David Lang's Death Speaks, with Bryce Dessner, Shara Worden
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Musician and Composer Owen Pallett on Being Thoughtful About Each Decision You Make
To help you grow your creative practice, our website is available as an email. Subscribe The Creative Independent is a vast resource of emotional and practical guidance. We publish Guides, Focuses, Tips, Interviews, and more to help you thrive as a creative person. Explore our website to find wisdom that speaks to you and your practice… September 3, 2020 - As told to Max Mertens, 2681 words. Tags: Music, Film, Inspiration, Process, Identity, Production, Multi-tasking. On being thoughtful about each decision you make Musician and composer Owen Pallett on maintaining a punk ethos in the world of chamber music, their fool-proof lyric writing method, revisiting old work, and negative inspiration. This is your first solo album in six years, but you’ve been busy in that time with different scores and arranging for other musicians. Did these projects take any creative or financial pressure off you when it came to making this record? Sometimes they do and sometimes they don’t really. Film scores are always kind of a bit of a crapshoot. If you score a film and it becomes a bit of a hit, then you do get residuals off it, so it is a good investment if you pick the right films. I notoriously have a bit of a bad nose for a good script. Back in 2008 or 2007, Gus Van Sant was asking me to possibly score Milk prior to studio involvement, and I remember reading the script and thinking it was bullshit. It won an Oscar for Best Original Screenplay, and I was like “Oh wow, I don’t really have a good nose for that kind of stuff.” Most of the production work and arrangement work that I do is a little more labor of love. -
SING for JUSTICE, MICHIGAN! an Interdisciplinary Event That Calls for Musicians Artists and Scholars to Consider Their Role As Ambassadors for Change
In collaboration with The American Choral Directors Association Presents SING FOR JUSTICE, MICHIGAN! An interdisciplinary event that calls for musicians artists and scholars to consider their role as ambassadors for change With performances and special guests: Stacey Gibbs, guest conductor Shara Nova, presenter Detroit Women’s Choir, Arianne Abela EMU Choral Ensembles, Brandon Johnson, Liza Calisesi Maidens, & Aaron Pollard MSU Youth Chamber Choir, Kyle Zeuch Oakland University Choral, Mike Mitchell Student & Faculty Panel, Harry Bhogal Peter Higgins, Women’s and Gender Studies Department Michael Doan, Philosophy Department Mary Larkin, LGBT Resource Center Candice Crutcher, Nat’l Assoc. for the Advancement of Colored People & Director of Political Action for SGA Amy Johnson, Communications, Media & Theatre Arts Friday, November 10, 2017 Pease Auditorium Welcome! The Eastern Michigan University Choral Department and the Michigan American Choral Directors Association are so pleased to welcome you to Sing for Justice, Michigan! Music has always been way for people to express themselves and the call for justice is not new to our age. We each understand that the arts have a role to play, and that is why we are here. To understand and to maximize that role is critical to the artist and we are here to discuss the intersection of arts and justice issues. While we have differences among us, the arts can be a common ground for people of myriad backgrounds, whether those variations be political, religious, cultural, or otherwise. Today we celebrate these differences and we gather to examine how we can help inspire others to celebrate them, as well. EMU and ACDA-MI are thrilled to host renowned composer and arranger Stacey Gibbs, singer-songwriter Shara Nova from the band My Brightest Diamond, and a variety of other presenters and performing ensembles as they seek to find ways to use the arts for justice issues. -
Joanna Newsom Covers in the Blogosphere Shayne Pepper Northeastern Illinois University, [email protected]
