A Survey of Four Original Works for Clarinet and Guitar and Their Effect
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1 the Roots of Birtwistle's Theatrical Expression
Cambridge University Press 978-0-521-89534-7 - Harrison Birtwistle’s Operas and Music Theatre David Beard Excerpt More information 1 The roots of Birtwistle’s theatrical expression: from Pantomime to Down by the Greenwood Side With six major operas, around eight music dramas, and a body of incidental music to his name, Harrison Birtwistle has made a significant contribution to contemporary opera and music theatre during a period that spans more than forty years. This study is concerned not only to reflect the importance of these stage works by examining them in some detail but also to convey their varied musical and intellectual worlds. Previous studies have rightly focused on Birtwistle’s perennial concerns, such as myth, ritual, cyclical journeys, varied repetition, verse–refrain structures, instrumental role-play, layers and lines.1 These characteristics highlight consistency throughout Birtwistle’s oeuvre and are a mark of his formalist stance. By contrast, this book is motivated by a belief that the stage works – in which instrumental and physical drama, song and narrative are combined – demand interpre- tation from multiple, inter-disciplinary perspectives. While not denying obvious or important relations between works, what follows is rather more focused on differences: Birtwistle’s choice of contrasting narrative subjects, his collaborations with nine librettists, his varied pre-compositional ideas and working methods, his experience with different directors, producers and others, all distinguish one stage work from another. A recurring theme is therefore a consideration of ways in which Birtwistle’s initial concepts are informed, altered or conveyed differently in each case. Moreover, as ideas evolve, from the composer’s musical sketches to the final production, mul- tiple meanings accrue that are particular to each drama. -
Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works. -
Mario Ferraro 00
City Research Online City, University of London Institutional Repository Citation: Ferraro Jr., Mario (2011). Contemporary opera in Britain, 1970-2010. (Unpublished Doctoral thesis, City University London) This is the unspecified 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/1279/ 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] CONTEMPORARY OPERA IN BRITAIN, 1970-2010 MARIO JACINTO FERRARO JR PHD in Music – Composition City University, London School of Arts Department of Creative Practice and Enterprise Centre for Music Studies October 2011 CONTEMPORARY OPERA IN BRITAIN, 1970-2010 Contents Page Acknowledgements Declaration Abstract Preface i Introduction ii Chapter 1. Creating an Opera 1 1. Theatre/Opera: Historical Background 1 2. New Approaches to Narrative 5 2. The Libretto 13 3. The Music 29 4. Stage Direction 39 Chapter 2. Operas written after 1970, their composers and premieres by 45 opera companies in Britain 1. -
The-Corridor-The-Cure-Programma
thE Corridor & thE curE HARRISON BIRTWISTLE DAVID HARSENT LONDON SINFONIETTA INHOUD CONTENT INFO 02 CREDITS 03 HARRISON BIRTWISTLE, MEDEA EN IK 05 HARRISON BIRTWISTLE, MEDEA AND ME 10 OVER DE ARTIESTEN 14 ABOUT THE ARTISTS 18 BIOGRAFIEËN 16 BIOGRAPHIES 20 HOLLAND FESTIVAL 2016 24 WORD VRIEND BECOME A FRIEND 26 COLOFON COLOPHON 28 1 INFO DO 9.6, VR 10.6 THU 9.6, FRI 10.6 aanvang starting time 20:30 8.30 pm locatie venue Muziekgebouw aan ’t IJ duur running time 2 uur 5 minuten, inclusief een pauze 2 hours 5 minutes, including one interval taal language Engels met Nederlandse boventiteling English with Dutch surtitles inleiding introduction door by Ruth Mackenzie (9.6), Michel Khalifa (10.6) 19:45 7.45 pm context za 11.6, 14:00 Sat 11.6, 2 pm Stadsschouwburg Amsterdam Workshop Spielbar: speel eigentijdse muziek play contemporary music 2 Tim Gill, cello CREDITS Helen Tunstall, harp muziek music orkestleider orchestra manager Harrison Birtwistle Hal Hutchison tekst text productieleiding production manager David Harsent David Pritchard regie direction supervisie kostuums costume supervisor Martin Duncan Ilaria Martello toneelbeeld, kostuums set, costume supervisie garderobe wardrobe supervisor Alison Chitty Gemma Reeve licht light supervisie pruiken & make-up Paul Pyant wigs & make-up supervisor Elizabeth Arklie choreografie choreography Michael Popper voorstellingsleiding company stage manager regie-assistent assistant director Laura Thatcher Marc Callahan assistent voorstellingsleiding sopraan soprano deputy stage manager Elizabeth Atherton -
