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Deconstructing David Lang's the Anvil Chorus
Columbus State University CSU ePress Theses and Dissertations Student Publications 2014 Deconstructing David Lang's The Anvil Chorus Brandon M. Smith Columbus State University Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Education Commons Recommended Citation Smith, Brandon M., "Deconstructing David Lang's The Anvil Chorus" (2014). Theses and Dissertations. 113. https://csuepress.columbusstate.edu/theses_dissertations/113 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. Deconstructing David Lang's The Anvil Chorus by Brandon Michael Smith A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program for Honors in the Degree of Bachelor of Music in Music Education College of the Arts Columbus State University Thesis Advisor Committee Member Dr. Sean Powell Honors Committee Member J&^^ f Date [g^SjLS ' Dr. Susan Tomkiewicz Honors Program Director ^trkO^h^C^^ Date £&Q indy Ticknor 1 Usually, when a piece of music is taken out of context, that is, when it is learned and performed without studying the piece, the composer, the musical genre, or the historical significance, the understanding of it for the performer is narrow and limited and the performance is less than ideal. This leads to a substandard realization of the music. Contrarily, a musician should integrate research with the learning process as to enhance the comprehensive understanding of the piece, which ultimately results in a high level of performance. This idea is important for the complex and extensive musical repertoire of the twentieth and twenty-first centuries. -
Network Notebook
Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more. -
From the Editor Contact Elisabeth at [email protected]
British Flute Society @BritishFluteSoc on Facebook @TheFluteEditor From the Editor Contact Elisabeth at [email protected] s December arrives, members of the British Flute Society can reflect on another successful year. In 2013, we have been privileged to enjoy exceptional recitals from our various Premier Flautists; our annual competitions continue to grow in both popularity and attainment, and there has been a growing involvement from Aour regional representatives, many of whom have organised local events. We are, as always, greatly indebted to many people: artists, trade specialists, and flute-loving volunteers, all of whom have made the events of the past year possible. In 2014 the BFS-RAM Premier Flautist recital series will continue, starting with the acclaimed duo of Andy Findon and Geoff Eales who will perform theirDancing Flute programme at the Duke’s Hall, Royal Academy of Music, on 16 February. Most excitingly, planning for the Convention is also now well under way, thanks to the hard work of Convention Director Carla Rees, and this issue unveils a preview of some of the artists who will be joining us in Warwick in August next year. Finally, on a personal note, I would like to thank everyone who has contributed to PAN over the past year. Without the generous commitment of time and expertise freely given by contributors and reviewers from around the world, this magazine could not exist. I am very grateful for your help and your flute- playing friendship. I hope you enjoy the December edition of PAN. Elisabeth Hobbs Editor December -
Female Composer Segment Catalogue
FEMALE CLASSICAL COMPOSERS from past to present ʻFreed from the shackles and tatters of the old tradition and prejudice, American and European women in music are now universally hailed as important factors in the concert and teaching fields and as … fast developing assets in the creative spheres of the profession.’ This affirmation was made in 1935 by Frédérique Petrides, the Belgian-born female violinist, conductor, teacher and publisher who was a pioneering advocate for women in music. Some 80 years on, it’s gratifying to note how her words have been rewarded with substance in this catalogue of music by women composers. Petrides was able to look back on the foundations laid by those who were well-connected by family name, such as Clara Schumann and Fanny Mendelssohn-Hensel, and survey the crop of composers active in her own time, including Louise Talma and Amy Beach in America, Rebecca Clarke and Liza Lehmann in England, Nadia Boulanger in France and Lou Koster in Luxembourg. She could hardly have foreseen, however, the creative explosion in the latter half of the 20th century generated by a whole new raft of female composers – a happy development that continues today. We hope you will enjoy exploring this catalogue that has not only historical depth but a truly international voice, as exemplified in the works of the significant number of 21st-century composers: be it the highly colourful and accessible American chamber music of Jennifer Higdon, the Asian hues of Vivian Fung’s imaginative scores, the ancient-and-modern syntheses of Sofia Gubaidulina, or the hallmark symphonic sounds of the Russian-born Alla Pavlova. -
