OTHER MINDS 14 a Festival of New Music
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Liner Notes, Visit Our Web Site
Situating Anne LeBaron Anne LeBaron is one of the most vital composers of the postwar generation born in the boom of the 1950s and early sixties. Her music, like that of many of her generation, not only grows out of but further speaks directly to the defining issues of contemporary life. Situated by the debates over sexuality, gender equality, multiculturalism, globalization, and the environment, LeBaron’s music confirms the world around us. It offers not an escape route from our everyday encounters, but rather takes us down pathways that allow aesthetic exploration of those concerns that position us as citizens of the world. However, LeBaron does not preach. Hers is a music that places listeners amid complexity and diversity, opening for us a network of options. Donna Haraway, the feminist philosopher and historian of science, has described well such a way of addressing the world. Arguing against rigid notions of scientific objectivity, Haraway posits a knowledge that is always contextualized by the various historical and cultural positions of a knowing person—a perception that must be understood as both partial and plural.1 Haraway’s knowledge is not, however, a soft relativism of “anything goes.” In a similar way, LeBaron’s music does take up strongly defined positions on particular issues, but these are musically figured as multiple and perspectival. LeBaron’s music not only situates listeners in issues of the contemporary world but it allows us to situate her. Born in Baton Rouge, Louisiana, in 1953, LeBaron attended the University of Alabama in the early 1970s, where she nurtured two aspects of her compositional voice: various sorts of vernacular music, especially that of the Southeastern region of the United States, and classical music, especially that of the European/American avant-garde. -
Parma Manifesto Frederic Rzewski
COMPOSER’S NOTEBOOK Parma Manifesto Frederic Rzewski I This text, Parma Manifesto, was written in the afternoon of a American-born and -raised composer and musician Frederic D E performance by Musica Elletronica Viva (MEV)—the Rome-based Rzewski began his career as a performer of new piano music in Italy N T electronic music and improvisation group that Rzewski had recently during the 1960s. His early associations with the composers Chris- I T co-founded—in March 1968 at the Festival Internazionale del Teatro tian Wolff, David Behrman, John Cage and David Tudor strongly Y Universitario in Parma, Italy. The evening performance, directed by influenced his compositional style and performance practice. He Jean-Jacques Lebel, although basically spontaneous, mainly had to do formed MEV in the mid-1960s with Alvin Curran and Richard with the necessity of taking theater out into the streets. It was termi- Teitelbaum in order to explore possibilities in live electronics and col- nated by the authorities, who simply turned off the electricity. The per- lective improvisation. Over the past three decades his work has been formers and audience carried the performance out of the theater. The performed across the U.S.A. and Europe, and he has taught composi- next day, the students occupied the University. MEV was involved in tion in the U.S., Belgium, Germany and the Netherlands. a number of similar incidents at that time. Works published as Composer’s Notebook entries in Leonardo Music Journal may include composers’ texts published in raw, unedited form, scores, working notes, schematics, diagrams or Frederic Rzewski (musician, composer), 142 Meyerbear, 1180 Brussels, Belgium. -
Sòouünd Póetry the Wages of Syntax
SòouÜnd Póetry The Wages of Syntax Monday April 9 - Saturday April 14, 2018 ODC Theater · 3153 17th St. San Francisco, CA WELCOME TO HOTEL BELLEVUE SAN LORENZO Hotel Spa Bellevue San Lorenzo, directly on Lago di Garda in the Northern Italian Alps, is the ideal four-star lodging from which to explore the art of Futurism. The grounds are filled with cypress, laurel and myrtle trees appreciated by Lawrence and Goethe. Visit the Mart Museum in nearby Rovareto, designed by Mario Botta, housing the rich archive of sound poet and painter Fortunato Depero plus innumerable works by other leaders of that influential movement. And don’t miss the nearby palatial home of eccentric writer Gabriele d’Annunzio. The hotel is filled with contemporary art and houses a large library https://www.bellevue-sanlorenzo.it/ of contemporary art publications. Enjoy full spa facilities and elegant meals overlooking picturesque Lake Garda, on private grounds brimming with contemporary sculpture. WElcome to A FESTIVAL OF UNEXPECTED NEW MUSIC The 23rd Other Minds Festival is presented by Other Minds in 2 Message from the Artistic Director association with ODC Theater, 7 What is Sound Poetry? San Francisco. 8 Gala Opening All Festival concerts take place at April 9, Monday ODC Theater, 3153 17th St., San Francisco, CA at Shotwell St. and 12 No Poets Don’t Own Words begin at 7:30 PM, with the exception April 10, Tuesday of the lecture and workshop on 14 The History Channel Tuesday. Other Minds thanks the April 11, Wednesday team at ODC for their help and hard work on our behalf. -
