Shattering the Vessels of Received Wisdom Author(S): Brian Ferneyhough and James Boros Reviewed Work(S): Source: Perspectives of New Music, Vol

Total Page:16

File Type:pdf, Size:1020Kb

Shattering the Vessels of Received Wisdom Author(S): Brian Ferneyhough and James Boros Reviewed Work(S): Source: Perspectives of New Music, Vol Shattering the Vessels of Received Wisdom Author(s): Brian Ferneyhough and James Boros Reviewed work(s): Source: Perspectives of New Music, Vol. 28, No. 2 (Summer, 1990), pp. 6-50 Published by: Perspectives of New Music Stable URL: http://www.jstor.org/stable/833006 . Accessed: 17/01/2012 07:18 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Perspectives of New Music is collaborating with JSTOR to digitize, preserve and extend access to Perspectives of New Music. http://www.jstor.org SHAIT'FERINGTHE VESSELS OF RECEIVEDWISDOM LR7b BRIANFERNEYHOUGH IN CONVERSATIONWITH JAMESBOROS* Y OUR MUSIC HAS the reputationof beingextremely difficult to play; however, you'vehad a great deal of successwith a numberof individualperformers, suchas Pierre-YvesArtaud, and ensemblessuch as the Arditti StringQuartet, the ASKO Ensemble,and the EnsembleIntercontemporain. In your view, what lies behindthe astoundingachievement of theseperformers in theface of what many perceiveto be unsurmountabledifficulties? For a start, we should distinguish between musical and performatory difficulty. I take it that you mean the latter. In general, one encounters two distinct types of performer;one that might be termed the "gig" musician- *BrianFerneyhough, James Boros. Shatteringthe Vesselsof ReceivedWisdom 7 the player who, in a couple of rehearsals, is justly proud of producing a "professional" realization of just about anything. Often, such individuals are required to interpret vastly different styles in close juxtaposition and have, in consequence, developed a technique of rapid readingand standard- ized, averaged-out presentation in order to maximalize effectivity for the vast majority of works and contexts. It seems to me that there is a certain tyranny involved in frequent attempts to impose this approach on the composer as some sort of desirable aesthetic norm-a "good, healthy common sense" of music, so to speak. Inevitably, ease of rehearsal and performanceinvolves more than just a careful regardfor technical difficulty. What happens is that whole chunks of conventional wisdom in terms of musical thinking are also absorbed, since ease of realization is frequently a function of expectation or applicabilityof alreadypresent manual patterns. It seems to me no contradiction in terms to presuppose a species of interpreter for whom a lengthy and intense involvement with the artistic and technical demands and assumptions of a particularcomposer or group of composers would be an essential prerequisite for adequate performance activity. That's the performerwho's willing to spend six months or so really trying to penetrate to the roots of a style, to focus in on the mental development of the composer during the act of creation so as to be able to actively counterpoint this against his own personal learning and reproduc- tion dynamic. It's true that, over a couple of decades now, I have developed a significant relationship of this sort with a number of soloists and en- sembles. It would be a mistake, though, to concentrateoverly on the quasi- virtuoso aspect of this: the spiritual relationship is always more important. Very often, such people are disparagedas some sort of performing animal who make a living out of hawking around their manual dexterity. I imagine that such individuals exist, but I have not come across many who play my music, perhaps because the effort involved is by no means invariably associatedwith the requisite illusion of supreme control and mastery trans- mitted by "virtuoso" vehicles. For one thing, I never collaboratewith a given performerin the sense of having him give me his particular"box of tricks:" I believe that one should never start from the global effect, but ratherallow it to emerge synthetically as a result of the confluence of other compositional considerations. This seems to me the sole way to legitimize, to ground sonoric innovation; everything else is bongout. For example, there have been several quite well-known flutists who have refused to take my Unity Capsule(1975) into their repertoire with the argument that it is not worth the amount of time and effort required, since "similar" sounds can be improvised or else notated much more simply (perhapsgraphically). There is no way that I can see to persuade such individuals that the approach to learning the work is an essential polyphonic strand in the final result. Only the experience of actually attempting it can-perhaps-achieve 8 Perspectivesof NewMusic that. There is a basic, unbridgeable abyss separating the effectful "vir- tuoso" approachfrom that adopted