James Dillon
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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 -
D4.2 BIC Annual Forum and IAG Meeting
D4.2 BIC Annual Forum and IAG meeting Grant Agreement 258655 number: Project acronym: BIC Project title: Building International Cooperation for Trustworthy ICT: Security, Privacy and Trust in Global Networks & Services Funding Scheme: ICT Call 5 FP7 Project co-ordinator: James Clarke Programme Manager Waterford Institute of Technology Tel: +353-71-9166628 Fax: + 353 51 341100 E-mail: [email protected] Project website http://www.bic-trust.eu address: Revision: Final Project co-funded by the European Commission within the Sixth Framework Programme (2002-2006) Dissemination Level PU Public up to and including Annex III RE Annex IV (IAG meeting minutes) Building International Cooperation for Trustworthy ICT: Security, Privacy and Trust in Global Networks & Services 1st Annual Forum 29th November 2011 Brussels, Belgium BIC Partners BIC is a Coordination Action Project within the European Commission, DG INFSO Unit F5, Trust and Security Jan. 2011—Dec. 2013 http://www.bic-trust.eu Page 2 / 103 Table of Contents EXECUTIVE SUMMARY ......................................................................................5 INTRODUCTION ..................................................................................................6 MISSION AND OBJECTIVES OF THE ANNUAL FORUM ...................................6 AGENDA...............................................................................................................7 RESULTS OF THE ANNUAL FORUM..................................................................8 Panel session 1. Other INCO-related -
Introitus Programme Note
James Dillon Introitus (1989–90) 6Vln, 2Vla, 2Vc, 2Db, Tape and Live Electronics duration: 28 minutes Published by Edition Peters (EP7408) First performance: May 1990, Centre Georges Pompidou, Paris Ensemble Intercontemporain, IRCAM technicians, conducted by Peter Eötvös Commissioned by IRCAM River: [ME, (O) Fr. riviere] “a copious stream or flow of something (e.g. water flowing in a channel towards the sea or ocean).” “one who rives who tears apart, who severs, divides or cleaves, to split by means of shock, violent impact or pressure.” [Shorter Oxford Dictionary] Introitus is the eighth in a series of nine works begun in 1982 with the generic title of Nine Rivers. Each of the nine works represents an evolving and interlocking set of orchestrations, where the conceptual basis for scaling, pattern and transformation are derived from a conflation of the title river as both flow and disruption Introitus is organised as a palimpsest of three superposed layers: 1) Twelve strings (6 vlns, 2 vlas, 2 v’celli and 2 C’bass) 2) Computer-generated tape 3) Live electronics (sound transformation and spatialisation) These interdependent strata function not simply to perform a coherent unity a symbiosis but cite their own deconstruction. Introitus within the context of Nine Rivers may be viewed as an estuary (L. aestuare, to surge, foam as the tide), a tidal delirium opened up by the employment of computer technology. 1 ) The twelve strings are subdivided into 3 groups Peters Edition Limited Hinrichsen House 10-12 Baches Street London N1 6DN Tel: 020 7553 4030 Fax: 020 7490 4921 e-mail: [email protected] internet: www.editionpeters.com James Dillon 4 vlns; string quartet; and vla, v’cello, 2 c’ bass Musical material in part either echoes events from previous Nine Rivers works or in common with previous works is constructed around an interaction of prototypical patterns, spirals, branching and meanders, (with turbulence – see below) these patterns are identified in morphology theory as lying at the basis of most natural formations. -
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. -
Time of Music Schedule 2017
