Luca Francesconi : Animus
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City Research Online
City Research Online City, University of London Institutional Repository Citation: Pace, I. (2017). Michael Finnissy - The Piano Music (10 and 11) - Brochure from Conference 'Bright Futures, Dark Pasts'. This is the other 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/17523/ 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] BRIGHT FUTURES, DARK PASTS Michael Finnissy at 70 Conference at City, University of London January 19th-20th 2017 Bright Futures, Dark Pasts Michael Finnissy at 70 After over twenty-five years sustained engagement with the music of Michael Finnissy, it is my great pleasure finally to be able to convene a conference on his work. This event should help to stimulate active dialogue between composers, performers and musicologists with an interest in Finnissy’s work, all from distinct perspectives. It is almost twenty years since the publication of Uncommon Ground: The Music of Michael Finnissy (Aldershot: Ashgate, 1998). -
PUCCINI International Opera Composition Course Summer
Summer Seminar 2020 July 6 th to 18 th - Lucca, Italy Come and study how to write opera in Lucca, the city of Giacomo Puccini Cluster – Compositori interpreti del presente in collaboration with: Fondazione Giacomo Puccini Fondazione Cassa di Risparmio di Lucca Fondazione Banca del Monte di Lucca Teatro del Giglio di Lucca EMA Vinci Produzioni discografiche (audio-video), editoriali ed artistiche. Present PUCCINI International Opera Composition Course Summer Seminar 2020 July 6 th to 18 th - Lucca, Italy Come and study how to write opera in Lucca, the city of Giacomo Puccini PROJECT The PUCCINI International Opera Composition Course is addressed to composers (both with or without an academic degree) willing to investigate thoroughly all compositional techniques in use in opera writing today, focusing both on the Italian tradition and on the genre’s contemporary international developments. The course’s aim is to hand down the great opera tradition, having as a target the creation of new operas, bridging the past and the future in a new and enthralling vision. COURSE GOALS Participants will get to a deeper understanding of the various aspects of composing for opera theatre. - At the end of the course, each participant must submit a complete pre-project for a new chamber opera, writing a section or a full score for voice and piano (at least 25 minutes) - The best projects will be selected to be performed as mise-en-scene at the ‘PUCCINI Chamber Opera Festival 2021’ in collaboration with Teatro del Giglio of Lucca - All scores produced will be published and recorded video/audio by EMA Vinci APPLICANTS SELECTION Applicants must submit the following materials for selection: - CV - Project scheme of a chamber opera for max 1 voice and piano - Full score and audio file of an orchestral or chamber composition* - Full score or voice/piano score and audio file of a vocal composition* *midi files can be accepted All materials must be e-mailed to [email protected] Submission deadline April, 30th 2020 Eligible composers will be contacted by May, 15th 2020. -
Accroche Note
ACCROCHE NOTE Mardi 12 juin, 20h Église Saint-Merri Ensemble Accroche Note Françoise Kubler soprano Anne-Cécile Cuniot flûte Armand Angster clarinette Nathanaëlle Marie violon Christophe Beau violoncelle Maxime Springer piano Emmanuel Séjourné percussion Luca Francesconi Time, real and imaginary Philippe Manoury Ultima Franco Donatoni ACCROCHE NOTE Cinis Philippe Manoury Hypothèses du sextuor Durée : 1h15 Production Accroche Note. En collaboration avec l’Église Saint-Merri et l’Ircam-Centre Pompidou. Mardi 12 juin, 20h Mardi Saint-Merri Église C’est à Armand Angster que je dois de m’avoir C’est un grand plaisir pour l’Ensemble Accroche poussé vers la musique de chambre. Sans lui, je Note de pouvoir présenter, en première audition à n’aurais certainement pas écrit la moitié de ce que Paris, les œuvres de compositeurs avec lesquels il j’ai écrit, tout simplement parce que je n’ai pas une a entretenu des rapports très étroits : Franco grande appétence pour ça. Les titres de mes pièces Donatoni, dont la rencontre en 1984 a induit de en témoignent, du reste. En 1996, je lui ai écrit nombreuses et flamboyantes partitions ; Philippe Ultima – avec l’idée que ce serait la dernière. Et Manoury, dont l’Ensemble veut fêter les soixante puis il est revenu à la charge, et je lui ai écrit Last ans et dont il a d’ailleurs réalisé un disque l’année suivante… Comme si ma dernière incursion monographique ; Luca Francesconi, enfin, au dans la musique de chambre était toujours travers de l’une de ses dernières œuvres dont il a repoussée ! Grâce à Armand. -
