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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. -
Liner Notes, Visit Our Web Site: Recording: March 22, 2012, Philharmonie in Berlin, Germany
21802.booklet.16.aas 5/23/18 1:44 PM Page 2 CHRISTIAN WOLFF station Südwestfunk for Donaueschinger Musiktage 1998, and first performed on October 16, 1998 by the SWF Symphony Orchestra, conducted by Jürg Wyttenbach, 2 Orchestra Pieces with Robyn Schulkowsky as solo percussionist. mong the many developments that have transformed the Western Wolff had the idea that the second part could have the character of a sort classical orchestra over the last 100 years or so, two major of percussion concerto for Schulkowsky, a longstanding colleague and friend with tendencies may be identified: whom he had already worked closely, and in whose musicality, breadth of interests, experience, and virtuosity he has found great inspiration. He saw the introduction of 1—the expansion of the orchestra to include a wide range of a solo percussion part as a fitting way of paying tribute to the memory of David instruments and sound sources from outside and beyond the Tudor, whose pre-eminent pianistic skill, inventiveness, and creativity had exercised A19th-century classical tradition, in particular the greatly extended use of pitched such a crucial influence on the development of many of his earlier compositions. and unpitched percussion. The first part of John, David, as Wolff describes it, was composed by 2—the discovery and invention of new groupings and relationships within the combining and juxtaposing a number of “songs,” each of which is made up of a orchestra, through the reordering, realignment, and spatial distribution of its specified number of sounds: originally between 1 and 80 (with reference to traditional instrumental resources. -
2 Fifteenth Berkeley Festival & Exhibition 2
2 FIFTEENTH BERKELEY FESTIVAL & EXHIBITION 2 june 3–10, 2018 Festival Advisory Committee, Board of Directors & Staff ...............................................................................................2 Festival Supporters ...........................................................................................................................................................3 Welcome ..........................................................................................................................................................................6 Festival Calendar .............................................................................................................................................................8 Main Stage Players Sunday, June 3 Seattle Historical Arts for Kids ...............................................................................................................................14 California Bach Society ..........................................................................................................................................17 Monday, June 4 Christine Brandes & Elizabeth Blumenstock ..........................................................................................................23 Tuesday, June 5 San Francisco Conservatory Baroque Ensemble Students and Alumni ...................................................................27 Davis Senior High School Baroque Ensemble ........................................................................................................30 -
Feldman the Rug-Maker, Weaving for John Cage by Meg Wilhoite
Feldman the Rug-maker, Weaving For John Cage By Meg Wilhoite In an interview with Jan Williams, Morton Feldman described his fascination with ancient Middle Eastern patterned rugs: “In older oriental rugs the dyes are made in small amounts and so what happens is that there is an imperfection throughout the rug of changing colors of these dyes. Most people feel that they are imperfections. Actually it is the refraction of the light on these small dye batches that makes the rugs wonderful. I interpreted this as going in and out of tune. There is a name for that in rugs - it's called abrash - a change of colors that leads us into pieces like Instruments III [1977] which was the beginning of my rug idea.”1 There is an intimate connection between the rugs Feldman admired and many of the pieces he wrote in the last fifteen or so years of his life. These rugs set up an overall effect of sameness by systematically repeating a set of patterns, while at the same time disrupting this effect by slightly altering the components of those patterns. Similarly, Feldman wrote long works that produce a sense of skewed sameness by writing musical patterns that repeat many times, but change in intonation and/or rhythm almost imperceptibly. I present here a picture of Feldman as meticulous rug-maker, as he wove together what pianist Siegfried Mauser referred to as “an image of discreetly arranged musical sound and form.”2 Thinking of Feldman’s lengthy late works in terms of rug weaving provides us with a useful framework on which to hang both small and large-scale analyses of his music. -
Cellist and Inter-Disciplinary Artist Anton Lukoszevieze Is One of the Most Diverse Performers of His Generation and Is Notable