Bang on a Can Live – Vol
NWCR646 Bang on a Can Live – Vol. 2 Gary Trosclair, trumpet; Mark Stewart, electric guitar; Alan Moverman, piano and synthesizer; Tigger Benford, percussion Jeffrey Brooks 3. Composition for Two Pianos (1992) ................... (8:55) (Bang on a Can 1992) Piano Duo – Cees van Zeeland & Gerard Bouwhuis Elizabeth Brown 4. Migration – in memory of Julie Farrell (1992) .... (11:44) (Bang on a Can 1992) Elizabeth Brown, shakuhachi; Mayuki Fukuhara, violin; Sarah Clarke, viola; Theodore Mook, cello David Lang 5. The Anvil Chorus (1991) ..................................... (7:00) (Bang on a Can 1991) Steve Schick, percussion Jeffrey Mumford 6. a pond within the drifting dusk (1989) ................ (9:22) (Bang on a Can 1989) Laura Gilbert, alto flute; Joshua Gordon, cello; Victoria Drake, harp Phil Kline Shelley Hirsch/David Weinstein 7. Bachman’s Warbler (1992) ................................. (16:34) 1. Haiku Lingo (excerpt) (1990) ............................. (8:15) (Bang on a Can 1992) Phil Kline, harmonica and (Bang on a Can 1990) Shelley Hirsch, voice; boomboxes David Weinstein, electronics Total playing time: 74:53 Lois V. Vierk 2. Red Shift IV (1991) ............................................. (12:25) Ê & © 1993 Composers Recordings, Inc. (Bang on a Can 1991) A Cloud Nine Consort: © 2007 Anthology of Recorded Music, Inc. Notes Bang on a Can is among the most inclusive and hospitable of introductions are cursory, a bit nervous and wonderfully all new music festivals. Its ambiance is informal. When the illuminating—an introduction to the person, not the concept, venues allow it, audiences can come and go during annual all- behind the music. When John Cage stepped on stage to kick day marathon concerts, sit up close and listen, or casually off the 1992 edition of the festival, which began with his stand in the back with a beer or an apple cider. -
Presidency Cultural Programme in Kraków
Presidency Cultural Programme in Kraków 2011-08-23 4th “Divine Comedy” International Theatre Festival December 2011 The Divine Comedy festival is not just a competition, but also an opportunity to see the top shows by young Polish directors and the chance to compare opinions of Polish theatre with critics from all over Europe. The selection of productions is made by the most prominent Polish critics, journalists, and reviewers, while the decision on who walks away with the figurine of the Divine Comedian is made by an independent international jury. The festival is divided into three blocks. In the Inferno section – the contest for the best Polish productions of the previous season – the maestros of Polish theatre and their students compete for the award. Paradiso is the section of the festival devoted to the work of young, but already acclaimed, directors. The Purgatorio block includes accompanying events. It should be emphasised that this year the festival has changed its formula – traditionally the competition section and culmination of accompanying events fall in December, while the international section takes place all year round – every month excluding the summer holidays. Organiser: Krakow Festival Office www.boskakomedia.pl Opera Rara: A. Vivaldi – L’Oracolo in Messenia 8 December 2011 December’s performance in the Opera Rara cycle perfectly achieves the goals set by originator Filip Berkowicz when he began the project in 2009 – to present above all works which are rarely played or which have been restored to the repertoire after centuries of absence in concert halls. This will be the world première of the opera written by Antonio Vivaldi in the last years of his life, published just after his death and then lost for a very long time. -
Expanding Horizons: the International Avant-Garde, 1962-75
452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary. -
2 Fifteenth Berkeley Festival & Exhibition 2
