Louis Andriessen
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Louis Andriessen : the New Yorker
Louis Andriessen : The New Yorker http://www.newyorker.com/arts/critics/musical/2010/05/03/100503cr... MUSICAL EVENTS Louis Andriessen’s “La Commedia,” at Carnegie, and other premières. by Alex Ross MAY 3, 2010 Andriessen summons up a panorama of decadence, agony, and almost insolent joy. n November, 1969, a group of radical young Dutch musicians ran amok at the Concertgebouw, the fabled Amsterdam concert hall. At the start of a performance by the Concertgebouw Orchestra, the troublemakers, who included the composers Louis Andriessen and Reinbert de Leeuw, began making noise with nutcrackers, rattles, bicycle horns, and other devices. They also distributed leaflets denouncing the orchestra as a “status symbol of the ruling élite.” The Netherlands being both a tradition-minded and a tolerant land, the Nutcracker Action, as it was called, elicited an ambivalent response: the provocateurs were summarily ejected from the hall, but their ideas prompted much serious discussion. Forty years on, the Nutcrackers have become eminences: Andriessen is the most influential of Dutch composers, and de Leeuw, who has focussed on conducting, has held posts from Tanglewood to Sydney. Yet they haven’t quite sold out. Although Andriessen occupies the Richard and Barbara Debs Composer’s Chair at Carnegie Hall—the kind of big-money post that his younger self might have mocked—Carnegie’s recent survey of Andriessen’s work and that of his colleagues and protégés, de Leeuw among them, has revealed an undiminished capacity for making mischief. The composer still resists Romantic trappings, favoring what he has called a “terrifying twenty-first- century orchestra” of electric guitar, keyboards and Hammond organ, saxophones, bongos, and other non-Wagnerian instruments. -
Expanding Horizons: the International Avant-Garde, 1962-75
452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary. -
Symphony and Symphonic Thinking in Polish Music After 1956 Beata
Symphony and symphonic thinking in Polish music after 1956 Beata Boleslawska-Lewandowska UMI Number: U584419 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U584419 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Declaration This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signedf.............................................................................. (candidate) fa u e 2 o o f Date: Statement 1 This thesis is the result of my own investigations, except where otherwise stated. Other sources are acknowledged by footnotes giving explicit references. A bibliography is appended. Signed:.*............................................................................. (candidate) 23> Date: Statement 2 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed: ............................................................................. (candidate) J S liiwc Date:................................................................................. ABSTRACT This thesis aims to contribute to the exploration and understanding of the development of the symphony and symphonic thinking in Polish music in the second half of the twentieth century. -
Bergzemlinsky - Berg - Busoni Zzt Webern - Zemlinsky 345 Lieder Katrien Baerts Reinbert De Leeuw Het Collectief
BERG - ZEMLINSKY LIEDER KATRIEN BAERTS REINBERT DE LEEUW HET COLLECTIEF ZIG-ZAG TERRITOIRES - ZZT345 TERRITOIRES ZIG-ZAG BERG - BUSONI ZZT WEBERN - ZEMLINSKY 345 LIEDER KATRIEN BAERTS REINBERT DE LEEUW HET COLLECTIEF When Arnold Schoenberg created the ‘Verein für Quand en 1918 Schoenberg créa sa “Société musikalische Privataufführungen’ (Society for Private d’exécutions musicales privées”, un nouveau genre Musical Performances) in 1918, a new genre came vit le jour. En effet, suite à l’absence d’un grand into being. The lack of a big orchestra necessitated orchestre, on était contraint d’écrire des versions à downsized versions of full-fledged orchestral works. effectif réduit d’oeuvres orchestrales très élaborées. These transcriptions for single strings and single Ces transcriptions pour cordes et vents “par un” doivent woodwinds owe their characteristic timbre to the leur timbre caractéristique à l’ajout subtile d’un subtle adding of harmonium and piano. Even now, harmonium et d’un piano. C’est dans leur palette limpide