Cellist and inter-disciplinary artist Anton Lukoszevieze is one of the most diverse performers of his generation and is notable for his performances of avant-garde, experimental and improvised music. Anton has given many performances at numerous international festivals throughout Europe and the USA (Maerzmusik, Donaueschingen, Wien Modern, GAS, Transart, Ultima) and BBC Radio 3. Deutschlandfunk, Berlin produced a radio portrait of him in September, 2003. Anton has also performed concerti with the City of Birmingham Symphony Orchestra at the 2001 Aldeburgh festival, the Netherlands Radio Symphony Orchestra and the BBC Scottish Symphony Orchestra at the Tectonics Festival, as well as performances with contemporary vocal ensemble Exaudi and King’s College Choir, Cambridge. He is notable for his use of the curved bow (BACH-Bogen), which he is using to develop new repertoire for the cello. From 2005-7 he was New Music Fellow at King’s College, Cambridge and Kettle’s Yard Gallery. Anton is the subject of seven films by the renowned artist-filmmaker Jayne Parker. In addition he acted and performed in 3 films by the artist Beatrice Gibson. From 2003-14 he was a member of Zeitkratzer and in 2008 made his contemporary dance debut with the Vincent Dance Company in Broken Chords, Dusseldorf. His compositions have been performed by Apartment House, Exaudi, Rhodri Davies, Luce Mense, Mark Knoop, Musica Nova, Tel Aviv and An Assembly. Anton has premiered and commissioned new works for cello by a multitude of contemporary composers, including Christian Wolff, Christopher Fox, Gerhard Staebler, Amnon Wolman, Kunsu Shim, Laurence Crane, Richard Ayres, Phill Niblock, Sven Lyder Karhs, Jennifer Walshe, Claudia Molitor, Rytis Mažulis, Arturas Bumšteinas, Ričardis Kabelis, Juste Janulytė, Richard Emsley, James Saunders, John Lely, Tim Parkinson, Alwynne Pritchard, Peter Eötvös, Egidija Medekšaite, Joseph Kudirka, Benedict Drew, Bryn Harrison, Joseph Kudirka, Mathew Adkins. -
The Scratch Orchestra and Visual Arts Michael Parsons
The Scratch Orchestra and Visual Arts Michael Parsons Leonardo Music Journal, Vol. 11, Not Necessarily "English Music": Britain's Second Golden Age. (2001), pp. 5-11. Stable URL: http://links.jstor.org/sici?sici=0961-1215%282001%2911%3C5%3ATSOAVA%3E2.0.CO%3B2-V Leonardo Music Journal is currently published by The MIT Press. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/mitpress.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Sat Sep 29 14:25:36 2007 The Scratch Orchestra and Visual Arts ' The Scratch Orchestra, formed In London in 1969 by Cornelius Cardew, Michael Parsons and Howard Skempton, included VI- sual and performance artists as Michael Parsons well as musicians and other partici- pants from diverse backgrounds, many of them without formal train- ing. -
Experimental
Experimental Discussão de alguns exemplos Earle Brown ● Earle Brown (December 26, 1926 – July 2, 2002) was an American composer who established his own formal and notational systems. Brown was the creator of open form,[1] a style of musical construction that has influenced many composers since—notably the downtown New York scene of the 1980s (see John Zorn) and generations of younger composers. ● ● Among his most famous works are December 1952, an entirely graphic score, and the open form pieces Available Forms I & II, Centering, and Cross Sections and Color Fields. He was awarded a Foundation for Contemporary Arts John Cage Award (1998). Terry Riley ● Terrence Mitchell "Terry" Riley (born June 24, 1935) is an American composer and performing musician associated with the minimalist school of Western classical music, of which he was a pioneer. His work is deeply influenced by both jazz and Indian classical music, and has utilized innovative tape music techniques and delay systems. He is best known for works such as his 1964 composition In C and 1969 album A Rainbow in Curved Air, both considered landmarks of minimalist music. La Monte Young ● La Monte Thornton Young (born October 14, 1935) is an American avant-garde composer, musician, and artist generally recognized as the first minimalist composer.[1][2][3] His works are cited as prominent examples of post-war experimental and contemporary music, and were tied to New York's downtown music and Fluxus art scenes.[4] Young is perhaps best known for his pioneering work in Western drone music (originally referred to as "dream music"), prominently explored in the 1960s with the experimental music collective the Theatre of Eternal Music. -
Notes on Morton Feldman's “The King of Denmark” by Eberhard Blum
Notes on Morton Feldman’s “The King of Denmark” by Eberhard Blum [English translation by Peter Söderberg] In February and March 2008 I had an exhibition, entitled “Choice & Chance”, at the Villa Oppenheim in Berlin, a centre for contemporary art. This featured some forty of my large graphite works on paper. In connection with the exhibition, the percussionist Adam Weisman gave a concert with the following programme: Morton Feldman – The King of Denmark (1964), first realization Karlheinz Stockhausen – Zyklus for a percussionist (1959) Morton Feldman – The King of Denmark (1964), second realization I have been familiar with both these compositions for a long time. Their principles of construction have influenced many considerations affecting the construction of my own graphic work (e.g., the question: What could be the nature of indeterminate or aleatoric graphic works?). Morton Feldman often talked about his piece and also described its relationship to Stockhausen’s. Through the percussionist Jan Williams I came to know Feldman’s piece in detail. During his tenure at the “Center of the Creative and Performing Arts” in Buffalo, Jan had created a version which fully corresponded to Feldman’s own conception of the work. The choice of percussion instruments, which are not determined in the score, was made by Jan according to Feldman’s proposals and wishes. More than once I observed them both in the famous percussion room – Room 100 of the Music Department at the University, where early in 1978 we first performed Feldman’s work “Why Patterns?”, then still called “Instruments 4”, for his students – the two of them comparing the sounds of small cymbals and triangles to make the right decision. -