by my regularassociates, and I am not in the business of obscuring this vital distinction, since to do so would be to trivialize the extent to which the performer's personal confrontation with a richly-articulatedmusical environment can contribute to a gripping aural experience. One should also remember that these playersdo not dedicate themselves exclusively to my compositions: they do not function as regular, long-term members of a "Ferneyhough Ensemble." We are talking about a quite different situation than where a group plays one composer's music almost exclusively for an extremely lengthy period of time as in the case of, say, Stockhausen or, more recently, Steve Reich. Traditions built in that way have other dynamics. A numberofpeiformers have described experiences whereby, after having spent a periodof time workingon your music,getting beyondwhat wereinitially perceived as obstaclesto comprehension,"many problems seemed to havesolved themselves. "1 I've found that there's a kind of exponential time-saving process with my music: if you spend six months learning one piece, you'll be able to learn another in three weeks. For example (albeit an extreme case), the Arditti Quartet was able to learn my Third String Quartet (Example 1) in only a few weeks, largelywithout my active supervision, because its members are all very familiarwith my general approach. On that basis it was generally possible for them to extrapolateplausible solutions to executive or aesthetic questions. In fact, I was still composing the final pages of the score during the final period of rehearsal, sometimes sitting in the same room as the quartet and passing new materialover to be photocopied and run through, often during the same session. It was a strange experience!2 What many playersoften fail to realize is that most of the textures in my works are to a large degree relatableto gestural conventions alreadyfamiliar from other contexts. What is unfamiliaris, firstly, the unusual rapiditywith which these elements unfold and succeed one another; secondly, the high level of informationaldensity in notational terms; and, thirdly, the extreme demands made throughout on the performer's technique and powers of concentration. Most of these hurdles to acceptance are encountered pre- dominantly during the initial period of familiarizationin which the neces- sary connection between notation and expressiverealization is obscured by the welter of surfacedetail. Once this reading phase has been passed, many playershave come to accept that these factors actually make their job easier and more rewarding. Of course, in the sort of rehearsalsituation prevailing in New Music today, there is little or no opportunity to achieve this experience; as a composer one has the choice of accepting this fact and working with it, or seeking to establish performancetraditions on a gradu- alistic basis. Both views have their arguments; essentially, I think, it's less a Shatteringthe Vesselsof ReceivedWisdom 9 I) .sa o O ---I(?~~~~'J . II ~ ~,--3-'-----,----"--i--~~~~~~~e .................t " I-. Ir k a ll2 I NM 41- ~io 1 ~TliC PII <''Y- I i I "' . -: o 7f pw LI_A_ Q=2 S - A 4- aPiIw - i t i : F TSL w s 5 ;lt 'I; I (C,( IS -5, ,~8 '1"I-, - .1 -VI'___W8t @, Ia -,, -._.Tjl ff IiIS I -I:. ---,- -',,.- i , ---r -r ,^- bon * ^^al f-_9 (hsor I r =*-l 43 y f f -'fJljQ4-,iz~ 'j yi 1 1 _ t i ^ 4~~f4~T~ .J+J8J_tj -1 - - 'Trl6r.2~~~~~~~~~~---4 -_? '-. , P, L (k--- r -- -rn?T^f. r 7f- _- >XS-- at 1- T;k~i:~tf~;Z f '''-'4r~7 ril, 1 1 - --A , PM- . , 7 @ "pr F' r'iL=rff-l i .i seImp'Yre-r mw i-IC sem re sPos r ~~~~~~~~ f~~ ~ ~ ~~~~~uW w . _ _ tr -^w, & If a Mlt- Aw- A EXAMPLE 1: STRING QUARTET NO. 3 matter of professional ethics than of the relationship of one's expressive ideals to the prevailing opportunities for their public reproduction. I'm aware that many composers argue that it's somehow more honorable to 10 Perspectivesof NewMusic work within the bounds set by current socio-economic norms, to tailor their production to them: I simply beg to differ and hope that my views will also be accorded respect. Somecritics of your musicclaim that the speedof informationalpresentation is toohigh, that they,as listeners,can't keepup with it. Again, it's partly a question of familiarity.I try not to be overly influ- enced by the thought that most listeners will hear a piece only once, even if this is often the case. One simply has to ask how people listen these days- are they listening more or less statistically,passively, or does a piece cause some form of inertial resistance in the perceptual works? The more the listening mind gets tied up in powerfully structured contexts, the greateris likely to be its sense of informational overload. That's true of anything which is at once unfamiliarand immediately demanding in terms of trying to tie together partially perceived objects and processes into a provisional whole.