Northeastern Illinois University NEIU Digital Commons Communication, Media and Theatre Faculty Communication, Media and Theatre Publications 2010 Joanna Newsom Covers in the Blogosphere Shayne Pepper Northeastern Illinois University, [email protected] Follow this and additional works at: https://neiudc.neiu.edu/cmt-pub Part of the Film and Media Studies Commons, and the Other Music Commons Recommended Citation Pepper, Shayne, "Joanna Newsom Covers in the Blogosphere" (2010). Communication, Media and Theatre Faculty Publications. 3. https://neiudc.neiu.edu/cmt-pub/3 This Book Chapter is brought to you for free and open access by the Communication, Media and Theatre at NEIU Digital Commons. It has been accepted for inclusion in Communication, Media and Theatre Faculty Publications by an authorized administrator of NEIU Digital Commons. For more information, please contact [email protected],[email protected],[email protected]. Joanna Newsom Covers in the Blogosphere Shayne Pepper “This is an old song. These are old blues. And this is not my song, but it’s mine to use.” -- “Sadie” Joanna Newsom’s 2004 album, The Milk-Eyed Mender, was released at a time when music blogs were reaching new levels of popularity within certain sections of music and online communities. During this time, songs from nearly every high profile indie rock release seemed to find their way onto music blogs (often, to the chagrin of the music industry, far before slated release dates). Newsom’s songs were no exception – she was often something of a hot topic on blogs like Stereogum, My Old Kentucky Blog, Brooklyn Vegan, Gorilla vs. -
THE BARD OBSERVER Ltlilw."I May 3, 2006
N 0 0 °" THE BARD OBSERVER ltlilW."I May 3, 2006 Bard students who seemed happy enough just not to be in night with the arrival of the DJ. The ~A-run party was Spring Fling 2006 Kline. hopping, though the hopscotch was not. Evan Pritts, a member of the sound crew for the Sunday fea tured the inflatable games which are a Blue skies dispel winter Spring Fling music tent, said that the weekend went Spring Fling staple. Bard students and community chil ,..,..,...,_~ .. dren alike enjoyed the obstacle course, slide, moon bounce, ' .. and of course the gladiator's ring. Other students could be blues and bring Bard seen lying prone under the hot sun for hours, no doubt in shock that this could be the same campus which only students together weeks ago was frigid and inhospitable. Many vendors also lined the Qiad on Sunday, selling everything from cloth ing and jewelry, to henna tattoos, to toast. In addition, not one but two ice cream "trucks" capitalized on the warm BY CHRlSTINE NIELSEN weather, both run by enterprising Bard students. In the evening, after performances by the Flying Spring Fling was a hit among Bard students, owing in no Fiddlers and others, the weekend's musical selections small part to the weather, which was universally touted as wound to a close with an old favorite, the Foundation. "spectacular." Not a single cloud marred the sky from T hey were followed by a nighttime screening of Narnia, Friday to Sunday, and Bard's beautiful grounds put out projected drive-in style on the green and enjoyed by the their greenery just in time to celebrate. -
Suffering and Social Conscience in the Passion Genre from JS Bach's
Messiahs and Pariahs: Suffering and Social Conscience in the Passion Genre from J.S. Bach’s St. Matthew Passion (1727) to David Lang’s the little match girl passion (2007) Johann Jacob Van Niekerk A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2014 Reading Committee: Giselle Wyers, Chair Geoffrey Boers Shannon Dudley Program Authorized to Offer Degree: School of Music ©Copyright 2014 Johann Jacob Van Niekerk University of Washington Abstract Messiahs and Pariahs: Suffering and Social Conscience in the Passion Genre from J.S. Bach’s St. Matthew Passion (1727) to David Lang’s the little match girl passion (2007) Chair of the Supervisory Committee: Giselle Wyers Associate Professor of Choral Music and Voice The themes of suffering and social conscience permeate the history of the sung passion genre: composers have strived for centuries to depict Christ’s suffering and the injustice of his final days. During the past eighty years, the definition of the genre has expanded to include secular protagonists, veiled and not-so-veiled socio- political commentary and increased discussion of suffering and social conscience as socially relevant themes. This dissertation primarily investigates David Lang’s Pulitzer award winning the little match girl passion, premiered in 2007. David Lang’s setting of Danish author and poet Hans Christian Andersen’s “The Little Match Girl” interspersed with text from the chorales of Johann Sebastian Bach’s St. Matthew Passion (1727) has since been performed by several ensembles in the United States and abroad, where it has evoked emotionally visceral reactions from audiences and critics alike. -