2 FIFTEENTH BERKELEY FESTIVAL & EXHIBITION 2 june 3–10, 2018 Festival Advisory Committee, Board of Directors & Staff ...............................................................................................2 Festival Supporters ...........................................................................................................................................................3 Welcome ..........................................................................................................................................................................6 Festival Calendar .............................................................................................................................................................8 Main Stage Players Sunday, June 3 Seattle Historical Arts for Kids ...............................................................................................................................14 California Bach Society ..........................................................................................................................................17 Monday, June 4 Christine Brandes & Elizabeth Blumenstock ..........................................................................................................23 Tuesday, June 5 San Francisco Conservatory Baroque Ensemble Students and Alumni ...................................................................27 Davis Senior High School Baroque Ensemble ........................................................................................................30 -
ANNIE GOSFIELD, Whom the BBC Called “A One Woman Hadron
ANNIE GOSFIELD, whom the BBC called “A one woman Hadron collider,” lives in New York City and works on the boundaries between notated and improvised music, electronic and acoustic sounds, refined timbres and noise. Her music is often inspired by the inherent beauty of found sounds, noise, and machinery. She was dubbed “a master of musical feedback” by The New York Times, who wrote “Ms. Gosfield’s choice of sounds — which on this occasion included radio static, the signals transmitted by the Soviet satellite Sputnik I, and recordings of Hurricane Sandy — are never a mere gimmick. Her extraordinary command of texture and timbre means that whether she is working with a solo cello or with the ensemble she calls her “21st-century avant noisy dream band,” she is able to conjure up a palette of saturated and heady hues.” In 2017 Gosfield collaborated with Yuval Sharon and the Los Angeles Philharmonic on the multi-site opera “War of the Worlds.” This large-scale, citywide collaborative performance was a powerful engagement with public life, bringing opera out of the concert hall and into the streets. Three defunct air raid sirens located in downtown Los Angeles were re-purposed into public speakers to broadcast a free, live performance from Walt Disney Concert Hall. The sirens also served as remote sites for singers and musicians to report back to the concert hall from the street. The notorious 1938 radio drama created by Orson Welles came to new life, directed by The Industry’s Yuval Sharon, conducted by Christopher Rountree and narrated by Sigourney Weaver. -
Liner Notes, Visit Our Web Site: Broadcasts by WNYC-FM (New York City) and KPFA-FM (Berkeley), 1991
CMYK 80811- 2 80817-2 [2 CDs] CHARLES AMIRKHANIAN (b. 1945) LOUDSPEAKERS CHARLES AMIRKHANIAN LOUDSPEAKERS DISC 1 [TT: 70:03] DISC 2 [TT: 61:30] Pianola (Pas de mains) (1997–2000) 39:51 1. Son of Metropolis 1. Corale Cattedrale 3:57 San Francisco (1997) 26:38 2. Pet Hop Solo 2:28 Loudspeakers 3. Valzer Provarollio 5:27 (for Morton Feldman) (1988–90) 34:32 4. Tochastic Music 2:18 2. Meyerbeer 4:35 5. Passaggio di Coltivadori 1:07 3. The Piece 5:26 6. Antheil Swoon 2:14 4. Voice Leading 6:51 7. Chaos of the Moderns (Presto) 4:24 5. Took Some Time 7:34 8. To a Nanka Rose 2:16 6. Such a Surface 3:33 9. A Rimsky Business 4:43 7. Pretty Pretty Macabre 3:08 10. Kiki Keys 10:39 8. Loudspeakers 3:24 11. Im Frühling (1989–90) 30:06 Im Frühling 1990, Son of Metropolis San Francisco ൿ 1997, Pianola ൿ 2000 A Westdeutscher Rundfunk Köln Production New World Records, 20 Jay Street, Suite 1001, Brooklyn, NY 11201 Tel (212) 290-1680 Fax (646) 224-9638 [email protected] www.newworldrecords.org This compilation ൿ & © 2019 Anthology of Recorded Music, Inc. All rights reserved. Made in U.S.A. 21907.booklet.16 10/29/19 1:12 PM Page 2 HARLES AMIRKHANIAN (b. 1945) can be regarded as a central figure repetitive elements, but are more poetic, intuitive in their form and often in American music, and on several fronts. As a composer, he’s been impressionistic in their effect. -
Pieces for Piano Cristina Spinei Mechanical Angels Reflections Relics the Road Frederic Rzewski Mile 47