Recommended publications
  • 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
    [Show full text]
  • UC San Diego UC San Diego Electronic Theses and Dissertations
    UC San Diego UC San Diego Electronic Theses and Dissertations Title A percussionist's practice Permalink https://escholarship.org/uc/item/1kt9v0km Author Stuart, Greg Publication Date 2009 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO A Percussionist’s Practice A dissertation submitted in partial satisfaction of the requirements for the Degree Doctor of Musical Arts in Contemporary Music Performance by Gregory William Stuart Committee in Charge: Professor Steven Schick, Chair Professor Rae Armantrout Professor David Borgo Professor Charlie Oates Professor Rand Steiger 2009 Copyright Gregory William Stuart, 2009 All rights reserved. The Dissertation of Gregory William Stuart is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2009 iii DEDICATION For my parents Thomas and Patricia Stuart. Without your love and support this would not have been possible. iv EPIGRAPH We live in a constellation Of patches and of pitches, Not in a single world, In things said well in music, On the piano and in speech, As in the page of poetry— Thinkers without final thoughts In an always incipient cosmos. The way, when we climb a mountain, Vermont throws itself together. Wallace Stevens George Mantor had an iris garden, which he improved each year by throwing out the commoner varieties. One day his attention was called to another very fine iris garden. Jealously he made some inquiries. The garden, it turned out, belonged to the man who collected his garbage. John Cage v TABLE OF CONTENTS Signature Page ...............................................................................................
    [Show full text]
  • 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.
    [Show full text]
  • BRIAN FERNEYHOUGH COMPLETE PIANO MUSIC 1965-2018 Ian Pace, Piano with Ben Smith, Piano
    BRIAN FERNEYHOUGH COMPLETE PIANO MUSIC 1965-2018 Ian Pace, piano with Ben Smith, piano (track 8) CD/set A 1 Invention (1965) 1:55 Epigrams (1966) 2 I 1:12 3 II 0:48 4 III 2:02 5 IV 1:49 6 V 1:08 7 VI 1:48 8 Sonata for Two Pianos (1966) 16:04 Three Pieces (1966-1967) 9 I 3:37 10 II 7:52 11 III 6:42 Lemma-Icon-Epigram (1981) 12 I. Lemma 5:51 13 II Icon 6:22 14 III Epigram 1:34 CD/set B Opus Contra Naturam (2000) 1 I 2:41 2 II 10:46 3 III 3:08 4 Quirl (2011-2013) 11:28 5 El Rey de Calabria (c. 2018) 2:39 Total duration 89:50 THE PIANISTS Ian Pace is a pianist of long-established reputation, specialising in the farthest reaches of musical modernism and transcendental virtuosity, as well as a writer and musicologist focusing on issues of performance, music and society, and the avant-garde. He studied at Chetham’s School of Music, The Queen’s College, Oxford, and, as a Fulbright Scholar, at the Juilliard School in New York with Hungarian pianist György Sándor, and later obtained his PhD at Cardiff University, on ‘The reconstruction of post-war West German new music during the early allied occupation and its roots in the Weimar Republic and Third Reich.’ Based in London since 1993, he has pursued an active international career, performing in 24 countries and at most major European venues and festivals. His vast repertoire, which extends to all periods, focuses particularly upon music of the 20th and 21st centuries.