they are highly valued for their clear and refined et raffinée que se cache le secret du succès jamais palette. Prompted by these inspiring examples, Reinbert démenti de ces arrangements. Inspiré par ces exemples de Leeuw in his turn made his own transcriptions magnifiques, Reinbert de Leeuw lui aussi a réussi des imbued with the same spirit.With these gems on their transcriptions, animé par le même esprit. Avec ces music stand, Het Collectief returns to the dawn of petits bijoux musicaux, Het Collectief se tourne à modern music. nouveau vers l’aube de la musique moderne. ZZT BUSONI – BERG – ZEMLINSKY – WEBERN ZZT 1 Berceuse Elégiaque Opus 42 (1909) 11 Lied der Jungfrau 2’09 345 (arr. -
Concert Brian Lee, Piano Riverside Recital Hall 7:30 P.M
U N I V E R S I T Y O F I O W A S C H O O L of M U S I C UPCOMING EVENTS TROMBONE CHOIR .........................................................................................March 11, 2015 at 7:30 p.m. Riverside Recital Hall FACULTY/GUEST ARTIST..............................................................................March 23, 2015 at 7:30 p.m. Daniel Shapiro and Uriel Tsachor, piano Riverside Recital Hall Center for New Music SYMPHONY ORCHESTRA ..............................................................................March 25, 2015 at 7:30 p.m. Dr. William LaRue Jones, conductor IMU Main Lounge GUEST ARTIST ...................................................................................................March 26, 2015 at 7:30 p.m. Concert Brian Lee, piano Riverside Recital Hall 7:30 p.m. Tuesday, March 10, 2015 GUEST ARTIST ...................................................................................................March 27, 2015 at 7:30 p.m. Frank Almond, violin Riverside Recital Hall Riverside Recital Hall GUEST ARTIST ...................................................................................................March 27, 2015 at 7:30 p.m. David Gompper David Werden, euphonium UCC Recital Hall Center for New Music director A LITTLE LUNCH MUSIC .............................................................................March 27, 2015 at 12:00 p.m. UCC Breakroom Season 49 Concert XII PERCUSSION SPECTACULAR .......................................................................March 29, 2015 at 3:00 p.m. Riverside -
Curriculum Vitae
Curriculum Vitae Nathan E. Nabb, D.M. Associate Professor of Music – Saxophone Stephen F. Austin State University www.nathannabbmusic.com Contact Information: 274 Wright Music Building College of Fine Arts - School of Music Stephen F. Austin State University TEACHING EXPERIENCE Associate Professor of Saxophone Stephen F. Austin State University 2010 to present Nacogdoches, Texas Maintain and recruit private studio averaging 20+ music majors Applied saxophone instruction to saxophone majors (music education and performance) Saxophone quartets (number depending on enrollment) Private Applied Pedagogy and Repertoire for graduate saxophone students Recruitment tour performances and master classes with other wind faculty Saxophone studio class Assistant Professor of Saxophone Morehead State University 2005 to 2010 Morehead, Kentucky Maintain and recruit private studio averaging 17-22 music majors Applied saxophone instruction to saxophone majors (education, performance and jazz) Saxophone quartets (three or four depending on enrollment) Woodwind methods course (flute, clarinet and saxophone) Saxophone segment of Advanced Woodwind Methods Course Private Applied Pedagogy and Performance Practice for graduate saxophone students Guided independent study courses for graduate saxophone students Present annual clinics for Kentucky high-school saxophonists for the MSU Concert Band Clinic Present annual All-State audition preparation clinics Academic advisor for undergraduate private applied saxophonists Saxophone studio class Nathan E. Nabb Curriculum -
0912 BOX Program Notes
