Musikprotokoll 1999 Programmbuch
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Download Snow in Summer
About Snow in Summer Snow in Summer is the second in a series of concerts in Nicole Ge Li and Corey Hamm’s Snow in Summer erhu and piano project (PEP). Look for many more World Premieres at the next PEP concerts at the Sound of Dragon Festival (May 9-14, 2014 Roundhouse), May 24, 2014 (UBC Barnett Hall), and for the PEP double-CD release concert (Fall 2014), and tours of China and North America (2014/2015). Over forty Canadian and Chinese composers have already agreed to write works for erhu and piano to be premiered, recorded, and toured in both Canada and China. To date, the list of composers includes James Harley, Brian Cherney, Hope Lee, David Eagle, Douglas Finch, Daniel Marshall, Elizabeth Raum, Dai Fujikura, Alexis Renault, Michael Park, John Oliver, Scott Godin, Stephen Chatman, Keith Hamel, Bob Pritchard, Jordan Nobles, Jocelyn PEP Morlock, Gabriel Dharmoo, Paul Steenhuisen, Marc Mellits, Remy Siu, Dorothy Chang, Edward Top, Chris Gainey, Dubravko Pajalic, Jared Miller, Martin Ritter, Alyssa Aska, Alfredo Piano and Erhu Project Santa Ana, Francois Houle, Owen Underhill, Vivian Fung, Hope Lee, Jian Qiang Xu, Yuan Qing Li, Ying Jiang, Joshua Chan, Si Ang Chen, I Yu Wang, Laura Pettigrew, Laurie Radford, Chan Kan Nin, Alice Ho, Emily Doolittle. Nicole Ge Li erhu Corey Hamm piano Thank you! For all their support, PEP would like to thank: The Canada Council for the Arts, Canadian Jenny Lu poetry reader Music Centre, Fairchild Media Group, Lahoo, New Leaf Weekly, World Journal, UBC School of Music, Redshift Records, Consulate General -
UBC High Notes
UBC High Notes 2009-2010 Season UBC High Notes The newsletter of the School of Music at the University of British Columbia I am delighted to welcome you to the eleventh edition of High Notes, in which we celebrate the recent activities and major achievements of faculty, staff and students in the UBC School of Music. I hope you enjoy this snapshot, which captures the diversity, quality, and impact of our activities and contributions — we are a vibrant community of creators, performers, and scholars! I warmly invite you to read about the School of Music in these pages, and to attend many of our performances in the coming months and years. The 2009-10 year is a significant anniversary for the School. UBC established its Department of Music in 1947 under the leadership of Harry Adaskin, and initially offered B.A. degrees with a major in Music. The Bachelor of Music degree was then developed with the first students entering in September 1959 (by which time the faculty also included other Canadian musical trailblazers like Jean Coulthard and Bar- bara Pentland). These 50 years have witnessed an impressive expansion in our degree programs, so that we now offer Bachelor’s, Master’s, and Doctoral programs in performance, music education, composition, music theory, musicology, and ethnomusicology. What started with a few dozen students has grown into a dynamic and diverse community of over 300 undergraduates and 130 graduate students. Music is thriving at UBC, and we continue to witness exciting increases in the size, quality, and scope of our programs. Our 50th Anniversary year is an opportunity to reflect with gratitude on the generous support the School has received from many donors, and with admiration on the countless contributions to musical performance and education that scores of faculty and thousands of alumni have made over the past five decades — throughout BC, across Canada, and around the world. -
Pace Final 26.11.15
Positions, Methodologies and Aesthetics in the Published Discourse about Brian Ferneyhough: A Critical Study Ian Pace1 Since Brian Ferneyhough achieved a degree of public recognition following the premiere of his Transit (1972-75) in March 1975 at the Royan Festival, a range of writings on and reviews of his work have appeared on a relatively regular basis. The nature, scope, style, and associated methodologies of these have expanded or changed quite considerably over the course of Ferneyhough's career––in part in line with changes in the music and its realization in performance––but nonetheless one can discern common features and wider