    [Show full text]
  • Minimalism and New Complexity in Solo Flute Repertoire by Twila Dawn Bakker Bachelor of Arts, Univer
    Two Responses to Modernism: Minimalism and New Complexity in Solo Flute Repertoire by Twila Dawn Bakker Bachelor of Arts, University of Alberta, 2008 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the School of Music Twila Dawn Bakker, 2011 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee Two Responses to Modernism: Minimalism and New Complexity in Solo Flute Repertoire by Twila Dawn Bakker Bachelor of Arts, University of Alberta, 2008 Supervisory Committee Dr. Jonathan Goldman, School of Music Supervisor Dr. Michelle Fillion, School of Music Departmental Member iii Abstract Supervisory Committee Dr. Jonathan Goldman, School of Music Supervisor Dr. Michelle Fillion, School of Music Departmental Member Wind repertoire, especially for flute, has received little focused attention in the musicological world especially when compared with other instruments. This gap in scholarship is further exacerbated when the scope of time is narrowed to the last quarter of the twentieth century. Although Minimalism and New Complexity are – at least superficially – highly divergent styles of composition, they both exhibit aspects of a response to modernism. An examination of emblematic examples from the repertoire for solo flute (or recorder), specifically focusing on: Louis Andriessen’s Ende (1981); James Dillon’s Sgothan (1984), Brian Ferneyhough’s Carceri d’Invenzione IIb (1984), Superscripto (1981), and Unity Capsule (1975); Philip Glass’s Arabesque in Memoriam (1988); Henryk Górecki’s Valentine Piece (1996); and Steve Reich’s Vermont Counterpoint (1982), allows for the similarities in both genre’s response to modernism to be highlighted.
    [Show full text]
  • Extended Methods of Notation in Josh Levine's Les Yeux Ouverts and Daniel Tacke's Einsamkeit
    Extended methods of notation in Josh Levine's Les yeux ouverts and Daniel Tacke's Einsamkeit Item Type Other Authors Dowgray, Sean Download date 27/09/2021 04:44:33 Link to Item http://hdl.handle.net/11122/8828 Extended Methods of Notation in Josh Levine’sLes yeux ouverts and Daniel Tacke’seinsamkeit by Sean Dowgray Submitted in Partial Fulfillment of the Requirements for the Degree Masters of Music University of Alaska Fairbanks College of Liberal Arts Department of Music Spring 2015 Extended Methods of Notation in Josh Levine’sLes yeux ouverts and Daniel Tacke’seinsamkeit Overview From its genesis, solo percussion literature has propelled the traditional Western notational system beyond its limits. Percussion was an outlet for composers and performers to express radically new musical structures, interpretations, techniques, and sounds. Solo percussion in the mid 20th century was a fresh platform, one that needed fresh blue prints for notation Additionally, the wide range of extended techniques employed in percussion solos commonly required new notational symbols and, in many cases, an entirely new notational system altogether. For example, three of the earliest works written for solo percussion by John Cage (1912-1992), Karlheinz Stockhausen (1928-2007), and Morton Feldman (1926-1987) are unconventionally notated. Furthermore, there are few similarities between the notational systems used. Morton Feldman’sThe King of Denmark (1964) uses a grid in which numbers, letters, Roman numerals, and note-heads indicate different sound qualities and sonic activations. John Cage’s 2 7 ’ 10.554” (1956) assigns one minute to each page and indicates seconds above fragments of sounds, notated by simple dots which are defined by their sound quality (i.e.
    [Show full text]
  • Brian Ferneyhough
    Brian Ferneyhough Contemporary Biography Brian Ferneyhough Brian Ferneyhough is widely recognized as one of today’s foremost living composers. Since the mid-1970s, when he first gained widespread international recognition, his music has earned him an enviable reputation as one of the most influential creative personalities and significant musical thinkers on the contemporary scene. Ferneyhough was born in Coventry on 16 January 1943. His early musical experiences occurred in the informal context of local music-making in his native city. Later, he enrolled at the Birmingham School of Music, and then at the Royal Academy of Music, London, where he studied briefly under Lennox Berkeley. In 1968, following the award of the Mendelsohn Scholarship, he went to Amsterdam to study with Ton de Leeuw, and the following year a further scholarship allowed him to pursue his studies with Klaus Huber at the Basel Conservatoire. During this early period, his work began to attract attention, being awarded prizes in three successive years at the Gaudeamus Composers’ Competition (1968-70). Two years later Firecycle Beta was given an honourable mention (second place) by the Italian section of the ISCM, which also awarded Ferneyhough a special prize in 1974 for Time and Motion Study III as the best work submitted in all categories. In the same year, the performance of several of his works at the Royan Festival established Ferneyhough as one of the most brilliant and controversial figures of a new generation of composers. By then, Ferneyhough had discovered a parallel vocation as a teacher of composition. Thanks to Klaus Huber’s enduring support, he was appointed onto the teaching staff of the Freiburger Musikhochschule in 1973, remaining there until 1986.
