Programmatik Und Spezifischen Konzeption
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Evento N. 1000 Scheda Artisti
Ente musicale di Nuoro - Evento Numero MILLE Evento n. 1000 Scheda Artisti Complesso Vocale di Nuoro Il Complesso Vocale di Nuoro affronta un repertorio corale vasto e diversificato, spaziante dalla monodia gregoriana alla polifonia contemporanea, nello spirito di un costante approfondimento della vocalità, dell’interpretazione e della prassi esecutiva caratteristiche di ciascuna epoca. Svolge intensa attività concertistica, proponendo programmi monografici incentrati su autori, temi o particolari aspetti della letteratura corale. È spesso ospitato in rassegne, festival, stagioni musicali e prende parte alle principali competizioni corali internazionali nelle quali ha conseguito numerosi ed importanti premi. Si avvale della collaborazione di prestigiose formazioni strumentali ed istituzioni musicali nazionali per l’allestimento di opere per soli, coro ed orchestra. Ha partecipato in qualità di coro laboratorio a seminari per direttori e cantori tenuti, tra gli altri, da Piergiorgio Righele, Mario Fulgoni, Guido Milanese e Peter Neumann. Dal 1997 organizza la rassegna itinerante Cantus: musica nei monumenti della Sardegna, felice connubio tra divulgazione musicale e valorizzazione delle più significative espressioni architettoniche civili e religiose dell’isola, ideale cornice per le esibizioni canore della compagine cui si accompagnano gli interventi di musicologi e storici dell’arte. Il Complesso Vocale di Nuoro è diretto, fin dalla fondazione, da Franca Floris. Franca Floris Si è diplomata in Canto presso il Conservatorio di Musica “L.Canepa” di Sassari sotto la guida di Antonietta Chironi. Ha studiato Direzione di Coro con J.Jurgens. Insegna Educazione Musicale presso la Scuola Media n° 1 “P.Borrotzu” di Nuoro ed è direttore del Coro di Voci Bianche della stessa. È chiamata da enti ed associazioni a tenere corsi di vocalità, direzione ed interpretazione corale ed a far parte di giurie in concorsi corali. -
Jazzzeitung 10/2002 Oktober
27. Jahrgang Nr. 10-02 www.jazzzeitung.de Oktober 2002 B 07567 PVSt/DPAG Mit Festivalzeitung! Entgelt bezahlt Jazzin’ the Night Club 10 Jahre Jazz im Bayerischen Hof Jazzzeitung Mit Jazz-Terminen ConBrio Verlagsgesellschaft aus Bayern, Hamburg, Brunnstraße 23 93053 Regensburg Mitteldeutschland ISSN 1618-9140 und dem Rest E 2,05 der Republik berichte farewell portrait label portrait dossier Viel Nu, wenig Jazz: Mo’Vibes 2002 Nach Hause geflogen: Lionel Hampton Zwischen den Kulturen: Nguyên Lê Austria Akzente: Quinton aus Wien Auf Tour in Mitteldeutschland S. 3 S. 11 S. 13 S. 17 S. 22–23 Liebe Leserinnen, liebe Leser, als die letzte Jazzzeitung produziert wur- de, standen gerade Teile Regensburgs unter Wasser, noch ahnte man nicht, wel- che verheerenden Ausmaße die Über- schwemmungen an der Elbe noch anneh- men würden. Nachdem wir über Berichte unserer Mitarbeiter in Dresden hautnah miterleben mussten, welche Schäden die Flutwelle anrichtete, beschloss die Re- daktion, sich dem Spendenaufruf unserer Schwesterzeitschrift „neue musikzei- tung“ für die Jazz-, Rock- und Popabtei- lung der Musikhochschule für Musik in Dresden, „Carl Maria von Weber” anzu- schließen. Diese ist im Untergeschoss der Hochschule untergebracht, entspre- chend verheerend waren die Schäden durch das Hochwasser (mehr auf Seite 23). Die Jazzzeitung ist unter die Preisstifter gegangen. Einmal im Jahr vergeben wir künftig zusammen mit der Sparda-Bank Baden-Württemberg und der Kulturge- sellschaft Musik und Wort die „German Jazz Trophy – A life for Jazz”. Preisträger 2002 ist kein Geringerer als Paul Kuhn (mehr auf Seite 2)! Das Jazzengagement des Münchner Ho- tels Bayerischer Hof geht ins zehnte Jahr. Das feiern die relativ frisch gebackenen und dennoch erfolgreichen Konzertveran- stalter mit einem einwöchigen Festival. -