Pieces for Piano Cristina Spinei Mechanical Angels Reflections Relics The Road Frederic Rzewski Mile 47, “Walk in the Woods (b. 1938) Mile 48, “Why” The People United Will Never Be Defeated! 36 Variations on ¡El pueblo unido jamás será vencido! Matthew Phelps is one of the most versatile classical musicians in the nation. He is a sought-after performer as a pianist and conductor. He has performed recitals for the Nashville Cathedral Arts Series, Steinway Society of Nashville, Nashville Symphony’s On Stage series, Wright State University, the University of Dayton, the Music at 990 series, and has appeared numerous times on Nashville Public Radio as a soloist and chamber musician. He has performed as a soloist with the Nashville Concerto Orchestra, Intersection, and participated in a complete performance of Beethoven’s 32 piano sonatas, where he and 20 other pianists performed Beethoven’s works in chronological order as part of a two-day festival. A proponent of new music and classical improvisation, Phelps is known for his performances of Frederic Rzweksi’s monumental, “The People United Will Never Defeated,” which he has played throughout the nation including a 2019 tour of California. He has also premiered music by Christina Spinei, Peter Morabito, Drew Dolan, David Macdonald, Dan Locklair, Dominick DiOrio. Phelps is active as a chamber musician, often playing with Erin Hall and Keith Nicholas as a founding member of the Elliston Trio. The trio has played throughout the nation in a repertoire that spans from Mozart to Joan Tower. Their performance of the Triple Concerto, under the baton of Earl Rivers, concluded Nashville’s Beethoven festival. -
CHINARY UNG: SINGING INSIDE AURA WATER RINGS OVERTURE | ANICCA | ANTIPHONAL SPIRALS | GRAND SPIRAL [1] WATER RINGS OVERTURE (1993) 6:46 CHINARY UNG B
CHINARY UNG: SINGING INSIDE AURA WATER RINGS OVERTURE | ANICCA | ANTIPHONAL SPIRALS | GRAND SPIRAL [1] WATER RINGS OVERTURE (1993) 6:46 CHINARY UNG b. 1942 WATER RINGS OVERTURE [2] ANICCA (1970) 8:27 ANICCA [3] ANTIPHONAL SPIRALS (1995) 11:03 ANTIPHONAL SPIRALS [4] SINGING INSIDE AURA (2013) 14:34 Susan Ung, viola and voice SINGING INSIDE AURA GRAND SPIRAL: DESERT FLOWERS BLOOM [5] GRAND SPIRAL: DESERT FLOWERS BLOOM (1991) 13:19 SUSAN UNG viola and voice TOTAL 54:10 BOSTON MODERN ORCHESTRA PROJECT GIL ROSE, CONDUCTOR COMMENT By Chinary Ung The use of vocalization has become a central feature in my music over the past two decades. As a child growing up in a small village surrounded by rice fields, I was exposed to this practice as a part of folk music, and would later hear the music of other cultures share this approach. In contemporary Western music, however, vocalization was most often used as a special effect. I would eventually seek to incorporate vocalization in a more comprehensive manner that was integral to the work while reflecting a similar timelessness and cultural resonance as in the folk music I remembered. The first significant occasion I had to experiment with this idea was in Susan Ung’s Moon Ritual, a structured improvisation in the late 1970s in which Susan played her viola through a Buchla synthesizer while I played cello and vocalized, using syllables for their sound character. The idea remained on the back burner for twenty years before I brought it forth in a major work, Grand Alap, for cello and percussion, in which both parts featured extensive vocalization. -
Jazz Concert
Aritst Series presents: City of Tomorrow Woodind Quintet Wednesday, October 7, 2015 at 8 pm Lagerquist Concert Hall, Mary Baker Russell Music Center Pacific Lutheran University School of Arts and Communication / Department of Music present Artist Series presents: City of Tomorrow Woodwind Quintet Elise Blatchford, Flute Stuart Breczinski, Oboe Rane Moore, Clarinet Nanci Belmont, Bassoon Leander Star, Horn Wednesday, October 7, 2015, at 8 pm Lagerquist Concert Hall, Mary Baker Russell Music Center Welcome to Lagerquist Concert Hall. Please disable the audible signal on all watches, pagers and cellular phones for the duration of the concert. Use of cameras, recording equipment and all digital devices is not permitted in the concert hall. PROGRAM Rotary........................................................................................................... Karlheinz Stockhausen (1928-2007) Blow (1989) .............................................................................................................Franco Donatoni (1927-2000) INTERMISSION Daedalus ........................................................................................................................... John Aylward (b. 1980) East Wind ......................................................................................................................... Shulamit Ran (b. 1949) Elise Blatchford, flute Music for Breathing .............................................................................................................. Nat Evans (b. 1980) About the