Tuesday 4.7.2017 Meet the composer: Steven Kazuo Takasugi, players from Talea Ensemble and Sideshow Tuesday 4.7. at 18.00 School centre Meeting with the composer and performers of the opening concert, interviewed by artistic director Johan Tallgren. Sideshow Tuesday 5.7. at 19.00 Viitasaari Areena Tickets 27 / 15 € Opening concert of the festival Aphorisms on how to survive in the world Talea Ensemble: Barry J. Crawford, flute Rane Moore, clarinet Michael Ibrahim, saxophone Stephen Gosling, piano Alex Lipowski, percussion Emilie-Anne Gendron, violin Elizabeth Weisser Helgeson, viola Kevin McFarland, cello Timo Kurkikangas, Anders Pohjola, electronics Steven Kazuo Takasugi: Sideshow (2009-15) 60′ for amplified octet and electronic playback in five movements Written for Alex Lipowski and the Talea Ensemble Wednesday 5.7.2017 Finnish Gates & Ciphers Wednesday 5.7. at 15.00 Tervamäki Chapel Tickets 15 / 8 € Jukka Tiensuu: Plus II 8´ Ville Raasakka: Short cuts 4´ Kaija Saariaho: New Gates 13´ Max Savikangas: Kranker Matthäus 8 ´ Outi Tarkiainen: Sanasi, kiveen uponneet 7 ´ Lotta Wennäkoski: Ciphers 13´ Uusinta Ensemble Malla Vivolin, flute Lauri Sallinen, clarinet Lily-Marlene Puusepp, harp Max Savikangas, viola Markus Hohti, cello There is a bus transportation to the concert leaving at 14 from Viitasaari bus station and returning after the concert. The price of the return ticket is 10 €. String Quartet: The Politics of Gesture Wednesday 5.7. at 18.00 Viitasaari Chapel Tickets 22 / 12 € Quatuor Bozzini: Clemens Merkel, violin Alissa Cheung, violin Stéphanie Bozzini, viola Isabelle Bozzini, cello Mauricio Kagel: Streichquartett II (1967) 10´ Mark Applebaum: Darmstadt Kindergarten (2015) 7´ Mauricio Kagel: Streichquartett I (1967) 10´ — Anthony Vine: Between Blue (2016) 15´ James Dillon: Third String Quartet (1998) 18´ Meet the composer: James Dillon Wednesday 5.7. -
IAN PACE, P Iano
University of Washington 2001-2002 School ofMusic sc. Presents a Guest Artist Recital: P3 3 4 2. 0 '02 ,-I~ IAN PACE, p iano April 19, 2002 8:00 PM Brechemin Auditorium PROGRAM THREE PIECES FOR PIANO OP. 11 (1909) ..... ..... ....... ... ......... ...... ....... ARNOLD SCHOENBERG 1. Massige ( 1874-1951) / . ' L!::"~, ~ :"" :~~~ :; 3. Bewegte POL VERI LATERALI (1997) ..... ......................... .......... .. ... SALVATORRE SClARRINO (b. 1947) OPUS CONTRA NATURAM (2000-2001) .............................. BRlAN FERNEYHOUGH (b. 1943) INTERMISSION LE CHEMIN (1994) ..... .. .. .... .................... ..... ............... .JOEL-FRANc;:orS DURAND (b. 1954) BAGATELLES OP. 126 (1824) ...................... .. .; .. ...... .. ................. LUDWIG VAN BEETIlOVEN 1. Andante can mota cantabile e compiacevole (1770-1 82 7) 2. Allegro 3. Andante, cantabile e grazioso 4. Presto 5. Quasi allegretto 6. Presto - Andante amabile e can mota ARNOLD SCHOEl\IBERG: THREE PIECES FOR PlANO OP. 11 It was around 1908 that Arnold Schoenberg began to use the piano as a solo instrument. Perhaps no other composition was as crucial to Schoenberg's future, and, if one accepts the eventualities of that future, then also to twentieth-century music, as the Three Piano Pieces Op. 11 . They were not his first atonal works, for besides the last movement of the Second String Quartet, many of the songs in his magnificent cycle Das Buch der hangenden Garten, Op. 15, predated Op. 11. But in tenns of sustained structure (the second of the Three Pieces runs to nearly seven minutes), Op. 11 was the first major test of the possibilities of survival ina musical universe no longer dominated by a triadi cally centered harmonic orbit. And the survival potential was, on the basis of Op. 11, eminently satis factory. -
Michael Finnissy (Piano)
MICHAEL FINNISSY (b. 1946) THE HISTORY OF PHOTOGRAPHY IN SOUND CD1: 1 Le démon de l’analogie [28.29] 2 Le réveil de l’intraitable réalité [20.39] Total duration [49.11] CD2: 1 North American Spirituals [23.41] 2 My parents’ generation thought War meant something [35.49] Total duration [59.32] CD3: 1 Alkan-Paganini [13.37] 2 Seventeen Immortal Homosexual Poets [34.11] 3 Eadweard Muybridge-Edvard Munch [26.29] Total duration [74.18] CD4: 1 Kapitalistisch Realisme (met Sizilianische Männerakte en Bachsche Nachdichtungen) [67.42] CD5: 1 Wachtend op de volgende uitbarsting van repressie en censuur [17.00] 2 Unsere Afrikareise [30.35] 3 Etched bright with sunlight [28.40] Total duration [76.18] IAN PACE, piano IAN PACE 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 was born in Hartlepool, England in 1968, and studied at Chetham's School of Music, The Queen's College, Oxford and, as a Fulbright Scholar, at the Juilliard School in New York. His main teacher, and a major influence upon his work, was the Hungarian pianist György Sándor, a student of Bartók. 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 absolutely vast repertoire of all periods focuses particularly upon music of the 20th and 21st Century. He has given world premieres of over 150 pieces for solo piano, including works by Julian Anderson, Richard Barrett, James Clarke, James Dillon, Pascal Dusapin, Brian Ferneyhough, Michael Finnissy (whose complete piano works he performed in a landmark 6- concert series in 1996), Christopher Fox, Volker Heyn, Hilda Paredes, Horatiu Radulescu, Frederic Rzewski, Howard Skempton, Gerhard Stäbler and Walter Zimmermann. -
