floor Museum at Dealey Plaza. Both concerts will include a discussion with the audience. Season tickets are now available at NasherSculptureCenter.org and individual tickets for the November 23 concert will be available for purchase on October 8, 2013. -
London Contemporary Orchestra: Other Worlds Wednesday 31 October 2018 8Pm, Hall
London Contemporary Orchestra: Other Worlds Wednesday 31 October 2018 8pm, Hall Giacinto Scelsi Uaxuctum: The Legend of the Maya City, destroyed by the Maya people themselves for religious reasons UK premiere interval 20 minutes John Luther Adams Become Ocean London Contemporary Orchestra and Choir Robert Ames conductor Universal Assembly Unit art direction Artrendex artificial intelligence London Contemporary Orchestra and Universal Assembly Unit are grateful to Arts Council England for their support for the visual elements of this concert Part of Barbican Presents 2018–19 Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. Please remember that to use our induction loop you should switch your hearing aid to T setting on entering the hall. If your hearing aid is not correctly set to T it may cause high-pitched feedback which can spoil the enjoyment of your fellow audience members. We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it with a handkerchief. The City of London If anything limits your enjoyment please let us know Corporation is the founder and during your visit. Additional feedback can be given principal funder of online, as well as via feedback forms or the pods the Barbican Centre located around the foyers. -
Britten Connections a Guide for Performers and Programmers
Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman. -
Download the Concert Programme (PDF)
London Symphony Orchestra Living Music Thursday 18 May 2017 7.30pm Barbican Hall Vaughan Williams Five Variants of Dives and Lazarus Brahms Double Concerto INTERVAL Holst The Planets – Suite Sir Mark Elder conductor Roman Simovic violin Tim Hugh cello Ladies of the London Symphony Chorus London’s Symphony Orchestra Simon Halsey chorus director Concert finishes approx 9.45pm Supported by Baker McKenzie 2 Welcome 18 May 2017 Welcome Living Music Kathryn McDowell In Brief Welcome to tonight’s LSO concert at the Barbican. BMW LSO OPEN AIR CLASSICS 2017 This evening we are joined by Sir Mark Elder for the second of two concerts this season, as he conducts The London Symphony Orchestra, in partnership with a programme of Vaughan Williams, Brahms and Holst. BMW and conducted by Valery Gergiev, performs an all-Rachmaninov programme in London’s Trafalgar It is always a great pleasure to see the musicians Square this Sunday 21 May, the sixth concert in of the LSO appear as soloists with the Orchestra. the Orchestra’s annual BMW LSO Open Air Classics Tonight, after Vaughan Williams’ Five Variants of series, free and open to all. Dives and Lazarus, the LSO’s Leader Roman Simovic and Principal Cello Tim Hugh take centre stage for lso.co.uk/openair Brahms’ Double Concerto. We conclude the concert with Holst’s much-loved LSO WIND ENSEMBLE ON LSO LIVE The Planets, for which we welcome the London Symphony Chorus and Choral Director Simon Halsey. The new recording of Mozart’s Serenade No 10 The LSO premiered the complete suite of The Planets for Wind Instruments (‘Gran Partita’) by the LSO Wind in 1920, and we are thrilled that the 2002 recording Ensemble is now available on LSO Live. -
Julian Anderson
JULIAN ANDERSON HEAVEN IS SHY OF EARTH THE COMEDY OF CHANGE SUSAN BICKLEY LONDON SINFONIETTA BBC SYMPHONY ORCHESTRA & CHORUS OLIVER KNUSSEN Julian Anderson JULIAN ANDERSON (b. 1967) The Comedy of Change (2009) 23:48 for chamber ensemble of 12 players 1 I. 2:11 2 II. – 2:47 3 III. 1:55 4 IV. – 2:31 5 V. 3:39 6 VI. 5:30 7 VII. 5:15 Heaven is Shy of Earth (2006/2009–10) 38:32 for mezzo-soprano, chorus & orchestra 8 Intrada 3:10 9 Kyrie 5:07 10 Gloria (with Bird) 6:59 11 Quam dilecta tabernacula tua 5:08 12 Sanctus 8:06 13 Agnus Dei 10:02 London Sinfonietta (1–7) Susan Bickley, mezzo-soprano (9–13) BBC Symphony Chorus (9, 10, 12, 13) BBC Symphony Orchestra (8–13) Oliver Knussen, conductor hen Julian Anderson was commissioned to write a substantial work for solo Wmezzo-soprano, chorus and orchestra for the 2006 BBC Proms, the stage was set for a large-scale summation of his recent musical concerns. Anderson would be able to revisit the communal expressive ideal of several recent works for unaccompanied choir in the context of his by now well-established orchestral style, with its characteristic integration of lyrical simplicity and joyous complexity. The solo female voice, meanwhile, suggested a new and often dramatic presence – an individual consciousness at the heart of one of Anderson’s typical evocations of the natural world. Clearly, the choice of texts would be a central decision. Anderson had set poems by Emily Dickinson before, and now found in her visionary eccentricity a compelling expression of nature’s abundance as a kind of secular miracle. -
School of Music 2016–2017
BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Music 2016–2017 School of Music 2016–2017 BULLETIN OF YALE UNIVERSITY Series 112 Number 7 July 25, 2016 BULLETIN OF YALE UNIVERSITY Series 112 Number 7 July 25, 2016 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Goff-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 3rd Floor, 203.432.0849. -