Oslo, Norway – 31
OSLO, NORWAY – 31. MARCH - 03. APRIL 2010 MAYHEM A RETROSPECTIVE OF GIANTS A VIEW FROM BERGEN TAAKE NACHTMYSTIUM THE TRANSATLANTIC PERSPECTIVE REVELATORY, TRANSFORMATIVE MAGICK JARBOE TEN YEARS OF INFERNO – THE PEOPLE TELL THEIR STORIES OSLO SURVIVOR GUIDE – CINEMATIC INFERNO – CONFERENCE – EXPO – AND MORE WWW.ROSKILDE-FESTIVAL.DK NÅ PÅ DVD OG BLU-RAY! Photo: Andrew Parker Inferno 2010 (from left): Carolin, Jan Martin, Hilde, Anders, Runa, Torje and Melanie (not present: Lars) HAIL ALL – WELCOME TO THE INFERNO METAL FESTIVALS TEN YEAR ANNIVERSARY! n annual gathering of metal, the black and extreme, the blasphemous Aand gory – music straight from hell! Worshippers from all over the world congregate for the fest of the the black metal easter in the North. YOU are hereby summoned! ron fisted, the Inferno Fest has ruled the first decade of the new Millenn- INFERNO MAGAZINE 2010 Iium. It has been a trail of hellfire. Sagas have been written and legacies Editor: Runa Lunde Strindin carved in willing flesh with new bands and new musical territory continously Writers: Gunnar Sauermann, Jonathan Seltzer, Hilde Hammer, conquered ! Bjørnar Hagen, Trond Skog, Anders Odden, Torje Norén. Photos: Andrew Parker, Alex Sjaastad, Charlotte Christiansen, Trond Skog, ail to all the bands, the crew and the volunteers, venues and clubs! Lena Carlsen. HHail to the dedicated media, labels and managements, our partners and IMX and IMC photos: Viktor Jæger collaborators! Inferno logos and illustrations, magazine layout: Hail to the Inferno audience with their dark force and energy. Asgeir Mickelson at MultiMono (www.multimo.no) With you all onboard we set our sails for the next Inferno! Advertising: Melanie Arends and Hilde Hammer at turbine agency (www.turbine.no) Join this years fest and the forthcoming gatherings in the Distribution: turbine agency + Scream Magazine years to come. -
YOU US WE ALL BAM Harvey Theater Nov 11—14 at 7:30Pm
#BAMNextWave #YouUsWeAll Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Katy Clark, President Joseph V. Melillo, Executive Producer YOU US WE ALL BAM Harvey Theater Nov 11—14 at 7:30pm Running time: one hour & 20 minutes, no intermission Music by Shara Worden Text, direction, and design by Andrew Ondrejcak B.O.X. (Baroque Orchestration X) Season Sponsor: Leadership support for opera at BAM provided by Aashish & Dinyar Devitre Endowment funding has been provided by The Andrew W. Mellon Foundation Fund for Opera and Music-Theater Major support for opera at BAM provided by The Francena T. Harrison Foundation Trust YOU US WE ALL CAST HOPE Shara Worden VIRTUE Helga Davis LOVE Martin Gerke DEATH Bernhard Landauer TIME Carlos Soto B.O.X. ENSEMBLE A Continuo/Rythm Section Theorbo, artistic direction Pieter Theuns Harpsichord, organ Anthony Romaniuk Baroque harp Jutta Troch Drums, percussion Mattijs Vanderleen An Alta Capella of Winds Cornett, flutes Lambert Colson Cornett, trumpet Jon Birdsong Sackbut (baroque trombone) Liza Malamut A Consort of Viols Treble viol, bass viol Liam Byrne Bass viol Pieter Vandeveire Violone Christine Sticher PRODUCTION CREDITS Stage, light, costume, projection design Andrew Ondrejcak Choreographer Seth Stewart Williams Production dramaturg Anne Seiwerath Executive producer/tour management ArKtype/Thomas O. Kriegsmann Production manager/lighting director Davison Scandrett Production stage manager Valerie Oliveiro Assistant stage manager Nina Segal Video design consultant Andrew Bauer Video supervisor Tei Blow Co-lighting design Lutz Deppe Co-costume design Zane Philstrom Assistant director Cecile Tonizzo Sound design David Schnirman/Hear No Evil Wig design Rick Gradone Make-up design Marco Campos Assistant, costumes and wardrobe Baille Younkman Assistant, costumes Julie Michaels Production assistant Veerle Van Rossom YOU US WE ALL is commissioned by B.O.X. -