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Bell, Jonathan (2016). Audio-scores, a resource for composition and computer- aided performance. (Unpublished Doctoral thesis, Guildhall School of Music and Drama) 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/17285/ 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] Audio-Scores: A Resource for Composition and Computer-Aided Performance Jonathan Bell Final submission DMus February 2016 ii Abstract This submission investigates computer-aided performances in which musicians receive auditory information via earphones. The interaction between audio-scores (musical material sent through earpieces to performers) and visual input (musical notation) changes the traditional relationship between composer, conductor, performer and listener. Audio-scores intend to complement and transform the printed score. They enhance the accuracy of execution of difficult rhythmic or pitch relationships, increase the specificity of instructions given to the performer (for example, in the domain of timbre), and may elicit original and spontaneous responses from the performer in real-time.
    [Show full text]
  • BIS-1208 Booklet X.Pdf-B67a2e.Pdf
    olf Martinsson was born in 1956. He received his musical training at the Malm6 Academy of Music, studying composition under Hans Eklund, Sven-Eric Johan- son, Jan W Morthenson, Sven-Erik Biick, Brian Ferneyhough,Sven-David Sand- strdm and others. [n 1980 he was one of the founders of an associationof young composers in Malmd known as FUTIM. In 1984 he was producer of the Young Nordic Music Festival in Malmd, and in 1986 he was electeda member of the Society of Swedish Composers.He is currently Prof'essorof Composition at the Malmd Academy of Music. Rolf Martinsson is a prolific composer in many difl'erent genres.His music is charac- terized by strong stylistic consciousness.fine craftsmanshipand skilful instrumentation.He is also one of the most regularly performed of contemporary Swedish composers.Neeme Jiirvi has championedhis nrusic, performing it with the Detroit Symphony Orchestrain the USA as well as taking it on tour to Japan with the Gothenburg Symphony Orchestra.Rolf Martinsson's nrusic has won him various prizes and he has received commissions from leading orchestras,choirs, ensemblesand individual rnusiciansincluding the orchestrasin Gothenburg and Malmci, the Finnish Radio Symphony Orchestra, the Swedish Radio Choir. Neeme Jiirvi, Dan-Olof Stenlund. Hikan Hardenberger,Peter Jablonski and Per Tengstrand.His music has been widely performed in Europe as well as in the USA, South America and Japan. His trumpet concerto Bridge was lirst performed in Gothenburg on 29th April 1999 with Hikan Hardenberger as soloist and Neeme Jtirvi conducting the Gothenburg Sym- phony Orchestra.The concerto has proved unusually popular with audiences.Bridge consists of three larger sections linked by two cadenzasfbr the solo trumpet, one lyrical and one dramatic.