Download Booklet
Composer’s notes Michael Finnissy Edvard Grieg: Piano Quintet in B flat major (EG 118) Completed by Michael Finnissy Grieg wrote roughly 250 bars of a Piano Quintet in his ‘Kladdebok’ (sketchbook), immediately before the revisions that he made to ‘Peer Gynt’ for performances in 1892. This quintet ‘torso’ constitutes the exposition of a virtually monothematic structure, following Sonata principles similar to those found in Brahms or Franck. He also made some use here of earlier sketches for a second Piano Concerto (1883 - 87). The manuscript, held in the Bergen Public Library, has been published in Volume 20 of the Grieg Gesamtausgabe [C.F.Peters, Frankfurt], and in Edvard Grieg: The Unfinished Chamber Music [A-R Editions, Inc. Middleton, Wisconsin], neither edition attempting to extend the work. My Southampton University colleague Paul Cox suggested that I tried to invent a completion. After some general research and experimentation with the material, I decided to fashion a one-movement Kammersymphonie, in which the central ‘development section’ following on from Grieg’s exposition, consists of a scherzo (a Hailing, with imitation of Hardanger fiddle music) and a ruminative slow movement (in the manner of the Poetic Tone-pictures’ Op.3), which then proceeds to a recapitulation- finale in which some of the material previously assigned to the strings appears in the piano part, and vice versa. This labour of love began in 2007 and produced two successive, but unsatisfactory, versions, both of which were performed in London. Final alterations and revisions were completed in the late Spring of 2012, approximately 120 years after Grieg laid down his pen, and - appropriately enough – received a definitive performance at the 2013 Bergen International Festival, by the Kreutzer String Quartet and Roderick Chadwick. -
Music Library
Fall Events Calendar Don’t miss the middle of the magazine! in the tutti. (it.) all. every musician to take part. No. 10 2000–2010 Celebrating 10 Years of the School of Music’s Collage Concert INSIDE Fall 2010 Convocation Preview Learning Through Music Student, Faculty, and Alumni News Photo: Sonkarlay Vaye music.umn.edu Fall 2010 | Volume 12 | Number 1 first will feature Paul Phoenix, tenor A vast array of achievements and rec- Photo: Kelly MacWilliams with The King’s Singers and an avid ognitions among students, faculty, spokesperson for engaging diverse and alumni is profiled in this issue of audiences. Additional work includes Tutti, where you will also enjoy read- organizing instruction and perfor- ing about Collage. This year’s 10th mance around unifying themes. We anniversary concert honors president are pursuing strategies to improve Bruininks and his wife, Dr. Susan communication across divisions and Hagstrom. If you are in the area, I to increase students’ engagement in hope you will attend. the work of the school. The intersections between core val- A task force is considering impro- ues and fiscal strategies will be key Dear Alumni, Friends, visation in the curriculum and a to assuring that our school continues and Colleagues, faculty-community committee is to fulfill a significant role in prepar- looking at the composition program ing career musicians. I am pleased John Gardner, secretary of health, and its relationships with technol- to report that recent pledges and education, and welfare during the ogy and improvisation. The catalytic donations yielded over 3.5 million 1960s, characterized the challenges work of the Engaged Department dollars, a much appreciated mark of of his day as incredible opportunities Leadership Team (EDLT) has confidence and trust in our work. -
La Coupure (2001/2010) James Dillon 11.3.10 North American Premiere