University Musical Society the Milliard Ensemble
UNIVERSITY MUSICAL SOCIETY THE MILLIARD ENSEMBLE David James, Countertenor John Potter, Tenor Rogers Covey-Crump, Tenor Gordon Jones, Baritone Tuesday Evening, March 5, 1991, at 8:00 Rackham Auditorium, Ann Arbor, Michigan Sound Patterns Tu civium primas ......................... Anonymous (c. 14th century) Alma polls religio - Axe poli cum artica ............... Anorrymous (c. 14th century) Reginarum dominam ....................... .Anonymous (c. 1170) Summa ............................. Arvo Part (b. 1935) Verbum bonum et suave ..................... .Anonymous (c. 1170) Musicalis sciencia Sciencie laudabili ................. Anonymous (c. 14th century) Glorious Hill .......................... Gavin Bryars (b. 1943) INTERMISSION Miraculous love's wounding .................. .Thomas Morley (1557-1602) Thomas gemma Cantuarie .................... .Anorrymous (14th century) In nets of golden wyers ..................... Thomas Morley (1557-1602) Tu solus qui facis mirabilia ................... Josquin Desprez (c. 1440-1521) Litany for the Whale ........................ John Cage (b. 1912) Prest est mon mal ..................... Cornelius Verdonck (1563-1625) Joy, mirth, triumphs ...................... Henry Purcell (1659-1695) Gloria from Messe de Nostre Dame ............. Guillaume de Machaut (c. 1300-1377) The Milliard Ensemble appears by arrangement with Beverly Simmons, Artist Representative, Cleveland, Ohio. The Hillard Ensemble records for ECM, EMI, and Harmonia Mundi France. Copies of this title page are available in larger print; -
A Place for Us
A Place for Us A song cycle for amplified pop tenor and chamber ensemble by Glenn James B.Mus., Wilfrid Laurier University, 2007 M.Mus., University of Toronto, 2009 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Doctor of Musical Arts in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Composition) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) December 2015 © Glenn James, 2015 Abstract A Place for Us is a song cycle for amplified pop tenor and chamber ensemble (amplified string quintet, piano, electric bass, and drum set). It is approximately twenty minutes in duration and is divided into ten short sections. The text was written in collaboration with writer Tamara Chandon. It explores a love story using elements of an archetypal hero’s journey narrative. The music incorporates an eclectic array of styles and focuses on rhythmic attributes such as groove, syncopation, and backbeat. ii Preface This dissertation is an original, unpublished, and independent work by the author, Glenn James. iii Table of Contents Abstract....................................................................................................................... ii Preface......................................................................................................................... iii Table of Contents......................................................................................................... iv List of Figures............................................................................................................. -
Sufjan Stevens/Osso Run Rabbit Run
Sufjan Stevens/Osso Run Rabbit Run ARTIST: Sufjan Stevens / Osso In 2001, Sufjan Stevens followed up his debut album, A Sun Came, with TITLE: Run Rabbit Run Enjoy Your Rabbit, a series of fourteen instrumentals programmatically in- GENRE: classical / indie spired by the animals of the Chinese Zodiac. Much later, in 2006, Bryce STREET DATE: October 6, 2009 Dessner (The National, Dark Was the Night compilation, Clogs) suggest- FORMAT: CD/2xLP ed that Sufjan re-arrange the entirety of Enjoy Your Rabbit for Osso, a string quartet that had previously contributed strings to Sufjan’s Illinois and LIMITED EDITION (CD): No My Brightest Diamond’s Bring Me The Workhorse. The result is Run Rabbit LIMITED EDITION (LP): Yes Run. EXPORT RESTRICTIONS: None RETURNABLE (CD): Yes “Osso’s readings take Mr. Stevens’ music to new places…” – The New York RETURNABLE (LP): No Times PACKAGING (CD): Gatefold PACKAGING (LP): Gatefold • Beautiful packaging includes reproductions of Jessica Dessner’s BOX LOT (CD): 35 exquisite pencil drawings BOX LOT (LP): 10 • Osso will be touring in the fall in support of this release UPC (CD): 656605604923 • Press campaign by Sacks & Company • Radio campaign by Team Clermont Track Listing: 1. Year of the Ox (arr. Michael Atkinson) (3:20) 2. Enjoy Your Rabbit (arr. Michael Atkinson) (3:36) 3. Year of the Monkey (arr. Michael Atkinson) (3:31) UPC (LP): 656605604916 4. Year of the Tiger (arr. Rob Moose) (3:22) 5. Year of the Dragon (arr. Nico Muhly) (3:22) 6. Year of the Snake (arr. Olivier Manchon) (5:05) 7. Year of the Horse (arr. -