Suffering and Social Conscience in the Passion Genre from JS Bach's
Messiahs and Pariahs: Suffering and Social Conscience in the Passion Genre from J.S. Bach’s St. Matthew Passion (1727) to David Lang’s the little match girl passion (2007) Johann Jacob Van Niekerk A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2014 Reading Committee: Giselle Wyers, Chair Geoffrey Boers Shannon Dudley Program Authorized to Offer Degree: School of Music ©Copyright 2014 Johann Jacob Van Niekerk University of Washington Abstract Messiahs and Pariahs: Suffering and Social Conscience in the Passion Genre from J.S. Bach’s St. Matthew Passion (1727) to David Lang’s the little match girl passion (2007) Chair of the Supervisory Committee: Giselle Wyers Associate Professor of Choral Music and Voice The themes of suffering and social conscience permeate the history of the sung passion genre: composers have strived for centuries to depict Christ’s suffering and the injustice of his final days. During the past eighty years, the definition of the genre has expanded to include secular protagonists, veiled and not-so-veiled socio- political commentary and increased discussion of suffering and social conscience as socially relevant themes. This dissertation primarily investigates David Lang’s Pulitzer award winning the little match girl passion, premiered in 2007. David Lang’s setting of Danish author and poet Hans Christian Andersen’s “The Little Match Girl” interspersed with text from the chorales of Johann Sebastian Bach’s St. Matthew Passion (1727) has since been performed by several ensembles in the United States and abroad, where it has evoked emotionally visceral reactions from audiences and critics alike. -
30 July 2021 Page 1 of 13
Radio 3 Listings for 24 – 30 July 2021 Page 1 of 13 SATURDAY 24 JULY 2021 SAT 03:00 Through the Night (m000y1cq) Baroque – Music by Vivaldi and Geminiani RAI National Symphony Orchestra from Turin Nicola Benedetti (violin) SAT 01:00 Piano Flow with Lianne La Havas (m000wdkt) Vol 6: Lose yourself in an hour of piano love songs An all-Stravinsky programme with RAI National Symphony Benedetti Baroque Orchestra Orchestra and conductor Pietari Inkinen. Jonathan Swain Decca 4851891 Enthralling piano ballads from Sampha, Corrine Bailey Rae, presents. https://shop.decca.com/*/*/Baroque/6ZQK0000000 Teresa Carreño and more. 03:01 AM Johannes Brahms: Sonatas & Liebeslieder For Cello and Piano 01 00:00:51 alt‐J (artist) Igor Stravinsky (1882-1971) Emmanuelle Bertrand (cello) (Piano) Orpheus, ballet music Pascal Amoyel (piano) Performer: alt‐J RAI National Symphony Orchestra, Pietari Inkinen (conductor) Harmonia Mundi HMM902329 Duration 00:00:40 https://store.harmoniamundi.com/release/236250-emmanuelle- 03:34 AM bertrand-pascal-amoyel-johannes-brahms-sonatas-liebeslieder- 02 00:01:32 Sampha (artist) Igor Stravinsky (1882-1971) for-cello-and-piano-bonus-track-version Too Much Divertimento, from 'Le Baiser de la fée' (The Fairy's Kiss) Performer: Sampha RAI National Symphony Orchestra, Pietari Inkinen (conductor) Mangetsu – Music by Botti, Bartok, Dusman, etc Duration 00:02:53 Susan Botti (voice) 04:00 AM Airi Yoshioka (violin) 03 00:04:25 Charlotte Benton (artist) Carl Maria von Weber (1786-1826) Duo Della Lana Someone to Watch Over Me Grand duo concertant -
The Little Match Girl Passion a CONDUCTOR’S GUIDE
DAVID LANG’S the little match girl passion A CONDUCTOR’S GUIDE JOHANN JACOB VAN NIEKERK Johann Jacob Van Niekerk Assistant Professor of Music Centre College [email protected] 8 CHORAL JOURNAL Volume 56 Number 2 David Lang’s the little match girl chorus version in 2008, published passion is an unusual piece on many by Red Poppy Music and available levels. Lang (b. 1957) combines the for rent from G. Schirmer Inc. It is story of Christ’s crucifi xion—based most suitable for professional choirs on Bach’s treatment thereof in his and more experienced university and St. Matthew Passion (1727) —with the community groups. story of “The Little Match Girl,” a The passion genre is a genre that fairytale by Hans Christian Ander- extends back more than seven cen- sen that tells the harrowing tale of turies, and Lang reworks this format a little girl who freezes to death on into a vehicle that allows the audience a cold New Year’s Eve in Denmark. to not only witness the slow demise The music for the little match girl pas- of the innocent girl but more impor- sion is equally unusual. Lang’s use of tantly to feel as if they were somehow minimalist cells, expanded over fi fteen part of this injustice. It is this sense of movements, is unlike any other stan- complicity that has largely contrib- dard piece in the choral repertoire. uted to the work’s universal success. The composition, while tricky at fi rst Reactions have been astounding: on sight, eff ortlessly weaves these cells a critical level it has been lauded since into an approachable and relatable its premiere and was awarded the idiom for singers and audiences alike. -