Autour De L'orgue
«Folías de España» Autour de l’orgue Lundi / Montag / Monday 17.03.2014 20:00 Grand Auditorium Katharina Bäuml chalémie, bombarde Michel Godard serpent, tuba, guitare basse électrique Claudio Astronio orgue, clavecin Lucas Niggli percussion Un concert de musique ancienne – et de musique un peu plus récente – qui sera pour vous synonyme d’exotisme et de dépaysement: l’orgue se marie aux sonorités d’instruments rares tels que la chalémie, la bombarde ou encore le serpent, mais aussi à la guitare électrique et à la percussion, pour vous inviter à découvrir les «Folies d’Espagne», un thème célèbre, repris par de nombreux compositeurs et appelé également «La Folia» – à l’origine une danse de fertilité au rythme rapide et à l’allure insensée. La musique baroque semble ainsi rencontrer le jazz, notamment sous les doigts de Michel Godard. Le répertoire présenté par ces musiciens, qui n’ont décidément pas peur du choc des époques et des cultures, s’étend jusqu’au 20e siècle, avec la musique de Jehan Alain, mais aussi de Michel Godard et Claudio Astronio eux-mêmes, en passant par les 17e et 18e siècles espagnol et allemand. Wenn die sogenannte Alte Musik mit sozusagen jüngerer Musik im selben Konzert zu hören ist, muss man auf relativ ungewöhnliche Begegnungen gefasst sein. Da treffen dann traditionsreiche Instrumente wie Orgel, Schalmei, Bombarde und Serpent auf E-Gitarre und Percussion, Barockmusik trifft Jazz. Auf das gemeinsame Thema kann man sich allerdings relativ schnell einigen – die «Folías de España» reichen weit in die Musikgeschichte auf schnelle, übermütige Fruchtbarkeitstänze zurück, sie eignen sich aber nach wie vor erstaunlich gut, um an die Tanzlust zu appellieren. -
Pierre Favre Ensemble Fleuve
ECM Pierre Favre Ensemble Fleuve Philipp Schaufelberger: guitar; Frank Kroll: soprano saxophone, bass clarinet; Hélène Breschand: harp; Michel Godard: tuba, serpent; Wolfgang Zwiauer: bass guitar; Bänz Oester: double-bass; Pierre Favre: percussion, drums ECM 1977 CD 6024 985 6355 (7) Release: October 2006 Swiss drummer-composer Pierre Favre has been bringing new impulses to European jazz since the 1960s. At home with all of the music’s styles, from New Orleans to bop to free playing, he is in every context a uniquely lyrical, melodically-minded drummer. The range of ECM musicians with whom Favre has played gives an index of his open-mindedness: from Dino Saluzzi to Arvo Pärt to John Surman and Barre Phillips. His leader dates for the label have included discs with Kenny Wheeler and Steve Swallow (“Window Steps”, 1995) with singer Tamia (“De la nuit... le jour”, 1987, “Solitudes”, 1991) with fellow percussionists Paul Motian, Fredy Studer and Nana Vasconcelos (1984). “Fleuve” introduces his new ensemble, a group of most unorthodox line-up. With tuba, double-bass and bass guitar, the music does not lack authority at the bottom end when needed, but it is also highly mobile and agile, and