    [Show full text]
  • LIVE/FIVE Fifth Season of Stanford Live
    FOR IMMEDIATE RELEASE: April 26, 2016 CONTACT: Robert Cable, Stanford Live Eric Latzky, Culture | Communications NY 650-736-0091, [email protected] 212-358-0223, [email protected] STANFORD LIVE ANNOUNCES 2016–17: LIVE/FIVE Fifth Season of Stanford Live CELEBRATORY SEASON at BING CONCERT HALL TO FEATURE MORE THAN 60 DIVERSE PERFORMANCES Plus Community Programs and Events for Students LANDMARK BIRTHDAY CELEBRATIONS OF ICONIC AMERICAN COMPOSERS John Adams at 70 and Steve Reich at 80 Philip Glass at 80: The Complete Piano Études LIVE CONTEXT SERIES TO EXPLORE TWO ‘BIG IDEAS’ Imagining the West and Islamic Voices SEASON HIGHLIGHTS IN A RANGE OF PERFORMANCE GENRES Jazz at Lincoln Center Orchestra with Wynton Marsalis; All-Bach Concert by Friends Yo-Yo Ma, Chris Thile and Edgar Meyer; New Zealand’s Black Grace Dance Company; Anoushka Shankar; Mezzo-Soprano Joyce DiDonato; Bruckner Orchestra of Linz; Academy of St. Martin in the Fields; Cello and Piano: Alisa Weilerstein and Pianist Inon Barnatan; Violinist Christian Tetzlaff with Pianist Lars Vogt; Multimedia Program The Colorado BING FLING! TO FEATURE BROADWAY’S KRISTIN CHENOWETH STANFORD, CA — Stanford Live will celebrate five seasons of diverse, dynamic performing arts presentations at Stanford University beginning this fall. The 2016–17 season, announced today, LIVE / FIVE will feature more than 60 performances and community and student events, ranging from Stanford University, 425 Santa Teresa Street MC 2250, Stanford, CA 94305-2250 ē Tel 650.723.2551 ē live.stanford.edu classical, jazz and world music to dance and multimedia, as well as programs that explore two big ideas at the core of the ongoing Live Context series: Imagining the West and Islamic Voices.
    [Show full text]
  • Music and Politics on Disc, 2006 Music And
    Music and Politics on Disc, 2006 DEREK KATZ Compiling a list of recordings connected to music and politics is a daunting task, both because of the enormous volume of recorded sound released in a given year, and because of the many possible definitions of “politics” (or, I suppose, of “music”); some impossibly restrictive, others overwhelmingly inclusive. What follows, then, makes no pretense of being a comprehensive list, but is merely a series of suggestions of ways that recordings can preserve and transmit information about the music and politics. I hope that restriction of this edition of the list to Western art music will be accepted as a temporary starting point, rather than as evidence of snobbery. The preponderance of music from the last century and of music connected to war may reflect either the prejudices of the recording industry or the biases of the present writer. It is too tempting to resist beginning a list of recordings associated with music and public life with a recording of music connected to the putative beginnings of politics as we know it in the Western world. The ensemble Malpomen has released a disc called “Music for an Athenian Symposium” (Harmonia Mundi HMC90 5263). Perhaps the most obvious category of recording of music connected to politics is that of recordings of works conceived in direct response to political events. This category is potentially larger than it is useful – do we need an annual list of recordings of the Eroica? – but there have been new issues of many such pieces in the past year. Moving roughly
    [Show full text]
  • A Good Deal of the Pieces, Especially Those in The
    A good deal of the pieces, especially those in the second half of the semester, can be found in the Naxos Digital Library; (search CLIO for Naxos Digital Library) many are in the Online Reserves (accessed through the Music Humanities webpage). Key: on website: look for a link to it on the webpage associated with that piece iTunes: purchase it at iTunes Courseworks: in the class files section of Courseworks Naxos: available to stream at the Naxos Digital Library Online Reserves: available for RealAudio stream at the Online Reserves note for Mac users: streaming does not work on a Mac; save the link to your desktop (or Music HUM folder). Open the link and you can stream with that. Anonymous: Kyrie IV (Cunctipotens genitor) Benedictine Abbey Choir of Munsterschwarzach and Pater Godehard Joppich: Gregorian Chant (iTunes) Anonymous (Tuotilo?): Kyrie Cunctipotens Genitor on website Anonymous: Puer Natus Est Benedictine Abbey Choir of Munsterschwarzach and Pater Godehard Joppich: Gregorian Chant (iTunes) Perotin: Beata Viscera Hilliard Ensemble: Perotin (iTunes) also Online Reserves Anonymous from Codex Calixtinus: Kyrie trope: Cunctipotens genitor Anonymous 4: Miracles of Santiago: Medieval Chant and Polyphony (iTunes) Anonymous: Alleluia Nativitas on website (linked on Perotin: Alleluia Nativas page) Perotin: Alleluia, "Nativitas gloriose virginis Marie" Courseworks Anonymous: Viderunt Omnes on website (linked on Perotin: Viderunt page) Perotin: Viderunt Courseworks Guillaume de Machaut: Kyrie from Messe de Notre Dame Courseworks Anonymous:
    [Show full text]