A Cappella 2014 Will Be COOL & JAZZY from Moscow, Who Will Be Celebrating Their Twentieth An- Amarcord & Lautten Compagney Niversary with a Lively Stage Show

Total Page:16

File Type:pdf, Size:1020Kb

A Cappella 2014 Will Be COOL & JAZZY from Moscow, Who Will Be Celebrating Their Twentieth An- Amarcord & Lautten Compagney Niversary with a Lively Stage Show Leipzig · 9 – 18 May 2014 International Festival of Vocal Music Kindly supported by www.a-cappella-festival.com Having the time of your life is certainly something worth singing about! We’re clearly not the only Friday 9 May 2014, 8pm ones who think so – which is why in 2014, the a cappella International Festival of Vocal Music will Michaeliskirche be held for the fifteenth time! It’ll feature top stars from the world of vocal music, ambitious young Opening concert singing groups, and also vocal artistes appearing in Leipzig for the first time. Among the newcomers at a cappella 2014 will be COOL & JAZZY from Moscow, who will be celebrating their twentieth an- amarcord & Lautten Compagney niversary with a lively stage show. Young British ensemble THE MARIAN CONSORT will also be making Germany their a cappella debut with music by outstanding English composers from the Golden Age. At three recitals we’ll be able to enjoy four past and present prize-winners of the International A CAPPELLA Madrigals, Chansons and Dances from the Teütsch Contest. The prize-winners’ concert will be shared by MIXTET from Estonia and THE QUINTESSENTIAL Lute Book (1566) by Melchior Neusidler FIVE from Georgia, both of whom put in breath-taking performances which went down a storm with both audience and jury in 2013. KLANGBEZIRK will be presenting the family concert in their inimitably amarcord have something special up their sleeve for the open- charming fashion. And OMMM, that astonishingly creative ensemble from France, will be setting off ing concert of the fifteenth a cappella festival! The hosts will musical fireworks at the end of the festival. Apart from hosts AMARCORD, Leipzig will be represented be teaming up with the Lautten Compagney (an instrumental by the multi-award-winning CALMUS ENSEMBLE, who won the first Up-and-Coming Young Ensemble ensemble celebrating its thirtieth anniversary) to showcase Re- Award back in 2003. Some of the foremost names appearing in 2014 will be old friends who you naissance songs in a special manner. During this thrilling cel- definitely shouldn’t miss: Bobby McFerrin, the vocal miracle of our time, THE HILLIARD ENSEMBLE in ebration of the Renaissance based on the 1566 Teütsch Lute Book by Melchior Neusidler, sixteenth- the fortieth and sadly final year of their long, successful career, and the Sardinian natural singers of century vocal music (including by famous names such as Orlande de Lassus and Josquin des Prez) CUNCORDU E TENORE DE OROSEI, who will be beaming sheer magic straight into our souls! Further- will be colourfully intertwined with lutes, cornetts and percussion. Witness the Leipzig debut of this more, the International A CAPPELLA Contest accompanied by workshops and seminars will be held for stunning project so important to both ensembles – you’ll be amazed! the eighth time. Come along with your friends and family, and enjoy the unique festival atmosphere in the capital of a cappella singing! We promise you’ll have the time of your lives! Tickets € 24 Senior citizens/Leipzig Card € 19 Concessions* € 15 amarcord Saturday 10 May 2014, 8pm Schaubühne Lindenfels Tickets Gewandhaus: +49 (0)341 127 0280 Cool & Jazzy M. Oelsner’s music shop: +49 (0)341 960 5656 Ticketgalerie GmbH: +49 (0)341 141414 Russia Leipziger Volkszeitung: (0800) 218 1050 Voices No Limits All authorized ticket agencies www.a-cappella-festival.de Cool & Jazzy from Russia will be appearing at a cappella for the first time in 2014. Already performing for twenty years, the The prices stated include booking fees and a donation of 50 cents for Schaubühne Lindenfels. Ward Swingle Award Winners easily fill venues in their mother- land. One of Russia’s foremost vocal jazz line-ups, Cool & Jazzy have made a name for themselves with their unique take on not just jazz standards but also music * Children, full-time students, apprentices, trainees, unwaged (except at the concert on 14 May ranging from house to classical, not to mention their own compositions produced in their distinctive 2014 in the Mendelssohn Hall of the Gewandhaus), voluntary personnel, severely disabled, Leipzig style. If you like New York Voices and Take 6, you’ll love Cool & Jazzy! Pass holders (proof required) www.facebook.com/acappellafestivalleipzig Tickets € 24,50 Senior citizens/Leipzig Card € 19,50 Concessions* € 15,50 Sunday 11 May 2014, 3pm Sunday 11 May 2014, 8pm Alte Handelsbörse Family concert Peterskirche Klangbezirk Marian Consort Germany UK Woodstock in the Living Room An Emerald in a Work of Gold The hospitable family concert for people of all ages will be Even young British vocal groups can be relied upon to meticu- hosted by some old friends: Klangbezirk, runners-up in the In- lously recreate European gems of harmony singing. And one of ternational a cappella Contest in 2007 and now criss-crossing the bright new