Download This Issue As
Official Publication of the International Conference of Symphony and Opera Musicians VOLUME 56 NO. 1 MARCH 2018 Partly Sunny Skies in In This Issue San Antonio’s Wild Ride Partly Sunny Skies in By Marisa Bushman, SAS ICSOM Louisville Louisville ....................... 1 Delegate By Bert Witzel, LO ICSOM Delegate San Antonio’s Wild Ride ............................... 1 he last year has been tumultuous for the n December 2011, the Louisville Orchestra Chairperson’s Report .... 2 Musicians of the San Antonio Sympho- Inc. filed for bankruptcy and attempted to ICSOM at SphinxConnect ny. Our collective emotions have ranged President’s Report ........ 3 T reject the musicians’ contract in federal from cautious optimism to total despair as the I The Purpose and court. Upon advice of labor counsel, Liza Hirsch events of the last year have unfolded. Relevance of ICSOM Stacy Nyikos Medina, the Louisville Orchestra musicians imme- Congress Delivers a Last spring, the Mu- O’Neil Arnold diately engaged the most Tax Pay Cut to ICSOM sicians of the San An- reputable local bankrupt- Musicians ...................... 4 tonio Symphony were cy attorneys and defeated How the new law notified of a plan for a that effort. We were able affects musicians takeover of the Sym- to keep our contract and Conrad’s Concert .......... 6 phony by three of the continued to work for its Kansas City creates largest foundations in sensory-friendly concerts duration. After the con- Musicians of the San Antonio, the Tobin tract expired came an in- San Francisco Opera Endowment, the Kron- famous lockout that lasted Organize Benefit kosky Foundation, and an entire season. -
Story Time by Alex Ross the New Yorker April 28, 2014
Story Time by Alex Ross The New Yorker April 28, 2014 Zankel Hall, the coolly futuristic space beneath the main auditorium of Carnegie Hall, opened a decade ago, amid what turned out to be a golden age of adventurous programming at the Carnegie complex. John Adams oversaw a crazyquilt festival; farseeing composers like Frederic Rzewski and Meredith Monk shared space with Youssou N’Dour and Ustad Vilayat Khan; John Cage and Morton Feldman, musical leaders of the heroic midcentury generation that also produced Abstract Expressionism, were celebrated more than five decades after their first meeting, which took place in the Carnegie lobby, as both men fled a performance of Rachmaninoff’s “Symphonic Dances.” These days, Carnegie follows a more conservative line: Rachmaninoff takes precedence over Cage and Feldman. But Zankel remains a welcoming space for wayward artists, and this month it will host “Collected Stories,” a sixconcert series curated by the Pulitzer Prizewinning composer David Lang, who occupies the Richard and Barbara Debs Composer’s Chair at Carnegie. Lang explores the various ways in which music suggests a narrative: each program is tagged with a topic (“hero,” “spirit,” “love/loss,” “travel,” “(post)folk,” “memoir”), and yet each presents a sharp internal contrast, with seemingly disparate styles juxtaposed. The tone is set by the first event, at which Benjamin Bagby’s bardic recitation of “Beowulf” will give way to the barbaric yawps of Harry Partch, who found an epic breadth in nineteenthirties hobo culture. In later concerts, audiences will hear “Passio,” Arvo Pärt’s impassive meditation on the Crucifixion of Christ; a spell of Tuvan throatsinging; folktinged pieces by Julia Wolfe, Nico Muhly, and Donnacha Dennehy; and, in a detour back into the Romantic mainstream, Liszt’s sprawling pianistic travelogue “Années de Pèlerinage.” Such groups as Alarm Will Sound, Ensemble Signal, and the earlymusic collective TENET participate; Louis Lortie, in a threehour marathon, confronts the Liszt. -
Northwestern University Bienen School of Music Fanfare Fall 2018