Wiebe, Confronting Opera
King’s Research Portal DOI: 10.1080/02690403.2017.1286132 Document Version Peer reviewed version Link to publication record in King's Research Portal Citation for published version (APA): Wiebe, H. (2020). Confronting Opera in the 1960s: Birtwistle’s Punch and Judy. Journal of the Royal Musical Association , 142(1), 173-204. https://doi.org/10.1080/02690403.2017.1286132 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. -
Rental Catalog Orchestra, Band, and Opera
Rental Catalog Orchestra, Band, and Opera E. C. Schirmer • Galaxy • MorningStar Edition Delrieu-Hexamusic • Layali Music Publishing • Randol Bass Music • Stainer & Bell, Ltd. • Vireo Press Casa Gian-Antonio 2 THIS CATALOG contains all orchestral and instrumental works (with and without voices) available through the rental department of ECS Publishing Group; includes the combined catalogs of E. C. Schirmer Music Company, Galaxy Music Corporation, Highgate Press, Ione Press, Edition Delrieu-Hexamusic, Layali Music Publishing, MorningStar Music Publishers, Randol Bass Music, Stainer & Bell Ltd, and Vireo Press. Part One (pp. 3–28) is a master list of all works arranged alphabetically by composer and containing arranger’s name (if any), approximate duration (in minutes), instrumentation, soloists, and choral voicing. Part Two (pp. 2–46) contains subject and genre indices. Please direct all inquiries to RENTAL DEPARTMENT ECS Publishing Group 1727 Larkin Williams Road Fenton, MO 63026 Phone (636) 305-0100 | (800) 647-2117 Fax: (636) 305-0121 www.ecspublishing.com [email protected] European customers may contact Stainer & Bell, Ltd., London. European inquiries for Randol Bass Music or Layali Music Publishing (Kareem Roustom) may contact ECS directly. The ECS Publishing Rental Department will be happy to supply detailed information about instrumentation, versions, fees, perusal scores, and more. If you are planning a performance, please visit our website to submit a rental request form (http://ecspublishing.com/rental/rental-request-form). Frequently asked questions: www.ecspublishing.com/rental/rentalfaq How to read instrumentation Instrumentation is arranged in groups. Flute Oboe Clarinet Bassoon — Horn Trumpet Trombone Tuba — Timpani+Percussion Players — Harp, Key- boards — Strings — Special Instruments — Solo Instruments, Solo Voices, Chorus, Other A period separates players, and a slash indicates doublings. -
Harrison Birtwistle Duet 2 Paul Silverthorne Viola Jonathan Morton
Harrison Birtwistle Duet 2 Paul Silverthorne viola Jonathan Morton violin Sinfonietta Shorts are bite-sized pieces of new music from today's leading composers, commissioned and premiered by principal players of the London Sinfonietta. The series started in 2008 to celebrate the ensemble's 40th birthday, and the works created for it have enduring relevance as introductions to the best new music of our time. Harrison Birtwistle Duet 2 for viola and violin Sir Harrison Birtwistle created the first short piece The Message (Duet 1) for the London Sinfonietta in 2008, as a ‘birthday card’ for their 40th anniversary concert. He then decided to write more duets for different occasions over the past few years. Bourdon (Duet 2) for violin and viola was performed at a commemorative event for the publisher Bill Colleran. Duet 3 for cor anglais and bassoon was created as a surprise for a supporter of his work, Nicholas Prettejohn. There are now five pieces in the sequence, and this evolving set may well take other forms in the future as the composer sees fit. © Andrew Burke, Chief Executive, London Sinfonietta Harrison Birtwistle Sir Harrison Birtwistle is internationally regarded as one of the most striking and individual composers today. His unique soundworld runs the full gamut from large-scale operatic and orchestral canvases, rich in mythical and primitivist power, to intimate chamber works, contemplative in their lyricism. He was born in 1934 in Accrington and studied clarinet and composition at the Royal Manchester College of Music. In 1965 he sold his clarinets to devote all his efforts to composition, and travelled to Princeton as a Harkness Fellow where he completed the opera Punch and Judy (D138). -