boundaries. In this article, I will present a critical analysis of the large body of scholarly or extended journalistic reception of Ferneyhough's work, identifying key thematic concerns in such writing, and contextualizing it within wider discourses concerning new music. Several key methodological issues will be considered, in particular relating to intentionality and sketch study, from which I will draw a variety of conclusions that apply not only to Ferneyhough, but to wider contemporary musical study as well. Early Writings on Ferneyhough The first extended piece of writing about Ferneyhough's work was an early 1973 article by Elke Schaaf2 (who would become Ferneyhough's second wife),3 which deals with Epicycle (1968), Missa Brevis (1969), Cassandra's Dream Song (1970), Sieben Sterne (1970), Firecyle Beta (1969-71), and the then not-yet-complete Transit. Schaaf’s piece already exhibits one of the most -
^ Contemporary Flute Re^Al with J Visiting Artist Chenoa Anderson
Department of Music University ot Aiberca ■if*.-; 'IS® C 'WM w;- 2f • t ^ Contemporary Flute Re^al with J Visiting Artist Chenoa Anderson Monday, February 2,2004 at 8:00 Fine Arts Building ^ DEPARTMENT OF MUSIC Program Tenderness of Cranes Shirish Korde Velour! for alto flute Jocelyn Morlock (b. 1969) Foundry Paul Steenhuisen (b. 1965) Intermission Canzona di Ringraziamento (1985) Salvatore Sciarrino (b. 1947) Steam for alto flute and tape (2001) Barry Truax (b. 1947 Nidi - due pezzi per ottavino (1979) Franco Donatoni (1927-2000) Flutist Chenoa Anderson holds a Master's degree in performance from the University of British Columbia and a Bachelor's degree from the University of Toronto. She performs with Vancouver ensembles Vancouver New Music, the eMC(Experimental Music Collective) and Helikon, as well as appearing with New Works Calgary. She is also a founding member of the Alberta-based Das Chicas. A committed interpreter of some of the most electrifying and irmovative music written for flute in the 20'*' and 21" centuries, Ms. Anderson has performed abroad in such festivals such as the Darmstadt Ferienkursefur Neiie Musik (Germany) and the Gaudeamus Interpreters Biennial(The Netherlands). Chenoa Anderson appears on Standing Wave's eponymous CD, as well as the Canadian Music Centredisc Coastal Waves. She has been broadcast on the CBC, and has appeared on Radio-Canada Television. Program Notes feature performances at the Musikprotokoll Festival in Graz, Austria, at the ISCM World Music Days in Yokohama, Japan, and at the annual BONK Festival in Tampa, Florida. His music has also been performed at each of the major Canadian festivals. -
18 Contemporary Opera and the Failure of Language
18 CONTEMPORARY OPERA AND THE FAILURE OF LANGUAGE Amy Bauer Opera after 1945 presents what Robert Fink has called ‘a strange series of paradoxes to the historian’.1 The second half of the twentieth century saw new opera houses and companies pro- liferating across Europe and America, while the core operatic repertory focused on nineteenth- century works. The collapse of touring companies confined opera to large metropolitan centres, while Cold War cultural politics often limited the appeal of new works. Those new works, whether written with political intent or not, remained wedded historically to ‘realism, illusion- ism, and representation’, as Carolyn Abbate would have it (as opposed to Brechtian alienation or detachment).2 Few operas embraced the challenge modernism presents for opera. Those few early modernist operas accepted into the canon, such as Alban Berg’s Wozzeck, while revolu- tionary in their musical language and subject matter, hew closely to the nature of opera in its nineteenth-century form as a primarily representational medium. As Edward Cone and Peter Kivy point out, they bracket off that medium of representation – the character singing speech, for instance, in an emblematic translation of her native tongue – to blur diegetic song, ‘operatic song’ and a host of other conventions.3 Well-regarded operas in the immediate post-war period, by composers such as Samuel Barber, Benjamin Britten, Francis Poulenc and Douglas Moore, added new subjects and themes while retreating from the formal and tonal challenges of Berg and Schoenberg. -
CD Program Notes