is given plenty of room to move inside Manfred Eicher’s spacious production. Its music is elegant, sinuous, poetic, its timbres and textures surprisingly evocative of renaissance music, its lyricism timeless. In Favre’s pieces, the differentiated dynamics, arrangements and melody are influenced and developed primarily from the sound colours of his solo percussion playing. Sometimes drums, harp, bass and guitar function as a core ‘rhythm group’ inside which musical ideas are perpetually interchanged, with tuba/serpent and reeds as frontline voices. -
It's All Good
SEPTEMBER 2014—ISSUE 149 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM JASON MORAN IT’S ALL GOOD... CHARLIE IN MEMORIAMHADEN 1937-2014 JOE • SYLVIE • BOBBY • MATT • EVENT TEMPERLEY COURVOISIER NAUGHTON DENNIS CALENDAR SEPTEMBER 2014 BILLY COBHAM SPECTRUM 40 ODEAN POPE, PHAROAH SANDERS, YOUN SUN NAH TALIB KWELI LIVE W/ BAND SEPT 2 - 7 JAMES CARTER, GERI ALLEN, REGGIE & ULF WAKENIUS DUO SEPT 18 - 19 WORKMAN, JEFF “TAIN” WATTS - LIVE ALBUM RECORDING SEPT 15 - 16 SEPT 9 - 14 ROY HARGROVE QUINTET THE COOKERS: DONALD HARRISON, KENNY WERNER: COALITION w/ CHICK COREA & THE VIGIL SEPT 20 - 21 BILLY HARPER, EDDIE HENDERSON, DAVID SÁNCHEZ, MIGUEL ZENÓN & SEPT 30 - OCT 5 DAVID WEISS, GEORGE CABLES, MORE - ALBUM RELEASE CECIL MCBEE, BILLY HART ALBUM RELEASE SEPT 23 - 24 SEPT 26 - 28 TY STEPHENS (8PM) / REBEL TUMBAO (10:30PM) SEPT 1 • MARK GUILIANA’S BEAT MUSIC - LABEL LAUNCH/RECORD RELEASE SHOW SEPT 8 GATO BARBIERI SEPT 17 • JANE BUNNETT & MAQUEQUE SEPT 22 • LOU DONALDSON QUARTET SEPT 25 LIL JOHN ROBERTS CD RELEASE SHOW (8PM) / THE REVELATIONS SALUTE BOBBY WOMACK (10:30PM) SEPT 29 SUNDAY BRUNCH MORDY FERBER TRIO SEPT 7 • THE DIZZY GILLESPIE™ ALL STARS SEPT 14 LATE NIGHT GROOVE SERIES THE FLOWDOWN SEPT 5 • EAST GIPSY BAND w/ TIM RIES SEPT 6 • LEE HOGANS SEPT 12 • JOSH DAVID & JUDAH TRIBE SEPT 13 RABBI DARKSIDE SEPT 19 • LEX SADLER SEPT 20 • SUGABUSH SEPT 26 • BROWN RICE FAMILY SEPT 27 Facebook “f” Logo CMYK / .eps Facebook “f” Logo CMYK / .eps with Hutch or different things like that. like things different or Hutch with sometimes. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
Javier Girotto Trio Tango Nuevo Revisited
JAVIER GIROTTO TRIO TANGO NUEVO REVISITED Era da tempo che volevo contattare l’etichetta discografica tedesca ACT, una delle più importanti nell’ambito jazzistico mondiale. Quando finalmente ho scritto a Siegfried Loch, fondatore e produttore di ACT, lui mi ha risposto accettando la collaborazione per un nuovo progetto con già una sua idea ben precisa in testa: registrare nuovamente il disco che consolidò l’incontro tra Astor Piazzolla e il jazzista Gerry Mulligan. Inciso nel 1974, il disco ebbe titoli diversi, in base al paese in cui veniva distribuito: ”SUMMIT”, ”TANGO NUEVO” e “REUNION CUMBRE”, quest’ultimo titolo scelto per l’Argentina. Siggi Loch è molto legato da profondo affetto a questo importante lavoro, incontro del tango con il mondo del jazz, avendone curato la produzione e la distribuzione su scala mondiale. Da parte mia, la sua richiesta mi è sembrata inizialmente un po’ strana, non potendo decidere o fare uno dei miei progetti consolidati con musica da me composta. Pian piano però l’idea propostami ha cominciato a prendere forma e “gusto” nella mia testa: in fondo “REUNION CUMBRE” ha segnato la mia crescita musicale, Piazzolla e Mulligan sono stati fonte di ispirazione sia per comporre che per suonare. Mi sono cosi convinto che l’intuizione di Siggi era giusta per me. L'organico che ho scelto è sax baritono, bandoneon e pianoforte con elettronica. Con questo spirito cameristico, si è scelto di dare più apertura all’improvvisazione e spazio ad ogni solista. JAVIER GIROTTO SAX BARITONO GIANNI IORIO BANDONEON ALESSANDRO GWIS PIANOFORTE & ELETTRONICS Javier Edgardo Girotto nasce a Cordoba il 17 aprile del 1965. -