American Heritage Center
UNIVERSITY OF WYOMING AMERICAN HERITAGE CENTER GUIDE TO ENTERTAINMENT INDUSTRY RESOURCES Child actress Mary Jane Irving with Bessie Barriscale and Ben Alexander in the 1918 silent film Heart of Rachel. Mary Jane Irving papers, American Heritage Center. Compiled by D. Claudia Thompson and Shaun A. Hayes 2009 PREFACE When the University of Wyoming began collecting the papers of national entertainment figures in the 1970s, it was one of only a handful of repositories actively engaged in the field. Business and industry, science, family history, even print literature were all recognized as legitimate fields of study while prejudice remained against mere entertainment as a source of scholarship. There are two arguments to be made against this narrow vision. In the first place, entertainment is very much an industry. It employs thousands. It requires vast capital expenditure, and it lives or dies on profit. In the second place, popular culture is more universal than any other field. Each individual’s experience is unique, but one common thread running throughout humanity is the desire to be taken out of ourselves, to share with our neighbors some story of humor or adventure. This is the basis for entertainment. The Entertainment Industry collections at the American Heritage Center focus on the twentieth century. During the twentieth century, entertainment in the United States changed radically due to advances in communications technology. The development of radio made it possible for the first time for people on both coasts to listen to a performance simultaneously. The delivery of entertainment thus became immensely cheaper and, at the same time, the fame of individual performers grew. -
The DC Chamber Musicians and the DC Concert Orchestra in July
The DC Concert Orchestra Society presents a chamber music concert by C The DCD ChamberC Musicians Sunday, June 9, 2019, 3:00 p.m. St. Mark’s Episcopal Church Randall Stewart, Artistic Advisor OW. A. Mozart CTrio in E-flatM Major, K. 498 (“Kegelstatt”) I. Andante II. Menuetto III. Allegretto Karin Caifa, Clarinet • Susan Russo, Viola • Hilary van Wagenen, Piano Jean Oelrich (arr.) Pergolesi Suite I. Sinfonia II. Serenata III. Scherzino IV. Presto V. Andantino VI. Finale Taemin Ahn, Oboe • Nina Skaya, Oboe • Rhett Summers, English Horn INTERMISSION (10 minutes) Frédéric Chopin Introduction et polonaise brilliante, Op. 3 I. Largo II. Alla polacca Jon Brvenik, Cello • Susan Alexander, Piano L. V. Beethoven Piano Trio in E-flat Major, Op. 1, No. 1 I. Allegro II. Andante cantabile III. Scherzo. Allegro assai – Trio IV. Finale. Presto Danae Engelbrecht, Violin • Edwina Moldover, Cello • Warren Mullison, Piano Program Notes Trio in E-flat Major, K. 498 (“Kegelstatt”) Wolfgang Amadeus Mozart b. 27 January 1756, Salzburg, Austria d. 5 December 1791, Vienna, Austria Wolfgang Amadeus Mozart’s Trio for Clarinet, Viola and Piano (K. 498) was composed in Vienna in 1786. The work was dedicated to Mozart’s piano student Franziska von Jacquin, and one of a number of works dedicated to his close friends, the Jacquin family. The piece had its first performance in the Jacquin family home, with Franziska on piano, Mozart on viola, and Anton Stadler, the inspiration for Mozart’s Clarinet Quintet (K. 581) and Concerto (K. 622.) This trio is in three movements: Andante, Menuetto and Allegretto. The viola and clarinet have similar, mellow voices, and Mozart allows them and the piano to take turns as soloist or accompaniment. -
New Music Ensemble
Laura M. Kramer, Assistant Director Four Hundred Sixty-Eighth Program of the 2008-09 Season Elliott Bark, David Werfelmann, Electronics Assistants ____________________ New Music Ensemble David Dzubay, Director & Conductor Chih-Chiang Lin, Assistant Conductor Michael Gandolfi, Guest Composer ________________ Recital Hall Saturday Evening December Sixth Eight O’Clock music.indiana.edu Program Intermission Birthday Flourish (1988) . Elliott Carter Geppetto’s Workshop (1997) . Michael Gandolfi (born 1908) I. A Piece of Magic Wood that Laughs (born 1956) Wes Miller, Trumpet and Cries Like a Child Doug Reneau, Trumpet II. Pinocchio Frolics with Punch and Judy, Julia Filson, Horn Which Incites the Menacing Fire-Eater Chris Porter, Trombone III. The Talking Cricket Warns Pinocchio Derrick Wallace, Trombone of the Dangers Ahead