CD Program Notes Contents tique du CEMAMu), the graphic mu- the final tape version was done at sic computer system developed by the Stichting Klankscap and the Xenakis and his team of engineers at Sweelinck Conservatory in Am- Part One: James Harley, Curator the Centre d’Etudes de Mathe´ma- sterdam. I would like to thank tique et Automatique Musicales (CE- Paul Berg and Floris van Manen for MAMu). The piece by Cort Lippe, their support in creating this work. completed in 1986, is mixed, for bass Sound material for the tape was Curator’s Note clarinet and sounds created on the limited to approximate the con- It probably would not be too far computer. My own piece, from 1987, fines one normally associates with wrong to state that most composers is also mixed, for flute and tape; in individual acoustic instruments in of the past 40 years have been influ- the excerpt presented here, the pre- order to create a somewhat equal enced in one way or another by the produced material, a mixture of re- relationship between the tape and music or ideas of Iannis Xenakis. corded flute and computer-generated the bass clarinet. Although con- The composers presented on this sounds, is heard without the live trasts and similarities between the disc have been touched more directly flute part. Richard Barrett’s piece tape and the instrument are evi- than most. It was my intention to was entirely produced on the UPIC. dent, musically a kind of intimacy gather a disparate collection of music The sound-world Xenakis created was sought, not unlike our to show the extent to which that in- in his music owes much to natural present-day ‘‘sense’’ of intimacy fluence has crossed styles. -
Burkina Electric
BURKINA ELECTRIC FUSION / ELECTRONICA (BURKINA FASO - AUSTRIA -US - IVORY COAST) “An irresistible brew of West African music and electronica” - New York Times DISCOGRAPHY: Hailed by the New York Times as an “irresistible brew of West African PASPANGA music and electronica,” Burkina Electric is the first electronic music 2009, CANTALOUPE RECORDS group from Burkina Faso, in the deep interior of West Africa. ”The band’s energy onstage is infectious” - Based in Ouagadougou, Burkina Faso’s capital, it is, at the same time, Songlines Magazine an international band, with members living in New York, U.S.A. and Ouaga. STREAMING: Burkina Electric’s music combines the traditions and rhythms of • soundcloud.com/burkina-electric Burkina Faso with contemporary electronic dance culture, making it a trailblazer in electronic world music. A diverse and talented group con- sisting of four musicians and two dancers, they collectively participate in the creative process and represent disparate musical genres and Booking Scandinavia: d to the sounds from across the globe. on le c f Marisa Segala e t S +45 / 25 61 82 82 Rather than recycling well-known rock and funk rhythms, Burkina [email protected] Electric seeks to enrich the fabric of electronic dance music by using www.secondtotheleft.com unusual rhythms that are rarely heard and little-known even in much of Skype: marisa.segala.bennett Africa. This includes ancient rhythms of the Sahel, such as the Mossi peoples’ Ouaraba and Ouenega, but also new grooves of their own creation. The band invites you to discover that these exotic rhythms groove at least as powerfully as disco, house, or drum & bass! The group creates a unique and refreshing musical world that is all their own by incorporating sounds of traditional instruments and found sounds recorded in Burkina Faso. -
Pentland Program.Pages
The Canadian Music Centre in BC Presents The Murray Adaskin Salon Concert Series CELEBRATING OUR LEGACY Barbara Pentland Celebration Friday, November 18, 2016 • 7:00pm As a courtesy… Please turn off the sound for all phones and other electronic devices. You are welcome to take non-flash photos during applause between pieces, but please refrain from taking photos during a performance and between movements, thank you. We encourage you to post your photos and share your experience on social media using the hashtag #CMCBC CMC BC on Twitter: @MusicCentreBC CMC BC on Facebook: facebook.com/CanadianMusicCentreBC Website: musiccentrebc.ca CMC National on Twitter: @CMCnational CMC National on Facebook: facebook.com/CanadianMusic