THE BOX–music by living composers NotaRiotous Microtonal Voices Saturday, September 12, 2009 About the composers and the music Ben Johnston Johnston began as a traditional composer of art music before working with Harry Partch, helping the senior musician to build instruments and use them in the performance and recording of new compositions. After working with Partch, Johnston studied with Darius Milhaud at Mills College. It was, in fact, Partch himself who arranged for Johnston to study with Milhaud. Johnston, beginning in 1959, was also a student of John Cage, who encouraged him to follow his desires and use traditional instruments rather than electronics or newly built ones. Unskilled in carpentry and finding electronics then unreliable, Johnston struggled with how to integrate microtonality and conventional instruments for ten years, and struggled with how to integrate microtones into his compositional language through a slow process of many stages. However, since 1960 Johnston has used, almost exclusively, a system of microtonal notation based on the rational intervals of just intonation. Other works include the orchestral work Quintet for Groups (commissioned by the St. Louis Symphony Orchestra), Sonnets of Desolation (commissioned by the Swingle Singers), the opera Carmilla, the Sonata for Microtonal Piano (1964) and the Suite for Microtonal Piano (1977). Johnston has also completed ten string quartets to date. He has received many honors, including a Guggenheim Fellowship in 1959, a grant from the National Council on the Arts and Humanities in 1966, and two commissions from the Smithsonian Institution. Johnson taught composition and theory at the University of Illinois at Urbana-Champaign from 1951 to 1986 before retiring to North Carolina. -
City Research Online
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by City Research Online City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2019). The Historiography of Minimal Music and the Challenge of Andriessen to Narratives of American Exceptionalism (1). In: Dodd, R. (Ed.), Writing to Louis Andriessen: Commentaries on life in music. (pp. 83-101). Eindhoven, the Netherlands: Lecturis. ISBN 9789462263079 This is the published version of the paper. This version of the publication may differ from the final published version. Permanent repository link: http://openaccess.city.ac.uk/22291/ Link to published version: Copyright and reuse: 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. City Research Online: http://openaccess.city.ac.uk/ [email protected] The Historiography of Minimal Music and the Challenge of Andriessen to Narratives of American Exceptionalism (1) Ian Pace Introduction Assumptions of over-arching unity amongst composers and compositions solely on the basis of common nationality/region are extremely problematic in the modern era, with great facility of travel and communications. Arguments can be made on the bases of shared cultural experiences, including language and education, but these need to be tested rather than simply assumed. Yet there is an extensive tradition in particular of histories of music from the United States which assume such music constitutes a body of work separable from other concurrent music, or at least will benefit from such isolation, because of its supposed unique properties. -
Regen-Kanon" (Sphären, IV)
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2011 Sound image and organic form in Höller's "Regen-Kanon" (Sphären, IV). Adriana Guzman 1977- University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Guzman, Adriana 1977-, "Sound image and organic form in Höller's "Regen-Kanon" (Sphären, IV)." (2011). Electronic Theses and Dissertations. Paper 551. https://doi.org/10.18297/etd/551 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. SOUND IMAGE AND ORGANIC FORM IN HOLLER'S "REGEN-KANON" (SPHAREN, IV) By Adriana Guzman B.S., Pontificia Universidad Javeriana, 2003 A Thesis Submitted to the Faculty of the School of Music of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Music Division of Music Theory and Composition School of Music University of Louisville Louisville, Kentucky May 2011 Copyright 2011 by Adriana Guzman All rights reserved SOUND IMAGE AND ORGANIC FORM IN HOLLER'S "REGEN-KANON" (SPHAREN, IV) By Adriana Guzman B.S., Pontificia Universidad Javeriana, 2003 A Thesis Approved on April 21, 2011 By the following Thesis Committee: Thesis (rl)irector ii DEDICATION This thesis is dedicated to my parents Maria Doris Umana And Hernan Guzman PIes ted Who have given me invaluable support and love. -
An Analysis of the Lost Art of Letter Writing By