CHARLES NEIDICH · Clarinetist/Conductor Biography
CHARLES NEIDICH · Clarinetist/Conductor Biography Charles Neidich (U.S.A.) Hailed by the New Yorker as "a master of his instrument and beyond a clarinetist” Charles Neidich has been described as one of the most mesmerizing musicians performing before the public today. He regularly appears as soloist and as collaborator in chamber music programs with leading ensembles including the Saint Louis Symphony, Minneapolis Symphony, I Musici di Montreal, Tafelmusik, Handel/Haydn Society, Royal Philharmonic, Deutsches Philharmonic, MDR Symphony, Yomiuri Symphony, National Symphony of Taiwan, and the Juilliard, Guarneri, Brentano, American, Mendelssohn, Carmina, Colorado, and Cavani String Quartets. He is currently a member of the New York Woodwind Quintet and a member emeritus of the Orpheus Chamber Orchestra. Charles Neidich has performed throughout Europe, Asia, and the United States, and is a sought after participant at many summer festivals such as the Marlboro and Sarasota festivals in the USA, the Orford and Domaines Forget festivals in Canada, BBC Proms in England, Festival Consonances and Pontivy in France, Corsi Internazionali di Perfezionamento in Italy, Kuhmo, Crusell Week, Turku, and Korsholm festivals in Finland, the Apeldoorn Festival in Holland, Music from Moritzburg in Germany, the Kirishima and Lilia summer festivals in Japan, and the Beijing Festival in China. When Charles Neidich began studying clarinet with his father, Irving Neidich at the age of 7, he had already started piano lessons with his mother, Litsa Gania Neidich. He continued studying both instruments, but the clarinet gradually won out, and he went at the age of 17 to continue studying with the noted clarinet teacher, Leon Russianoff. -
Development Manager
PRINCIPAL TRUMPET – ROLE DESCRIPTION Instrument The London Sinfonietta seeks an outstanding musician to join the ensemble as Principal Trumpet. At this time, we actively encourage people from diverse backgrounds to join our organisation and we encourage applications from people that are currently underrepresented in the orchestral sector. About the organisation The London Sinfonietta is one of the world’s leading contemporary music ensembles. Formed in 1968, our commitment to making new music has seen us commission 400 works and premiere hundreds more. Our ethos is to commission and perform music from the best composers living today, performed by world-class musicians. We are a bold and innovative organisation that seeks to engage and inspire a world-wide audience by curating ambitious and risk-taking concert formats and projects. From musical messages to the government, to operas about climate change – we’re not afraid to make a statement. We regularly collaborate with other musicians, artists and contemporary art forms which helps us reach a wider audience. The organisation is committed to involving the public in its work – it is renowned for its education & community programme, which has evolved over the past 35 years. Resident at Southbank Centre and Artistic Associate at Kings Place, with a busy touring schedule across the UK and abroad, our core eighteen Principal Players represent some of the best musicians in the world. Across our history, we have worked with many of the greatest living creators and interpreters of new music. The ensemble has just completed its 50th anniversary season, and celebrated its past relationship with composers of the post-war period including Stockhausen, Ligeti, Henze, Berio, Xenakis and Gorecki. -
Philippe Graffin
Cobra014- Pag.20 Cobra014- Pag.1 COBRA0014 Cobra014- Pag.2 Cobra014- Pag.19 Recording dates: april 27,28,29 2005 Stichting Masterclass Apeldoorn; Recording location: Doopsgezinde kerk Deventer Annette Brattinga-Aeneae Venema Recording: Mediatrack Mimi Koppenol-Paskova Producer: Tom Peeters Elleke Kuiper Editing & Mastering: Arnout Probst Willem Schroeijers Cover photography : Jo Brunenberg Mart Sonneveld Graphic design and Herman van de Vijver additional photography: Egbert Luys,Mediatrack Cobra logo: Angenelle Thijssen www.masterclass-apeldoorn.nl Cobra014- Pag.18 Cobra014- Pag.3 What is the Internationale Stichting Masterclass Apeldoorn? What does one do if one has a big country house in the middle of nowhere,a music room and two gr and piano’s ? One organises a master class for pianists. And that is exactly what Annette Brattinga- Aeneae Venema has done in 1987. Olivier Messiaen (1908 – 1992) She asked her good friend Jerzy Romaniuk to give the lessons and shortly the rooms wer e over t a ken by youngsters who learned and practised in this welcoming house at the border of woodland and he a t h e r .And day after day the sound of piano’s mingled with the wind in the trees and the shriek of Quatuor pour la fin du temps (1941) (53:55 min) the buzzard. However,very soon the applicants were too many for the music room and Annette turned to the 1. Liturgie de cristal (2:40) Orpheus theatre. Its director was only too glad to give her the opportunity to liven up the musical scene 2. Vocalise,pour l'Ange qui annonce la fin du Temps (5:38) in Apeldoorn in the quiet month of August,which resulted in the foundation of the “Internationale 3. -