Orient S O L O S Spectacle Musical J A
(F r a n c e ) Débute la musique à douze ans. Il joue alors du tof (derbouka jouée horizontalement) dans les musiques tradition - nelles des communautés juives. C’est de là que lui vient son goût pour la musique, la scène, la danse, le spectacle. Les pla - nètes de You v a l . Chacune avec ses champs magnétiques, ses chants poétiques, ses conversations en solo, ses utopies du spectacle musical, sans oublier le jazz, l’une des musiques les plus neuves de ce XXè siècle. Orient Le chant hébreux : L’Ensemble Kol-Aviv (avec notamment Ezra Bouskela, Tal i l a , 1977) Duo avec la chanteuse israélienne Ora Sittner(c d «Lamidbar» 1995). Le chant arabe : Fawzi Al-Aiedy (Irak), Mohamed Hamam (E g y p t e ) . Rencontre avec Djamchid Chémirani(Iran) avec lequel il découvre le zarb. Résidence musicale à l’invitation de l’Institut français de Marrakech.Rencontre avec les groupes marocains (N a s s El Marrakech, Dalil Al Maqâm) (19 9 6 ) Concepteur et programmateur artistique de La Traversée des Musiques juives.Une réalisation du Festival Paris Quartier d’Été en collaboration avec le Parc de la Villette, la Grande Halle et la Cité de la Musique. (juillet 1996) Po é t i q u e Rencontre avec Pierre Seghers : créations au Théâtre de la Ville aux côtés de Michel Bouquet, François Maistre, Michel De Maulne, Jean Topart. «Kaddish» d’Allen Ginsberg avec Michel Tou r a i l l e . «Le Rôdeur» .T exte d’Enzo Cormann. Youval Micenmacher réunit Jean Marc Padovani, Gérard Marais et Enzo Co r m a n n (1 9 8 9 ) . -
A BRIEF INTRODUCTION to the HISTORY of EUROPEAN JAZZ by Andrea Polinelli Jazz History Teacher at “Casa Del Jazz” for State Music Conservatory, Rome Italy
A BRIEF INTRODUCTION TO THE HISTORY OF EUROPEAN JAZZ by Andrea Polinelli Jazz History teacher at “Casa del Jazz” for State Music Conservatory, Rome Italy. Formerly teacher at the Conservatories of Venice, Monopoly and Latina, Italy; saxophone performer in the US, Brazil and Africa; author of the dvd: A Step Ahead, the Italian career of dancer Roberta Escamilla Garrison, wife of the late Jimmy Garrison; Lazio region representative for MIDJ (Italian Jazz Musicians National Association) “European Jazz has now become an enormous world of idioms and a synthesis of styles that represent an effectively strong alternative to the US jazz scene. A new appreciation of popular roots and local traditions, the cross-cultural styles and freshness of instrumental expression unique in sound (for example: the sax of Jan Garbarek, the trumpet of Arve Henriksen, the horn of Michel Godard or Gianliugi Trovesi’s clarinet) have made of European Jazz an ambient of elaboration, an open laboratory of languages and dialects of the future to be. Some dare indicate Europe as the beating heart of future Jazz or at least its most productive and stimulating setting.” (Vincenzo Martorella, Jazz historian, introduction to the Italian edition of Alyn Shipton’s “A New History of Jazz”) Jazz Histories Jazz blossomed in Europe during the 20th century not only as entertainment, but also as a generalised form of art. Today European Jazz is an active and vivid container full of all sorts of creative, expressive and original music. A History of European Jazz though, is something that many believe doesn’t exist. We should more correctly indicate what we are searching for as: Histories of European Jazz. -