About Half Way Through Proust
City Research Online City, University of London Institutional Repository Citation: Pace, I. (2007). “The Best Form of Government…”: Cage’s Laissez-Faire Anarchism and Capitalism. The Open Space Magazine(8/9), pp. 91-115. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/5420/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] “THE BEST FORM OF GOVERNMENT….”: CAGE’S LAISSEZ-FAIRE ANARCHISM AND CAPITALISM For Paul Obermayer, comrade and friend This article is an expanded version of a paper I gave at the conference ‘Hung up on the Number 64’ at the University of Huddersfield on 4th February 2006. My thanks to Gordon Downie, Richard Emsley, Harry Gilonis, Wieland Hoban, Martin Iddon, Paul Obermayer, Mic Spencer, Arnold Whittall and the editors of this journal for reading through the paper and subsequent article and giving many helpful comments. -
A More Attractive ‘Way of Getting Things Done’ Freedom, Collaboration and Compositional Paradox in British Improvised and Experimental Music 1965-75
A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965-75 Simon H. Fell A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2017 copyright statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trade marks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 abstract This thesis examines the activity of the British musicians developing a practice of freely improvised music in the mid- to late-1960s, in conjunction with that of a group of British composers and performers contemporaneously exploring experimental possibilities within composed music; it investigates how these practices overlapped and interpenetrated for a period. -
A Clear Apparance
A Clear Apparence 1 People in the UK whose music I like at the moment - (a personal view) by Tim Parkinson I like this quote from Feldman which I found in Michael Nyman's Experimental Music: Cage and Beyond; Anybody who was around in the early fifties with the painters saw that these men had started to explore their own sensibilities, their own plastic language...with that complete independence from other art, that complete inner security to work with what was unknown to them. To me, this characterises the music I'm experiencing by various composers I know working in Britain at the moment. Independence of mind. Independence from schools or academies. And certainly an inner security to be individual, a confidence to pursue one's own interests, follow one's own nose. I donʼt like categories. Iʼm not happy to call this music anything. Any category breaks down under closer scrutiny. Post-Cage? Experimental? Post-experimental? Applies more to some than others. Ultimately I prefer to leave that to someone else. No name seems all-encompassing and satisfying. So Iʼm going to describe the work of six composers in Britain at the moment whose music I like. To me itʼs just that: music that I like. And why I like it is a question for self-analysis, rather than joining the stylistic or aesthetic dots. And only six because itʼs impossible to be comprehensive. How can I be? Thereʼs so much good music out there, and of course there are always things I donʼt know. So this is a personal view. -
The Sublime As Model: Formal Complexity in Joyce, Eisenstein
The Sublime as Model: Formal Complexity in Joyce, Eisenstein and Stockhausen MARTIN S. WATSON A DISSERTATION SUBMITTED TO THE FACUTLY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN COMMUNICATION AND CULTURE YORK UNIVERSITY TORONTO, ONTARIO ©Martin S. Watson 2016 Abstract: “The Sublime as Model: Formal Complexity in Joyce, Eisenstein and Stockhausen,” undertakes an investigation of three paradigmatic late-modernist works in three mediums — James Joyce’s novel, Finnegans Wake, Sergei Eisenstein’s film, Ivan the Terrible I & II, and Karlheinz Stockhausen’s orchestral work, Gruppen for Three Orchestras — with an aim to demonstrating cross-media similarities, and establishing a model for examining their most salient trait: formal complexity. This model is based on a reading of the Kantian “mathematical sublime” as found in his Critique of the Power of Judgment, as well as borrowing vocabulary from phenomenology, particularly that of Edmund Husserl. After establishing a critical vocabulary based around an analysis of the mathematical sublime and a survey of the phenomenology of Husserl and Heidegger, the dissertation investigates each of the three works and many of their attendant critical works with an aim to illuminate the ways in which their formal complexity can be described, how this type of complexity is particular to late-modernism in general, and these works in particular, and what conclusions can be drawn about the structure and meaning of the works and the critical analyses they accrue. Much of this analysis fits into the rubric of the meta- critical, and there is a strong focus on critical surveys, as the dissertation attempts to provide cross-media models for critical vocabulary, and drawing many examples from extant criticism.