LA COUPURE (2001/2010) JAMES DILLON 11.3.10 NORTH AMERICAN PREMIERE STEVEN SCHICK, PERCUSSION JAIME OLIVER AND WILLIAM BRENT, SOUND DESIGN ROSS KARRE, VIDEO DESIGN La Coupure The etymology of the word river (in English) in fact contains a double and apparently contradictory history deriving from the French for both ‘flow’ and ‘sever (or cut)’ River: [ME. – (O)Fr. Riviere] 1. A copious stream of water flowing in a channel towards the sea or ocean, a lake or another stream. A copious stream or flow of (something). Used euphemistically for the boundary between life and death 1790 River: [f. Rive] 2. One who rives–who tears apart, or in pieces, who severs, divides, or cleaves. To rend by means of shock, violent impact, or pressure. (Shorter Oxford Dictionary) La Coupure, literally “the cut,” is the central movement of James Dillon’s massive Nine Rivers project, and precisely imitates the above ‘double’ image of the word river. Or to borrow from the epi- grams of Heraclitus, it is a piece that is “united as opposites.” The work flows seamlessly through time as a set of extrusions from a rich sonic substrate, and in every case the sounding of a percus- sion instrument interrupts, in essence cuts, the flow of sound and time. The work is composed of nineteen precisely notated modules composed for a diverse set of per- cussion instruments. In a collaborative process involving the percussion soloist, composer, sound and video designers, these short set pieces are arranged in sequence and placed, much like rocks in a river, within the flow of the piece. -
Armand Angster Solo Clarinet Label : Triton
Armand Angster Solo Clarinet Label : Triton 1. Christophe Bertrand Dikha 09'01 for clarinet (and bass clarinet) and electronics (2001) 2. Brian Ferneyhough Time and Motion study I 9'05 for bass clarinet (1971-77) 3. Alberto Posadas Sinolon 11'22 for solo clarinet (2000) 4. Ivan Fedele High 7'22 for bass clarinet (2005) 5. Helmut Lachenmann Dal Niente (Intérieur III) 11'20 for solo clarinet (1970) 6. Yann Robin Art of Metal II 09'49 for contrabass clarinet and live electronic sound processing (2007) A twenty-first century voice Many twentieth century composers thought the main significance of music lied in its organisation, therefore they paid little heed to the relatively limited range of timbres in string quartet instruments for instance. For many of them, among whom Ravel, Szymanowski, Stravinsky, Prokofiev, Shostakovich… the conception of music is – at least to a certain degree – disconnected from its ultimate sound rendition. The same discrepancy – although in a different register – can be found in the works of Schönberg or Berg. Indeed, they believed that the musical colour of the piece does not depend on the variety of instruments but rather on the way they are used. Conversely, other composers such as Debussy, Bartok, Kodaly in his earliest works, Varèse, Webern – before he turned to serialism – or more recently Messiaen, Lutoslawski, Carter, Ligeti ou Berio fully take into account the unique sonorities and technical specificities of instruments. They paved the way for the musical avant-gardes of the second half of the twentieth century for whom the sound characteristics and the versatile expressiveness of the instrument played a key part. -
Tanzhaus Production Info
James Dillon Tanz/haus: triptych 2017 “Once again this composer breaks new ground with a work which immerses its audience in a music theatre of the mind. It is compelling for the sureness of its unfolding in time and space, the striking soundworlds conjured from its nine-piece ensemble, and its rich underlying vein of melancholy.” RPS Awards “die Glieder, welche nichts als Pendel wären, folgten, ohne irgend ein Zutun, auf eine mechanische Weise von selbst. (*After all, the limbs are pendula, echoing automatically the movement of the centre.) Über das Marionettentheater : Heinrich von Kleist Tanz/haus [lit.; ‘dance house’] ‘Tanz’ (‘dance’) from the (old) French ‘dancier’ itself is said to have derived from an (old) Frisian word ‘dintje’ to ‘tremble’ or ‘to quiver’. ‘House’ from Old English ‘hus’ (or low German ‘haus’ ) which simply means ‘dwelling’, can be traced back to its Indo-European root ‘hide’ – to hide, to conceal. “The specifics of Dillon’s soundworld were ravishing: sortilege bursts of chiming glitter, coloured with florid counterpoint and suspended chords and drones.” – 5:4 “James Dillon’s composition Tanz/haus is a brilliant piece of music; its construction solid, its expression human, with a breathtaking and shimmering orchestration. The Scotsman is one of the most colourful composers in Europe. His works pair an intriguing complexity with an original and lush dreamy sound world.” – The Wire “a major, hour-long meditation on motion and stasis that CREDITS contrasted passages of mind-boggling density and complexity with stretches of atmospheric emptiness” Red Note Ensemble: – David Kettle, The Scotsman Jackie Shave, violin Robert Irvine, cello Nikita Naumov, doublebass Ruth Morley, flute William White, clarinet Wiek Hijmans, elec.