Johannes Bauer
Johannes Bauer Discography | Diskographie 15.03.2019 2019 – 03 Zlatko Kaucic – Diversity Not Two Records, MW 969-2 Not Two Records, MW 969-2 Zlatko Kaučič – Ground Drums, Percussion Johannes Bauer – Trombone CD#5 »MED-ANA« 1. Med-Ana – 11:34 / 2. Med-Ana – 3:34 / 3. Med-Ana – 8:21 / 4. Med-Ana – 8:52 / 5. Med-Ana – 2:53 / 6. Šmartno Suita – 23:55 Tracks 1 to 5 – Recorded at Medana “Old Movie Theatre” on September 15, 2012. Track 6 – Recorded at Brda Contemporary Music Festival, Italy on September 13, 2014. 5 CDs in single printed paper-sleeves housed in a sturdy cardboard box-set with a magnetic locking. Contains a 12-page booklet with an interview, line-ups, liner notes and photographs. Only CD #5 with Johannes. 2018 – 01 Jeb Bishop, Matthias Müller, Matthias Muche – Konzert für Hannes Not Two Records, MW 961-2 Jeb Bishop – trombone Matthias Müller – trombone Matthias Muche – trombone 1. 07:39 / 2. 06:07 / 3. 09:03 / 4. 07.59 / 5. 07:40 / 6. 07:09 Recorded live at Stadtgarten Köln on May 5th 2016 Tribut Recording Johannes Bauer Discography 2 | 44 2017 – 01 Johannes Bauer / Peter Broetzmann – Blue City Trost Records, TR155 Peter Brötzmann: tenor & alt sax, tarogato, b-flat clarinet Johannes Bauer: trombone 1 Name That Thing 28:42 2 Blue City 5:11 3 Poppy Cock 15:25 4 Heard And Seen 14:05 5 Hot Mess 6:10 Mastered By – Martin Siewer, Photography – Philippe Renaud Live at Blue City Osaka / Japan 16. October 1997 2014 – 02 Barry Guy New Orchestra Small Formations – Mad Dogs On The Loose Not Two Records , MW925-2, 4 × CD, Album Barry Guy bass -
Deutsche Nationalbibliografie 2014 T 06
Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2014 T 06 Stand: 18. Juni 2014 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2014 ISSN 1613-8945 urn:nbn:de:101-ReiheT06_2014-7 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie sche Katalogisierung von Ausgaben musikalischer Wer- auf der Sachgruppenübersicht angegeben, entsprechend ke (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD (PM)“ zugrunde. -
Eg Phd, Mphil, Dclinpsychol
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. The Secret Gardeners: An Ethnography of Improvised Music in Berlin (2012-13) Tom Arthurs PhD Music The University of Edinburgh 2015 Abstract This thesis addresses the aesthetics, ideologies and practicalities of contemporary European Improvised Music-making - this term referring to the tradition that emerged from 1960s American jazz and free jazz, and that remains, arguably, one of today's most misunderstood and under-represented musical genres. Using a multidisciplinary approach drawing on Grounded Theory, Ethnography and Social Network Analysis, and bounded by Berlin's cosmopolitan local scene of 2012-13, I define Improvised Music as a field of differing-yet-interconnected practices, and show how musicians and listeners conceived of and differentiated between these sub-styles, as well as how they discovered and learned to appreciate such a hidden, ‘difficult’ and idiosyncratic artform.