Points in Recent History
San Francisco Contemporary Music Players Performers: Points in Recent History Tod Brody, flute Monday, November 8, 2010, 8 pm Peter Josheff, clarinet Herbst Theatre Jacob Zimmerman, saxophone David Tanenbaum, guitar Michael Seth Orland, piano Dominique Leone, keyboard JÉRÔME COMBIER Regina Schaffer, keyboard Essere pietra (To Be Stone) (2004) Loren Mach, percussion (Combier) (Approximate duration: 6 minutes) William Winant, percussion (Cage, Glass) Susan Freier, violin Heurter la lumière encore (To Hit the Light Again) (2005) Nanci Severance, viola United States premiere Stephen Harrison, cello (Approximate duration: 5 minutes) 2 JOHN CAGE Robert Shumaker, Recording Engineer Seven (1988) San Francisco Contemporary Music Players Co-Commission 2 This project has been made possible by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius. (Approximate duration: 20 minutes) Tonight’s performance is supported in part by the National Endowment for the Arts and the Wells Fargo Foundation. Intermission Tonight’s performances of Heurter la lumière encore and Essere pietra are sup- ported in part by The French-American Fund for Contemporary Music, a program of FACE with support from Cultural Services of the French Embassy, CulturesFrance, SACEM and the Florence Gould Foundation. GABRIELE VANONI Space Oddities (2008) Tonight’s performance of music by Gabriele Vanoni is made possible in part West Coast premiere by the generaous support of the Istituto Italiano de Cultura. (Approximate duration: 8 minutes) Tod Brody, flute PHILIP GLASS Music in Similar Motion (1969) (Approximate duration: 15 minutes) Program Notes (b. 1947) best known for his nature-inspired sculptures and mixed- media work. Two other artists of Combier’s own generation also had JÉRÔME COMBIER (b. -
The Spaces of the Electronic Music in Louis Andriessen's Writing to Vermeer and Luca Francesconi's Quartett
THE SPACES OF THE ELECTRONIC MUSIC IN LOUIS ANDRIESSEN'S WRITING TO VERMEER AND LUCA FRANCESCONI'S QUARTETT Fabio Monni Freelance composer based in Malmö, Sweden Abstract: This paper aims to look inside the operatic works of two living composers, discovers the strategies behind the use of electroacoustic music into a drama and answer a few questions related to the space that electroacoustic music occupies in a codified instrumental/vocal music language. Keywords: Opera, Electronics, Space, Louis Andriessen, Luca Francesconi. Introduction The present paper is not intended to be a systematic study over different uses of the electroacoustic music in lyric operas, rather it consists in a series of considerations, reflexions from a composer's perspective. These considerations will eventually be personal and subjective. Nevertheless, I will bring music examples to clarify and support the following statements. The paper will start from a generic description of the phenomenon space, it will continue with an overview of the two chosen operas, comment the observed peculiarities and arrive to final conclusions. A prologue about space Any kind of activity takes place in a specific space. A physical space is where we interact with other people and where we emotionally connect with each other. For musicians space is where we perform and listen to music. It is an inanimate element. Yet it can actively influence us, our mood, the way we think and the way we create. It is able to influence the way we compose music and play it. As Georges Perec listed in his book Espèces d'espaces (1974) space is something that we tend to take for granted, we don't often stop to reflect on its importance. -
TROMPE-LA-MORT Luca Francesconi