Publication 2
KHU_playbill_cat.indd 1 6/4/14 2:44 PM Contents FORWARD..............................................4 Rebecca Ruth Hart ANCIENT EVENINGS.........................6 REN..........................................................8 KHU........................................................11 OSIRIS IN DETROIT.............................12 Angus Cook MAP........................................................16 LIBRETTO...........................................20 NOTES ON THE MUSIC...................27 Jonathan Bepler and Shane Anderson PROFILES.............................................28 CAST AND CREW..............................30 WHO’S WHO IN THE CAST.........32 ADDITIONAL INFORMATION.......35 “I believe in the practice and philosophy of what we have agreed to call magic, in what I must call the evocation of spirits, though I do not know what they are, in the power of creating magical illusions, in the visions of truth in the depths of the mind when the eyes are closed; and I believe…that the borders of our mind are ever shifting, and that many minds can flow into one another, as it were, and create or reveal a single mind, a single energy…and that our memories are part of one great memory, the memory of Nature herself.” W.B. Yeats Ideas of Good and Evil Epigraph to Norman Mailer’s Ancient Evenings The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited. Please turn cellular phones off, as it interferes with audio recording equipment and telecommunications. Thank you. KHU_playbill_cat.indd 2-1 6/4/14 2:44 PM KHU_playbill_cat.indd 2-3 6/4/14 2:44 PM Forward With the promise of full support from Henry Ford’s son Edsel, William Rebecca Ruth Hart Valentiner, then director of the Detroit Institute of Arts, met with Rivera in San Francisco in 1930. -
A Scene Without a Name: Indie Classical and American New Music in the Twenty-First Century
A SCENE WITHOUT A NAME: INDIE CLASSICAL AND AMERICAN NEW MUSIC IN THE TWENTY-FIRST CENTURY William Robin 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 2016 Approved by: Mark Katz Andrea Bohlman Mark Evan Bonds Tim Carter Benjamin Piekut © 2016 William Robin ALL RIGHTS RESERVED ii ABSTRACT WILLIAM ROBIN: A Scene Without a Name: Indie Classical and American New Music in the Twenty-First Century (Under the direction of Mark Katz) This dissertation represents the first study of indie classical, a significant subset of new music in the twenty-first century United States. The definition of “indie classical” has been a point of controversy among musicians: I thus examine the phrase in its multiplicity, providing a framework to understand its many meanings and practices. Indie classical offers a lens through which to study the social: the web of relations through which new music is structured, comprised in a heterogeneous array of actors, from composers and performers to journalists and publicists to blog posts and music venues. This study reveals the mechanisms through which a musical movement establishes itself in American cultural life; demonstrates how intermediaries such as performers, administrators, critics, and publicists fundamentally shape artistic discourses; and offers a model for analyzing institutional identity and understanding the essential role of institutions in new music. Three chapters each consider indie classical through a different set of practices: as a young generation of musicians that constructed itself in shared institutional backgrounds and performative acts of grouping; as an identity for New Amsterdam Records that powerfully shaped the record label’s music and its dissemination; and as a collaboration between the ensemble yMusic and Duke University that sheds light on the twenty-first century status of the new-music ensemble and the composition PhD program.