Website: musiccentre.ca Red and white wine from Show your ticket and get Chaberton Estate Winery, a 10% off all hot beverages at local vineyard in Langley, BC, Breka Bakery next door at is available at the lobby bar. 855 Davie Street. Letter from the BC Director This concert tonight celebrating Barbara Pentland is the second in our Murray Adaskin Salon Concert Series, a year-long celebration of the first generation of composers to write concert music on the West Coast of Canada. I wish I’d known Barbara Pentland — I bet she was fascinating! My impression is that she was an uncompromising rebel, a fiercely independent woman a century ahead of her time, discouraged from composing by nearly everyone she knew including her parents, the all-male (then) musicians who found her music ‘difficult’, and the male composers she encountered throughout her life. To understand Barbara Pentland is to understand the courage and insistent devotion to her own voice that both drove and sustained her against all odds. -
The Music Scene
th ISSUE 04 FREE www.scena.org April – May 2004 cene English Canada National Edition Frances Ginzer and Adrianne Pieczonka Scaling Valhalla Sumi Jo Interview Special on Asian Musicians Summer Camps Classical Music Calendar & Picks Southern Ontario & Western Canada Canada Post Publications Mail Sales Agreement n˚. 40025257 Passing the Torch GreatGreat Recordings Recordings of of the the Century Century A celebration of the defining moments in the history of recorded music. For more than 5 years, Great Recordings of the Century has been the world’s premier re-issue series. Later this year, EMI Classics will cap the series at 150 titles, all of which genuinely deserve the description Great Recordings of the Century. 10 new releases arrive March 16, with a final 10 in September 2004 Great Artists of the Century A celebration of our greatest recording artists - past,Great present andArtists future of the Century This month, along with the penultimate release of Great Recordings of the Century, EMI Classics is proud to announce its successor: Great Artists of the Century. Keeping the same high standards of remastering and packaging as its predecessor, each program in the new series honours one of the great artists who recorded for EMI during its first century. The first 25 releases feature: Alban Berg Quartett, Leif Ove Andsnes, Janet Baker, Sir Adrian Boult, Maria Callas, Choir of King’s College, Cambridge, Georges Cziffra, Jacqueline Du Pré, Dietrich Fischer-Dieskau, Wilhelm Furtwängler, Walter Gieseking, Carlo Maria Giulini, Tito Gobbi, Hans Hotter, Mariss Jansons, Herbert Von Karajan, Nigel Kennedy, Otto Klemperer, Stephen Kovacevich, Dinu Lipatti, Yehudi Menuhin, Arturo Benedetti Michelangeli, Anne-Sophie Mutter, Mstislav Rostropovich, Galina Vishnevskaya All titles in both series have been transferred and, where appropriate, newly remastered from the original source materials by EMI’s renowned team of engineers at Abbey Road Studios. -
Twilight Is the Fourth in a Series of Concerts in Nicole Ge Li and Corey Hamm’S Piano and Twilight Erhu Project (PEP)
About the Piano and Erhu Project Twilight is the fourth in a series of concerts in Nicole Ge Li and Corey Hamm’s piano and Twilight erhu project (PEP). Over forty Canadian and Chinese composers have already agreed to write works for erhu and piano to be premiered, recorded, and toured in both Canada and China. To date, the list of composers includes James Harley, Brian Cherney, Hope Lee, David Eagle, Douglas Finch, Daniel Marshall, Elizabeth Raum, Dai Fujikura, Alexis Renault, Michael Park, John Oliver, Scott Godin, Stephen Chatman, Keith Hamel, Bob Pritchard, Jordan Nobles, Jocelyn Morlock, Gabriel Dharmoo, Paul Steenhuisen, Marc Mellits, Remy Siu, Dorothy Chang, Edward Top, Chris Gainey, Dubravko Pajalic, Jared Miller, Martin Ritter, Alyssa Aska, Alfredo Santa Ana, Francois Houle, Owen Underhill, Vivian Fung, Hope Lee, Jian Qiang Xu, Yuan Qing Li, Ying Jiang, Joshua Chan, Si Ang Chen, I Yu Wang, Laura Pettigrew, Laurie Radford, Chan Kan Nin, Alice Ho, Emily Doolittle. PEP Piano and Erhu Project Thank you! For all their support, PEP would like to thank: The Canada Council for the Arts, Canadian Music Centre, Fairchild Media Group, UBC School