TROMPE-LA-MORT Luca Francesconi @ PALAIS GARNIER Création mondiale 6 représentations du 16 mars au 5 avril 2017 Commande de l’Opéra national de Paris Avant-première le 13 mars 2017, réservée aux moins de 28 ans OPÉRA DIRECTION MUSICALE Susanna Mälkki JACQUES COLLIN / CARLOS HERRERA / TROMPE- MISE EN SCÈNE Guy Cassiers LA-MORT Laurent Naouri OPÉRA EN DEUX ACTES COSTUMES Tim Van Steenbergen ESTHER Julie Fuchs 2017 DÉCORS Tim Van Steenbergen et Guy Cassiers LUCIEN DE RUBEMPRÉ Cyrille Dubois MUSIQUE ET LIVRET LUMIÈRES Caty Olive LE BARON DE NUCINGEN Marc Labonnette Luca Francesconi (1956) VIDÉO Frederik Jassogne ASIE Ildikó Komlósi D’APRÈS DRAMATURGIE Erwin Jans EUGÈNE DE RASTIGNAC Philippe Talbot Honoré de Balzac CHEF DES CHŒURS Alessandro Di Stefano LA COMTESSE DE SÉRIZY Béatrice Uria-Monzon CLOTILDE DE GRANDLIEU Chiara Skerath En langue française Orchestre et Chœurs de l’Opéra national de LE MARQUIS DE GRANVILLE Christian Helmer Surtitrage en français et en anglais Paris PEYRADE (un espion) François Piolino CORENTIN (un espion) Rodolphe Briand CONTENSON (un espion) Laurent Alvaro Pour cette création mondiale, Luca Francesconi se saisit d’une figure tutélaire de La Comédie humaine : Vautrin, alias Jacques Collin, alias l’abbé Carlos Herrera, alias… Trompe‑la‑Mort. Impressionnant personnage masqué, Trompe‑la‑Mort se révèle tout à la fois à travers des énergies latentes, impalpables, et dans des drames aux rebondissements tragiques. Ambivalent personnage à la familiarité royale et à l’empressement maternel, cruel et amoureux, rapace et capable de dompter les fous, ce « Machiavel du bagne » qui finira chef de la police, utilise ses conquêtes pour servir un but éclatant tout en « cachant sa marche ». -
Rebecca Saunders Awarded Roche Commission to Write New Piano Concerto for Nicolas Hodges
Rebecca Saunders awarded Roche Commission to write new piano concerto for Nicolas Hodges 30 October, Wigmore Hall 12 January, Glasgow City Halls Lutyens, Clarke, ThomallaWORLD PREMIERES Steen-Andersen Piano ConcertoUK PREMIERE 24 November, Lucerne Festival 2 March, Barbican Tsukamoto, Ciurlo, HilliWORLD PREMIERES Ligeti Piano Concerto 29 August 2020, Lucerne Festival Rebecca Saunders Piano ConcertoWORLD PREMIERE On 29 August 2020, the prolific contemporary pianist Nicolas Hodges will inaugurate the world premiere performance of Rebecca Saunders’ Piano Concerto at the Lucerne Festival. Roche, in collaboration with the Lucerne Festival and the Lucerne Festival Academy, has awarded Rebecca Saunders their prestigious Roche Commission to enable her to compose a piano concerto for Hodges, who breaks new ground in 2018-19 with a series of world and UK premieres, including three premieres at the Wigmore Hall on 30 October and the UK premiere of Simon Steen-Andersen’s Piano Concerto on 12 January. The biannual Roche Commissions have previously been awarded to several high-profile composers, including Sir Harrison Birtwistle and Sir George Benjamin. Rather than commissioning works that will cater to mainstream fashions, Roche Commissions enables musical works to venture beyond the conventional and provide intellectual stimulation. Saunders will interact with leading scientists over the following two years and in 2020 the newly-developed commission will be premiered at the Lucerne Summer Festival. With piano soloist Hodges, the work will be performed by the Orchestra of the Lucerne Festival Academy conducted by previous Roche Commissions award-winner Matthias Pintscher. Nicolas Hodges is an ideal collaborator for Saunders’ commission. Never shying away from challenging new writing, Hodges continues to push the boundaries of modern piano music with bold and incisive performances. -
MUSIC in TIME John Kennedy, Director and Host
92 American Express Woolfe Street Series MUSIC IN TIME John Kennedy, Director and Host Woolfe Street May 28, May 30, and June 4 Playhouse An Elemental Thing May 28, 5:00pm An Elemental Thing (2017) Liza Lim (b 1966) Rainice Lai, woodblock unbreakable line. hinged waist. (2002) Jennifer Walshe (b 1974) Members of the Spoleto Festival USA Orchestra Strange Matter (2011) Zosha diCastri (b 1985) Members of the Spoleto Festival USA Orchestra Jeffrey Means, conductor Illumine (2016, US premiere) Anna Thorvaldsdottir (b 1977) Members of the Spoleto Festival USA Orchestra Jeffrey Means, conductor Water and Memory (2017, US premiere) Annea Lockwood (b 1939) Members of the Spoleto Festival USA Orchestra Brilliant Nights May 30, 9:00pm Tre Notturni Brillianti (“Three Brilliant Nights,” 