hopes among British groups specializing in early the world exploring all sorts of music in their unique vocal style. music is the Marian Consort. Founded in Oxford in 2007, they Being freelance parents and creative talents, these four charm- will be performing for the first time in Leipzig at a cappella. ing souls certainly know how to capitivate even the very tiniest members of the audience. During their Their programme entitled ‘An Emerald in a Work of Gold’ comprises Maynly sacred English music from family concert, the members of Klangbezirk will be passing on songs and memories of their parents the sixteenth century taken from the Dow Partbooks – a collection of pieces by Thomas Tallis and Wil- and grandparents to the youngest fans of vocal music. They’ll be revealing a cappella secrets and liam Byrd as well as lesser-known composers such as Nicholas Strogers, Philip van Wilder and Robert presenting hippie wisdom dressed up in in fine jazz garb, making for a song fest with a living room Parsons which was compiled in the 1580s. atmosphere where the audience is invited to both listen and participate. 1 adult € 15 2 adults € 25 Under-18s € 2 Tickets € 20 Senior citizens/Leipzig Card € 16 Concessions* € 12 Monday 12 May 2014, 8pm Tuesday 13 May 2014, 8pm Schaubühne Lindenfels Gewandhaus, Großer Saal Prize-winners' concert of the International A CAPPELLA Contest Mixtet Leipzig 2013 Bobby McFerrin Estonia USA The Quintessential Five Bobby McFerrin Solo Georgia This is a man brimming with music, a truly unique singing force in the world of vocal music! And we’re thrilled to be able Closeness (Mixtet) and Folk to Jazz (The Quintessential Five) to welcome him back to the fifteenth a cappella festival! An inspiration for singers around the globe for decades, Bobby Mixtet and The Quintessential Five are two very different groups who were crowned joint winners at McFerrin recently joined forces with the Jazz at Lincoln Center Orchestra with Wynton Marsalis to last year’s International A CAPPELLA Contest, even though they’d both existed for barely more than a present his audio biography, and also explored his own roots on his 2013 album spirityouall. In his year! Boasting technical and sonic brilliance and with a performance style that’s sometimes intimate, solo concerts, the audience rediscover not just Bobby McFerrin but also themselves and the musicality sometimes expressive, both ensembles display great talent coupled with musical ambition – and we of the world. Bobby McFerrin is a man who knows no fear and no boundaries. Instead, he draws in- can’t wait to find out what the future holds in store for them both! Their joint prize-winners’ concert spiration from his surroundings, and passes on this inspiration to those around him with his incredibly will be an opportunity to find out how they’ve evolved in the meantime. Both groups are closely at- contagious musical energy. Everyone should see Bobby McFerrin at least once in their lives! tached to their national musical culture, yet have also succumbed to the allures of jazz. Discover the frontiers of folk and jazz in the company of these young hopefuls from Estonia and Georgia. Tickets € 18,50 Senior citizens/Leipzig Card € 18,50 Concessions* € 12,50 Tickets € 58 Senior citizens/Leipzig Card € 48 Concessions* € 38 Wednesday 4 May 2014, 8pm Leipzig Gewandhaus, Mendelssohn-Saal Patron: A CAPPELLA AWARD Jury chairman: Stephen Connolly Calmus Ensemble (formerly in the King's Singers) Entry requirements: Vocal groups with 3-8 singers Germany Average age 28 + seminars and Coy Remarks: Witty and Entertaining workshops Kindly supported by Cut-price tickets for concerts during the a cappella festival Winners of the Up-and-Coming Young Ensemble Award at the Entry deadline: A CAPPELLA Contest in 2003, the Calmus Ensemble is now one 31 January 2014 of the most respected names and foremost representatives of For more details, visit: Leipzig vocal talent. Featuring an unusual line-up of one female and four male voices, they are renowned www.a-cappella-wettbewerb. 15 – 18 May 2014 for their tasteful, balanced and resplendent sound combined with homogeneous delivery bursting with com freshness. The quintet thrives on its versatility, which will be amply illustrated by a programme featuring madrigals by Heinrich Schütz and ballads by Robert Schumann, jazzy arrangements of poetry by Wilhelm Busch and Christian Morgenstern, and their own treatment of songs by Georg Kreisler. Experience an exquisite blend of sensitivity and sensuousness in an exclusively vocal setting originally made in Leipzig! Tickets Cat. I € 22 Cat. II € 15,50 Senior citizens/Leipzig Card Cat. I € 22 Cat. II € 15,50 In conjunction with the Concessions* Cat. I € 18 Cat. II € 13 Gewandhaus Thursday 15 May 2014, 8pm Friday 16 May 2014, 8pm Ev.-reformierte Kirche Thomaskirche Cuncordu e Tenore de Orosei The Hilliard Ensemble Italy UK Water and Wine: Songs from Sardinia A Hilliard Songbook This time, a glimpse of the exhilarating singing skills found in With concerts at leading festivals all over the world, top other parts of the world will be provided by five male voices international awards, and a string of commissions and first from Sardinia.