of Music, Redshift Records, Consulate Nicole Ge Li erhu General of China, Gabriel Yiu, Robin Wan, Robert Chu, Lucy Jin, Arthur Ling, Laurie Townsend, Dina MacDougall, Don Harder, Jenny Lu, Bob Baker, Jordan Nobles, and all the Corey Hamm piano composers! UBC School of Music 6361 Memorial Road May 24, 2014 | 8:00 pm Vancouver, BC V6T 1Z2 Roy Barnett Recital Hall www.music.ubc.ca University of British Columbia Twilight Saturday, May 24, 2014 8:00 pm Roy Barnett Recital Hall, UBC School of Music Blues n’Grooves 舞動藍調 Thunderhorse 電馬行空 Programme Written in 2014 for Nicole and Corey, Blues n’Grooves is a short showpiece I wanted to write an energetic piece with lots of drive and technical exertion for piece for erhu and piano. -
Hannigan Ascending BACH ST
PRICELESS! Vol 20 No 5 CONCERT LISTINGS | FEBRUARY 1 - MARCH 7 2015 Hannigan Ascending BACH ST. JOHN PASSION BACH ST. JOHN PASSION BACK BY POPULAR DEMAND! HOUSE OF DREAMS DIRECTED BY IVARS TAURINS Mar 19-22, 2015 Trinity-St. Paul’s Centre, Jeanne Lamon Hall DIRECTED BY Tafelmusik Baroque Orchestra JEANNE LAMON and Chamber Choir CONCEIVED, SCRIPTED, AND Julia Doyle, soprano PROGRAMMED BY Daniel Taylor, countertenor ALISON MACKAY Charles Daniels, tenor Peter Harvey, baritone Feb 11-15, 2015 Trinity-St. Paul’s Centre, Jeanne Lamon Hall “A testament to his faith, Bach’s Passions speak to us of the Journey to the meeting places of baroque art and music fea- turing music by , , , and more. greater human experience through music Bach Handel Vivaldi of powerful drama and profound beauty.” Don’t miss this stunning multimedia — IVARS TAURINS event before it goes on tour to Australia! A CO-PRODUCTION WITH Stage Direction by Marshall Pynkoski Production Design by Glenn Davidson Projection Design by Raha Javanfar 416.964.6337 Narrated by Blair Williams tafelmusik.org SEASON PRESENTING SPONSOR Baroque Orchestra and Chamber Choir SEASON PRESENTING SPONSOR The TSO and festival curator George Benjamin join forces with Canadian soprano Barbara Hannigan for new sounds, cutting-edge drama, and 7 premières! A Mind of Winter SAT, FEB 28 AT 8pm Peter Oundjian, conductor and host George Benjamin, conductor Barbara Hannigan, soprano Jonathan Crow, violin Dai Fujikura: Tocar y Luchar (CANADIAN PREMIÈRE) George Benjamin: A Mind of Winter (CANADIAN PREMIÈRE) Vivian Fung: Violin Concerto No. 2 “Of Snow and Ice”(WORLD PREMIÈRE/TSO COMMISSION) Dutilleux: Métaboles Pre-concert Performance, Intermission Chat, and Post-concert Party in the Lobby. -
Lounge Masters
Lounge Masters TEXT VON PAUL LOHBERGER, FOTOS: IAN EHM sphärische Schnipsel ins Klangbild einzustreuen, werden auf „Odeon“ nun erstmals längere Texte gesungen. Von Liedern kann trotzdem nicht die Rede sein, Tosca suchen ihre eigene Form. Die reine Spannung soll den Groove erzeugen, dazu tragen die Verse bei. Schon auf „No Hassle“ be- gannen sie, auf Beat-Elemente zu verzichten. „Die perfekte Stunde, am schmalen Grat zwischen in- teressant und langweilig“ möchte Richard Dorf- meister schaffen. Hier bleibt noch viel Klangraum zu durchmessen … Die Hardware Jedenfalls kann das Spielzeug im longtone Studio seine Qualitäten entfalten. Der Klang kommt aus den Boxen und füllt den Raum, sodass man meint, die Schwingungen förmlich greifen zu können. Kein Wunder, die Ultimatum XL 10 von Neat Acoustics gehören zu den kostspieligsten Lausprechern am Markt. Das nicht ohne Grund: Pro Box arbeiten zwölf Komponenten an der Klangausgabe; besondere Präzision gewährleistet das isobarische Basssystem, bei dem immer zwei Bässe hintereinander arbeiten. Große Durchmes- ser, wie sie normale Bassmembranen brauchen, werden dadurch obsolet, mächtiges Volumen kommt im schlanken Gewand daher. Ihre schiere Größe machen die XL 10 trotzdem zu Möbelstü- cken, weshalb aus insgesamt neun Oberflächen gewählt werden kann. Zu Tosca dürfte eine der zwei „Velvet Cloud“-Varianten am besten passen. Wenn Sänger JJ Jones Höhen und Tiefen durch- misst, beginnen Hörerinnen und Hörer zu schwe- ben. Volle Wirkung entfalten die XL 10 allerdings erst ab 30 Quadratmeter Raumfläche: man sollte also ein Loft beschallen, um alle Qualitäten aus- zukosten. Oder zumindest eine Wohnzimmer- Wiener Klassiker in Sachen ANGENEHM UND ANREGEND zugleich, Album „Suzuki“ dem Boom des Wiener Grooves lounge.