1975) Salvatore Sciarrino (b 1947) I. Di volo (“Flight”) II. Scorrevole e animato (“Sliding and animated”) III. Prestissimo precipitamo (“Very fast rushing”) Alfonso Noriega, viola Este branco silêncio (“This White Silence,” 2010) Andreia Pinto Correia (b 1971) Members of the Spoleto Festival USA Orchestra Jeffrey Means, conductor The Heart’s Ear (1997) Liza Lim (b 1966) Members of the Spoleto Festival USA Orchestra Jeffrey Means, conductor Air (2005) Jörg Widmann (b 1973) Ryan Little, horn Akrostichon-Wortspiel (“Acrostic Wordplay,” 1991 – 93) Unsuk Chin (b 1961) I. Hide and Seek II. The Puzzle of the Three Magic Gates III. The Rules of the Game – sdrawkcab emiT IV. Four Seasons in Five Verses V. Domifare S VI. The Game of Chance VII. From the Old Time Marisol Montalvo, soprano Members of the Spoleto Festival USA Orchestra Jeffrey Means,conductor Sponsored by American Express. -
Nov 06 Prog RIGHT for Web.Qxd
SAN FRANCISCO CONTEMPORARY MUSIC PLAYERS David Milnes, Music Director Monday, 6 November 2006, 8 pm Yerba Buena Center for the Arts Forum Performers Tod Brody, flute Carey Bell, clarinet NEW PIANO NOW William Wohlmacher, bass clarinet Julie Steinberg, keyboard LUCA FRANCESCONI Encore/Da capo (1985/1995) Karen Rosenak, piano Graeme Jennings, violin Darcy Rindt, viola BRUNO MANTOVANI Jazz Connotation (1998) Stephen Harrison, cello OSCAR STRASNOY Exercices de Latinité (2002) Christopher Froh, percussion I. Cha-cha-cha II. Tango III. Tarantella This concert is made possible in part by the generous support of the Phyllis C. Wattis MAGNUS LINDBERG Etude (2001) Foundation. POUL RUDERS, Event Horizon (2001) Jay Gottlieb, piano Mr. Gottlieb’s piano recital is made possible by a generous grant from the Ross McKee Foundation. ~ INTERMISSION ~ The performance of music by Donatoni, Francesconi, and Scelsi is underwritten in part by the Istituto Italiano di Cultura.. MAURICE OHANA Free Counterpoints (1985) KAREN TANAKA Techno Etude no. 2 (2000) GIACINTO SCELSI Four Illustrations (1953) I. Vishnu sleeps; Saraszati plays the zither II. Vishnu as wild boar III. Rama IV. Krishna FRANCO DONATONI excerpts from Françoise - Variationen Steinway Piano provided by Sherman Clay Concert Event Services. (1983-96) Jay Gottlieb, piano LUCA FRANCESCONI Encore/Da capo (1985/1995) Program Notes A new venture by the San Francisco Contemporary Music Players LUCA FRANCESCONI (B. 1956) uring a recent visit to California, in preparation for the pre- Falling miere of a piece commissioned by Oliver Knussen and the DLos Angeles Philharmonic, Luca Francesconi was heard to James Matheson’s say: “It is very important to find clear ideas, after all the complexity of 2007 Contemporary Insights, Vibra-Elufa the avant-garde, without giving up the fantastic power of everything in this century that just passed. -
Nicolas Hodges
Nicolas Hodges “Hodges… is one of the leading performers of advanced European music… He makes seemingly unintelligible music speak for itself… And is a pianist with a flabbergasting technique and instantly engaging musicality”. – LA Times, Mark Swed, 27th March 2018 An active and ever-growing repertoire that encompasses such composers as Beethoven, Berg, Brahms, Debussy, Schubert and Stravinsky reinforces pianist Nicolas Hodges’ superior prowess in contemporary music. As Tempo magazine has written: “Hodges is a refreshing artist; he plays the classics as if they were written yesterday, and what was written yesterday as if it were already a classic.” Born in London and now based in Germany, where he is a professor at the Musikhochschule Stuttgart, Hodges approaches the works of Classical, Romantic, 20th century and contemporary composers with the same questing spirit, leading the Guardian to comment: “Hodges' recitals always boldly go where few other pianists dare... with an energy that sometimes defies belief.” Nicolas Hodges’ virtuosity and innate musicianship give him an assured command over the most strenuous technical complexities, making him a firm favourite among many of today’s most prestigious contemporary composers. Collaborating closely with such contrasting figures as John Adams, Helmut Lachenmann and the late Karlheinz Stockhausen is central to Hodges’ career, and many of the world’s most revered composers have dedicated works to him, including Thomas Adès, Gerald Barry, Elliott Carter, James Clarke, Francisco Coll, Hugues Dufourt, Pascal Dusapin, Beat Furrer, Isabel Mundry, Brice Pauset, Wolfgang Rihm and Miroslav Srnka. Hodges enjoys a particularly close relationship with Sir Harrison Birtwistle, who recently described him as “becoming like my Peter Pears.” In September 2018, it was announced that the eminent composer, and longterm collaborator of Nicolas Hodges, Rebecca Saunders, had been selected by Roche Commissions as the 10th recipient in their commissioning series. -