Recommended publications
  • Producing an a Cappella CD and Development of a Pitch Detection Program
    A Guide to Producing An A Cappella CD and Development of a Pitch Detection Program A Senior Project submitted in partial fulfillment of requirements for the Bachelor of Arts Degree in Liberal Arts and Engineering Studies By Jacob Ray Stringfellow Liberal Arts and Engineering Studies Department College of Engineering California Polytechnic State University San Luis Obispo Spring Quarter, 2012 Abstract An in-depth look at the steps required to produce a CD for an a cappella group. From what microphone and preamplifiers to use, to what steps to take during the editing, mixing, and mastering processes. Finished with a look at pitch detection algorithms and how they work, and a little bit of experimentation with my own algorithm and program. 1. Introduction We live in a world that is filled with music. This music comes in different varieties ranging from hip-hop and rap to country and classical. One genre of music that seems to be on the rise now a day is that of a cappella, or singing without instruments. With shows such as America’s Got Talent showcasing collegiate a cappella groups, and shows like the Sing Off that focus on a cappella singing, it seems that collegiate a cappella groups are reaching a peak in popularity. With a cappella groups being formed, and music being performed, there is also a rising demand to record their music. This presents an interesting challenge. Getting your a cappella group’s song recorded professionally can be costly, and on college student budgets it can be hard to afford. That being said, I suggest that there is a solution to this problem.
    [Show full text]
  • EARLY MUSIC NOW with SARA SCHNEIDER Broadcast Schedule — Winter 2019
    EARLY MUSIC NOW WITH SARA SCHNEIDER Broadcast Schedule — Winter 2019 PROGRAM #: EMN 18-27 RELEASE: December 24, 2018 Gaudete! Music for Christmas This week's program features Christmas music from several centuries to help get you in the holiday spirit, with hymns and carols by Michael Praetorius and Johannes Brassart, a Christmas concerto by Francesco Manfredini, and a traditional German carol sung by Emma Kirkby. Other performers include La Morra and the Gabrieli Consort and Players. PROGRAM #: EMN 18-28 RELEASE: December 31, 2018 To Drive the Cold Winter Away This week, Early Music Now presents songs to usher out the old year, and welcome the new; plus ditties and dances to bring some cheer to the cold winter days! Our performers include Pomerium, Ensemble Gilles Binchois, and The Dufay Collective. PROGRAM #: EMN 18-29 RELEASE: January 7, 2019 La Serenissima The 16th century Venetian School influenced composers all over Europe- from the polychoral masterpieces of Gabrieli to the innovative keyboard music of Merulo. We'll also hear selections from the Odhecaton: the earliest music collection printed using movable type, published by Petrucci in Venice in 1501. PROGRAM #: EMN 18-30 RELEASE: January 14, 2019 Music at the court of Emperor Maximilian I Maximilian I of Austria employed some of the finest artists and musicians of his time to glorify his reign and create a permanent legacy. He was known for wanting music in his environment constantly, even when he was alone. We'll hear from the composers who served him, like Isaac and Senfl, plus some of the music that shaped his young adulthood at the Burgundian court.
    [Show full text]
  • Leading Congregational Singing Song/Hymn Leading Is an Important
    Leading Congregational Singing LEADING AS A VOCALIST - Joyce Poley DEVELOPING A STYLE Song/hymn leading is an important skill that can make an enormous difference to the way a congregation sings. If the song leader is primarily a vocalist, there are a number of qualities that are important for success: having enthusiasm for singing; being able to establish a good rapport with the congregation; being comfortable with your own voice; having accurate pitch and a pleasing vocal quality; being excited about introducing new ideas and repertoire. These attributes will help ensure a good singing experience for both the leader and the congregation. Song/hymn leaders use a variety of approaches when leading the congregation, and no single approach or style is “right”. What is important is to develop a style that is unique to your own personality and comfort level. The following are some things to consider: • Energy & enthusiasm Probably nothing affects your success as a song leader as much as your own energy and enthusiasm. People respond to those who love what they do; enthusiasm truly is contagious. Those who already enjoy singing will simply become even more enthusiastic; those who are more reluctant, or feel they can’t sing, will want to be a part of all this positive energy. The more encouragement they get from the leader, the better they will sing. The better they sing, the more confident they become, and the more willing to try new things. Enjoy yourself and be at ease, and they will journey almost any distance with you into the music.