Chih-Chiang Lin, Conductor IV. Pinocchio Ignores the Talking Cricket’s Warning and is Chased by the Fox and the Cat Daniel Stein, Flute Fantaisie (1933) . Olivier Messiaen Jooeun Pak, Piano (1908-1992) Bella Hristova, Violin Réflexions (2004) . Elliott Carter Edward Niedermeier, Piano Daniel Stein, Piccolo/Flute/Alto Flute I-Jeng Yeh, Flute/Piccolo Le merle noir (1952) . Olivier Messiaen Sarah Huebsch, Oboe I-Jeng Yeh, Flute Keith Sorrells, English Horn Timothy Best, Piano Amanda Cook, E-Flat Clarinet/Clarinet Jennifer Hughson, Bass Clarinte/Contrabass Clarient Zach Hague, Bassoon Selena Yamamoto, Bassoon/Contrabassoon Pièce pour piano et quatuor à cordes (1991) . Olivier Messiaen Julia Filson, Horn Liana Gourdjia, Violin Madison Roberts, Horn Bella Hristova, Violin Wes Miller, Trumpet Rose Armbrust, Viola Doug Reneau, Trumpet Eric Allen, Cello Chris Porter, Trombone Edward Niedermeier, Piano Derrick Wallace, Trombone Brian Blume Percussion Kyle Acuncius, Percussion Mosaic (2004) . -
Harrison Birtwistle Duet 1 Alistair Mackie Trumpet Mark Van De Wiel Clarinet David Hockings Percussion Sinfonietta Shorts Are B
Harrison Birtwistle Duet 1 Alistair Mackie trumpet Mark van de Wiel clarinet David Hockings percussion Sinfonietta Shorts are bite-sized pieces of new music from today's leading composers, commissioned and premiered by principal players of the London Sinfonietta. The series started in 2008 to celebrate the ensemble's 40th birthday, and the works created for it have enduring relevance as introductions to the best new music of our time. Harrison Birtwistle Duet 1 Sir Harrison Birtwistle created the first short piece The Message (Duet 1) for the London Sinfonietta in 2008, as a ‘birthday card’ for their 40th anniversary concert. He then decided to write more duets for different occasions over the past few years. Bourdon (Duet 2) for violin and viola was performed at a commemorative event for the publisher Bill Colleran. Duet 3 for cor anglais and bassoon was created as a surprise for a supporter of his work, Nicholas Prettejohn. There are now five pieces in the sequence, and this evolving set may well take other forms in the future as the composer sees fit. © Andrew Burke, Chief Executive, London Sinfonietta Duet 1 is a conversation for two instruments. The original title, The Message, derives from a sculpture by Bob Law on which is inscribed ‘the purpose of life is to pass the message on’. Harrison Birtwistle Sir Harrison Birtwistle is internationally regarded as one of the most striking and individual composers today. His unique soundworld runs the full gamut from large-scale operatic and orchestral canvases, rich in mythical and primitivist power, to intimate chamber works, contemplative in their lyricism. -
Igor Stravinsky Petrushka
PROGRAM NOTES by Phillip Huscher Igor Stravinsky Born June 17, 1882, Oranienbaum, Russia. Died April 6, 1971, New York City. Petrushka (1911 version) Stravinsky composed Petrushka between August 1910 and May 26, 1911. The first performance of the ballet was given by Sergei Diaghilev's Russian Ballet and conducted by Pierre Monteux in Paris on June 13, 1911. Stravinsky streamlined the orchestration in 1946, but at this week's concerts the original 1911 version is performed. It calls for an orchestra consisting of four flutes and two piccolos, four oboes and english horn, four clarinets and bass clarinet, four bassoons and contrabassoon, four horns, four trumpets, three trombones and tuba, timpani, triangle, cymbal, bass drum, tambourine, side drum, tam- tam, xylophone, celesta, two harps, piano, and strings. Performance time is approximately thirty-four minutes. The Chicago Symphony Orchestra first performed a suite from the 1911 version of Stravinsky's Petrushka on subscription concerts at Orchestra Hall on November 21 and 22, 1930, with Frederick Stock conducting. The Firebird was Stravinsky's first big hit, and it made him famous, almost literally overnight, at the age of twenty-eight. Petrushka is that most difficult of artistic creations—the follow-up. The Firebird had not only made Stravinsky the talk of Paris, then the capital of the international art world—capturing the attention of the city's biggest names, including Debussy and Proust—but it had scored a huge success for Sergei Diaghilev, who had taken a risk hiring the young, relatively unknown composer to write music for the Russian Ballet's 1910 season.