u. 0 >> ~.X 1-tu ., 0 (j) z :I 0 a:o ~ m L'\J >- G :!! (/) c: ... z o a :l 0 a:: UNIVERSITY OF SYDNEY Con Music Rare Book Q 784.272 0281 1 Thesis An analysis of "The Lost art of letter writing" by Brett Dean THE UNIVERSITY OF SYDNEY COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51(2) of the Copyright Act permits an authorised officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorised officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author's moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author's reputation For further information contact the University's Director of Copyright Services sydney.edu.au/copyright AN ANALYSIS OF 'THE LOST ART OF LETTER WRITING' BY BRETT DEAN Clare Miller A thesis submitted in partial fulfilment of requirements for the degree of Master of Music (Music Performance) Sydney Conservatorium of Music University of Sydney 2010 II I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. -
New Music Festival November 5-9, 2018
University of Louisville School of Music Presents the Annual New Music Festival November 5-9, 2018 FEATURED GUEST COMPOSER Amy Williams GUEST ARTISTS Sam Pluta Elysian Trombone Consort A/Tonal Ensemble New Music Festival November 5-9, 2018 Amy Williams featured composer Table of Contents Greetings From Dr. Christopher Doane, Dean of the School of Music 3 Biography Amy Williams, Featured Composer 5 Sunday, November 4 Morton Feldman: His Life & Works Program 6 Monday, November 5 Faculty Chamber Music Program 10 Tuesday, November 6 Electronic Music Program 18 Wednesday, November 7 University Symphony Orchestra Program 22 Personnel 25 Thursday, November 8 Collegiate Chorale & Cardinal Singers Program 26 Personnel 32 Friday, November 9 New Music Ensemble & Wind Ensemble Program 34 Personnel 40 Guest Artist Biographies 41 Composer Biographies 43 1 Media partnership provided by Louisville Public Media 502-852-6907 louisville.edu/music facebook.com/uoflmusic Additional 2018 New Music Festival Events: Monday, November 5, 2018 Music Building Room LL28 Computer Music Composition Seminar with Sam Pluta Wednesday, November 7, 2018 Music Building Room 125 Composition Seminar with Amy Williams Thursday, November 8, 2018 Bird Recital Hall Convocation Lecture with Amy Williams To access the New Music Festival program: For Apple users, please scan the accompanying QR code. For Android users, please visit www.qrstuff.com/scan and allow the website to access your device’s camera. The New Music Festival Organizing Committee Dr. John Ritz, chair Dr. Kent Hatteberg Professor Kimcherie Lloyd Dr. Frederick Speck Dr. Krzysztof Wołek 2 The School of Music at the University of Louisville is strongly identified with the performance of contemporary music and the creation of new music. -
To Download a PDF of the Concert Program
NewMusic 2020 NewCollege 2021 WORKERS UNION : MUSIC OF LOUIS ANDRIESSEN AND NIK BÄRTSCH SATURDAY, MARCH 20, 2021 NewMusicNewCollege Mark Dancigers, Director R. L. Silver, Producer WORKERS UNION : MUSIC OF LOUIS ANDRIESSEN AND NIK BÄRTSCH Saturday, March 20, 2021 • 5 p.m. PepsiCo Arcade • New College of Florida Event Sponsor: Bernard Friedland PROGRAM Louis Andriessen (b. 1939) Workers Union (1977) Nik Bärtsch (b. 1971) Modul 22 (2002) Musicians: Peter Carney – Saxophone Lee Collings – Flute Mark Dancigers – Electric Guitar Rachel Halvorson – Viola Ash Hoffman – Cello John Miller – Bass Aaron Nix—Drums R.L. Silver – Synthesizer Check out around a hundred videos of other New Music New College concerts on our YouTube channel. PROGRAM NOTE Louis Andriessen’s startling “Workers Union” is a score constructed like no other. Each player performs from the same score, which uses a single staff line to designate the middle register of the player’s instrument–midway between the lowest and highest notes. The music is written with detailed rhythms and a clear indication of pitch direction—that is, higher or lower notes—but no precise pitches are indicated for anyone. At first, reading this kind of notation is disorienting. Gradually, as the performer becomes more accustomed to this system of making music, Andriessen’s vision and intent become clearer. When a group of players starts putting it together, there is an electric energy. Written in 1975 for “any loud sounding group of instruments,” Andriessen’s piece showcases elements of his musical language that would become recognizable features in future pieces. The harmony is non-functional and dissonant; unison lines are heavily favored, and the rhythmic language is often aggressive.