Dossier De Presse Karlheinz Stockhausen
FESTIVAL D’AUTOMNE À PARIS 5 sept 2020 – 7 fév 2021 DOSSIER DE PRESSE KARLHEINZ STOCKHAUSEN Service presse : Christine Delterme – [email protected] Lucie Beraha – [email protected] Assistées de Nora Fernezelyi – [email protected] 01 53 45 17 13 1 © Nieto 2 KARLHEINZ Interprètes, acteurs, mimes, chœur, orchestre et bandes magnétiques célèbrent, avec Karlheinz Stockhausen, le STOCKHAUSEN Dienstag aus Licht (Mardi de Lumière). Cette journée du vaste et fascinant cycle Licht – le Festival d’Automne participe Dienstag aus Licht dorénavant à l’exécution intégrale sur plusieurs années avec l’Ensemble Le Balcon de Maxime Pascal et la Philharmonie de Paris – est placée sous le signe de la terre, de la pierre et de Composition, livret, action scénique et gestes, Karlheinz Stockhausen la roche, du fer et du chrome, du rouge, du rubis et du grenat. Compagnie Le Balcon Le jeune chœur de Paris Licht, auquel Stockhausen œuvra de 1977 à 2003, est un Élèves du Conservatoire de Paris immense rituel fait de sons, de prières, de gestes, de couleurs, Direction, Maxime Pascal Élise Chauvin, Léa Trommenschlager – Eva ; Damien Bigourdan – Michael ; Damien Pass – Lucifer ; de planètes et de pierres précieuses, pour chacun des jours de Henri Deléger – Général des troupes de Michael ; Mathieu Adam – Général des troupes de Lucifer ; la semaine. En un Salut, invoquant la paix et la liberté en Dieu, Sarah Kim – Synthi-fou deux actes et un Adieu, la journée du Mardi, la plus courte, met en scène le conflit spirituel, puis physique, de deux principes : Conception du spectacle, Maxime Pascal, Nieto, Damien Bigourdan Direction scénique, Damien Bigourdan Michaël, l’archange guerrier qui terrassa le dragon et dont Scénographie, Myrtille Debièvre Mithra, Hermès, Thor, saint Georges ou Siegfried sont des Création visuelle, Nieto déclinaisons ; et Lucifer, le chantre du multiple, l’esprit qui Projection sonore, Florent Derex nie et se refuse à concilier les contraires. -
Invigorating the American Orchestral Tradition Through New Music
FEARLESS PROGRAMMING: INVIGORATING THE AMERICAN ORCHESTRAL TRADITION THROUGH NEW MUSIC Octavio Más-Arocas A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2016 Committee: Emily Freeman Brown, Advisor Timothy F. Messer-Kruse Graduate Faculty Representative Marilyn Shrude Kenneth Thompson © 2016 Octavio Más-Arocas All Rights Reserved iii ABSTRACT Emily Freeman Brown, Advisor Despite great efforts by American composers, their prodigious musical output has been mostly ignored by American orchestras. Works by living American composers account for an annual average of only 6% of all the music performed by American orchestras, while works by living composers of all nationalities combined totals a meager 11%. This study examines some of the historical breaking points in the relationship between American orchestras and new music. Five exceptional orchestras are cited, the New York Philharmonic, Los Angeles Philharmonic, Chicago Symphony Orchestra, the Atlanta Symphony, and the Seattle Symphony, that are thriving while successfully incorporating new music in their programing. This document draws attention to the significant role new music can play in the future of American orchestras by analyzing the programing of new music and projects that support composers, identifying innovative orchestral leaders and composers who have successfully served in advisory positions, and by recognizing and discussing the many creative strategies orchestras are using today. This document attempts to increase the understanding of the need for change in concert programing while highlighting several thrilling examples of innovative strategies that are making an essential contribution to the future of orchestral music.