The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project
The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project PHILIP C. BROWN Interviewed by: Charles Stuart Kennedy Initial interview date: January 18, 2012 Copyright ADST 2016 TABLE OF CONTENTS Background Born in Massachusetts; raised primarily in Pennsylvania College of Wooster, Ohio; Fletcher School of Law and Diplomacy Operation Crossroads Africa Marriage Washington, DC; Voice of America; Africa news room 1965 Entered the Foreign Service, USIA 1965 State Department: Foreign Service Institute (FSI): 1965 French language training Dakar, Senegal: USIA: Junior Officer Trainee 1966-1967 President Leopold Senghor French presence Lebanese Festival of Negro Arts John McKesson Ambassador William R. Rivkin Environment Cultural Center operations Recreation Islam Douala, Cameroon: Branch Public Affairs Officer 1967-1968 Environment Cultural Center operations Religions French “cooperants” French influence Institute of International Education Biafra War 1 Voice of America Birth of daughter Yaoundé, Cameroon: Cultural Affairs Officer 1968-1970 Environment President Ahmadou Ahidjo Tribal influence French presence Relations Political climate Ambassador Robert Payton Embassy staff Living arrangements Jim Bishop Recreation Visitors Program Ambassador Lewis Hoffacker Secretary and Mrs. Rogers visit Algiers, Algeria: Cultural Affairs Officer 1970-1972 American Interests Section, Embassy of Switzerland 1967 Six Day War Economic relations Political relations US Export-Import Bank loans El Paso Natural Gas William Eagleton Scholarship/Visitors’ -
English National Ballet Solstice Southbank Centre's Royal Festival Hall, London 16 - 26 June 2021
English National Ballet Solstice Southbank Centre's Royal Festival Hall, London 16 - 26 June 2021 www.ballet.org.uk/solstice This summer (16 - 26 June) English National Ballet presents Solstice, a programme of diverse repertoire highlights, at the Southbank Centre’s Royal Festival Hall. Solstice features highlights from classics like Swan Lake, The Sleeping Beauty, and Le Corsaire as well as a passionate duet from Broken Wings, Annabelle Lopez Ochoa’s ballet inspired by the life of Frida Kahlo, Stina Quagebeur’s Hollow and joyous steps from Coppélia. There are moments of reflection and tenderness in extracts from Akram Khan’s Dust and Ben Stevenson’s Three Preludes, set to Rachmaninov’s music and the programme concludes with William Forsythe’s Playlist (Track 1, 2), a high-energy work set to neo-soul and house music. Tamara Rojo CBE, English National Ballet’s Artistic Director said: “I'm so pleased we will be performing at the Royal Festival Hall this summer. After so long without performing in theatres it's wonderful to have the opportunity to have so many of the Company back on stage showcasing highlights from English National Ballet's much loved and diverse repertoire.” Accompanied by live music performed by musicians of English National Ballet Philharmonic, Solstice follows English National Ballet’s return to the stage at Sadler’s Wells earlier this month. All rehearsals and performances are in strict compliance with the UK Government’s COVID- 19 guidance Photos are available to download here using the login details below: Login: press Password: ENBPress2021 Watch the trailer for Solstice here All rehearsals and performances are in strict compliance with the UK Government’s COVID- 19 guidance. -
The Late Choral Works of Igor Stravinsky
THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY _________________________________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia ________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts ____________________________ by RUSTY DALE ELDER Dr. Michael Budds, Thesis Supervisor DECEMBER 2008 The undersigned, as appointed by the dean of the Graduate School, have examined the thesis entitled THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY presented by Rusty Dale Elder, a candidate for the degree of Master of Arts, and hereby certify that, in their opinion, it is worthy of acceptance. _________________________________________ Professor Michael Budds ________________________________________ Professor Judith Mabary _______________________________________ Professor Timothy Langen ACKNOWLEDGEMENTS I would like to express my deepest gratitude to each member of the faculty who participated in the creation of this thesis. First and foremost, I wish to recognize the ex- traordinary contribution of Dr. Michael Budds: without his expertise, patience, and en- couragement this study would not have been possible. Also critical to this thesis was Dr. Judith Mabary, whose insightful questions and keen editorial skills greatly improved my text. I also wish to thank Professor Timothy Langen for his thoughtful observations and support. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS……………………………………………………………...ii ABSTRACT……………………………………………………………………………...v CHAPTER 1. INTRODUCTION: THE PROBLEM OF STRAVINSKY’S LATE WORKS…....1 Methodology The Nature of Relevant Literature 2. “A BAD BOY ALL THE WAY”: STRAVINSKY’S SECOND COMPOSITIONAL CRISIS……………………………………………………....31 3. AFTER THE BOMB: IN MEMORIAM DYLAN THOMAS………………………45 4. “MURDER IN THE CATHEDRAL”: CANTICUM SACRUM AD HONOREM SANCTI MARCI NOMINIS………………………………………………………...60 5.