HENRY AND LEIGH BIENEN SCHOOL OF MUSIC FALL 2018 152461.indd 1 9/17/18 2:54 PM first chair A MESSAGE FROM THE DEAN In spring 2008 Northwestern’s School Fellowships, research prizes, publication awards, major com- of Music was named in honor of retiring missions, teaching honors, and significant grants. Alumni have University president Henry S. Bienen secured positions as performers, administrators, and educa- and his wife, Leigh. We continue to be tors in leading arts and educational institutions throughout profoundly grateful for the privilege of the world. representing the excellence of Henry This past spring, the school achieved a new milestone— Bienen’s leadership. our first-ever Asia tour. From March 23 through April 1, the During the intervening decade, Northwestern University Symphony Orchestra gave concerts in the Bienen School’s many impressive Beijing, Shanghai, and Hong Kong, thrilling Chinese audiences achievements have included the unveiling of a strategic plan, and Northwestern alumni and friends with its professional cal- the establishment of the Institute for New Music as a hub for iber. For the 87 student musicians, the tour was an immensely study and performance of 20th- and 21st-century music, and valuable experience—participants have described it as the inauguration of the Skyline Piano Artists Series and the “life-changing” and “unforgettable”—with incalculable long- Robert M. and Maya L. Tichio Vocal Master Class Series. We term benefits for their professional careers. Throughout the have celebrated the 20th season of our Winter Chamber Music tour, the students were excellent representatives of Festival and the 25th season of the Segovia Classical Guitar Northwestern. -
| Generational Frontiers |
CON L’ADESIONE DEL PRESIDENTE DELLA REPUBBLICA Fondazione Ente dello Spettacolo via G. Palombini, 6 - 00165 Roma - Tel. +39.06.96519200 - Fax +39.06.96519220 [email protected] - www.tertiomillenniofilmfest.org | GENERATIONAL FRONTIERS | CON IL SOSTEGNO DI: IN COLLABORAZIONE CON: SPONSOR: 14 PROGRAMMA | PROGRAMME | Cinema Sala Trevi - Vicolo del Puttarello, 25 - Roma | | GENERATIONAL FRONTIERS | dicembre | december 2010 dicembre | december 2010 08 EVENTO SPECIALE | SPECIAL EVENT 09 VARIAZIONI SUL TEMA | 16.30 VARIATIONS ON THE THEME Intonazija. Sergej Slonimskij, kompositor 16.30 dicembre | december 2010 di | by Aleksandr Sokurov | 45’ Park Mark EVENTO SPECIALE | SPECIAL EVENT di | by Baktash Abtin | 42’ 07 EVENTO SPECIALE | SPECIAL EVENT Introduce | Introducing by Federico Pontiggia 16.30 17.30 Intonazija. Boris Averin, filolog Intonazija. Vladimir Yakunin, president OAO EVENTO SPECIALE | SPECIAL EVENT di | by Aleksandr Sokurov | 33’ Rossijskie železnye dorogi 18.15 EVENTO SPECIALE | SPECIAL EVENT di | by Aleksandr Sokurov | 45’ Intonazija. Boris Averin, filolog di | by Aleksandr Sokurov | 33’ 17.00 EVENTO SPECIALE | SPECIAL EVENT Intonazija. Arsen Kanokov, 18.30 EVENTO SPECIALE | SPECIAL EVENT president respubliki Kabardino-Balkaria WEDNESDAY Intonazija. Valerij Zor’kin, predsedatel’ 19.00 di | by Aleksandr Sokurov | 41’ | Konstituzionnogo suda Rossijskoj Federazii Intonazija. Arsen Kanokov, 18.00 di | by Aleksandr Sokurov | 50’ president respubliki Kabardino-Balkaria THURSDAY di | by Aleksandr Sokurov | 41’ Incontro con | Meeting with TESTIMONIANZE | PERSONAL STORIES | | Ornella Muti e | and Andrea Facchinetti 20.00 20.00 20.00 La morte rouge Incontro con | Meeting with TUESDAY Incontro con | Meeting with Aleksandr Sokurov di | by Víctor Erice | 32’ Mahamat-Saleh Haroun | 2010 | | | e presentazione del libro | and book presentation: Introduce | Introducing by Alberto Barbera Modera | Chairman Valerio Sammarco Osservare l’incanto. -
AAR Magazine
AMERICAN ACADEMY IN ROME MAGAZINE SPRING 2017 Welcome to the Spring 2017 issue of AAR Magazine. This issue of AAR Magazine offers a summation of a very productive year. We feature the scholars and artists in our creative community at the culmination of their research and look at how the Fellows’ Project Fund has expanded their possibilities for collaborat- ing and presenting their work in intriguing ways. We update this year’s exploration of American Classics with reports on a February conference and previews of events still to come, including an exhibition fea- turing new work by artist Charles Ray. You will also find a close look at AAR’s involvement in archaeology and details of a new Italian Fellowship sponsored by Fondazione Sviluppo e Crescita CRT. And, of course, we introduce the Rome Prize win- ners and Italian Fellows for 2017–2018! Vi diamo il benvenuto al numero “Primavera 2017” dell’AAR Magazine. Questo numero dell’AAR Magazine riassume il lavoro prodotto in un anno eccezionale. Vi presentiamo gli studiosi e gli artisti della nostra comunità creativa al culmine della loro ricerca e siamo lieti di mostrare quanto il Fellows’ Project Fund abbia ampliato le loro possibilità di collaborare e presentare le proprie opere in modo affascinante. Aggiorniamo la pan- oramica fatta quest’anno sugli American Classics con il resoconto del convegno tenutosi a febbraio e con le anticipazioni sui prossimi eventi, tra i quali una mostra con una nuova opera dell’artista Charles Ray. Daremo uno sguardo da vicino all’impegno dell’AAR nel campo dell’archeologia e alla nuova Borsa di studio per Italiani finanziata da Fondazione Sviluppo e Crescita CRT.