    [Show full text]
  • Student Organization List 2020-2021 Academic Year (Past)
    Student Organization List 2020-2021 Academic Year (past) ALPHABETICAL ORDER Group Name Group Acronym Group Type Organization Type (not so) Average Women NotSoAvWomen Undergraduate Student Organization Independent 14Strings! Cornell Filipino Rondalla 14Strings Undergraduate Student Organization Independent 180 Degrees Consulting at Cornell 180dcCornell Undergraduate Student Organization Independent University 3 Day Startup, Cornell 3DS Undergraduate Student Organization Independent 302 Wait Avenue Co-op 302 Undergraduate Student Organization University A Cappella Advisory Council ACAC Undergraduate Student Organization Independent A Seat at the Table ASATT Undergraduate Student Organization Independent A.G. Musical Theatre Troupe AnythingGoes Undergraduate Student Organization Independent AAP - Cornell AAP ASSOCIATION ASSOCIATION Undergraduate Student Organization Independent Absolute A Cappella Absolute Undergraduate Student Organization Independent Absolute Zero Break Dance Club AZero Undergraduate Student Organization Independent Academy FC, Cornell (CAFC) AcademyFC Undergraduate Student Organization Independent Accounting Association, Cornell CAA Undergraduate Student Organization University ACE: The Ace/Asexual Support Group at ACE Undergraduate Student Organization University Cornell Actuarial Society, Cornell CAS Undergraduate Student Organization University Graduate/Professional Student Advancing Science And Policy ASAP Independent Organization Advent Christian Fellowship, Cornell ACF Undergraduate Student Organization Independent
    [Show full text]
  • A Cappella Sunday Hymn Suggestions YEAR A
    Acapella Sunday LECTIONARY YEAR A First Sunday in Lent - 2017, 2020, 2023, 2026 Resource Guide Provided by 1 Tables of Contents Page 3 Bulletin Explanation/Rationale for A Capella Sunday Page 4 - 23 Alphabetical Listing by First Line: MATTHEW 4:1-11 Forty Days, and Forty Nights – Pg. 9 Abide With Me – Pg. 4 Holy Ground (We are Standing on) – Pg. 12 All Hail The Power – Pg. 5 Jesus, Tempted in the Desert – Pg. 15 Amazing Grace – Pg. 6 Lord, Who Throughout These Forty Days – Pg. 16 For All That Dwell Below the Skies – Pg. 7 O For a Thousand Tongues to Sing – Pg. 17 For the Fruit of All Creation – Pg. 8 The Glory of These Forty Days – Pg. 20 Forty Days, and Forty Nights – Pg. 9 When We Are Tested and Wrestle Alone – Pg. 23 Give Me Jesus – Pg. 10 God That Madest Earth and Heaven – Pg. 11 ROMANS 5:12-19 Holy Ground (We are Standing on) – Pg. 12 Amazing Grace – Pg. 6 Jesus, Lover of My Soul – Pg. 13 Give Me Jesus – Pg. 10 Jesus Shall Reign Where'er the Sun – Pg. 14 Jesus, Lover of My Soul – Pg. 13 Jesus, Tempted in the Desert – Pg. 15 Jesus Shall Reign Where'er the Sun – Pg. 14 Lord, Who Throughout These Forty Days – Pg. 16 O For a Thousand Tongues to Sing – Pg. 17 O For a Thousand Tongues to Sing – Pg. 17 O Love, How Deep, How Broad, How High – Pg. 18 Seek Ye First the Kingdom of God – Pg. 19 The Glory of These Forty Days – Pg.
    [Show full text]
  • Singing the Middle Ages: Between Scholars and Trotskyists Livio Giuliano (Università Degli Studi Di Milano)
    TRANS 18 (2014) DOSSIER: VOCAL PERFORMANCE AND TECHNOLOGICAL PRACTICES: NEW PERSPECTIVES IN THE STUDY OF VOCAL MUSIC TRADITION Singing the Middle Ages: Between Scholars and Trotskyists Livio Giuliano (Università degli Studi di Milano) Resumen Abstract A partire dalla rilettura di Notre Dame proposta da Davide Daolmi, In connection with the interpretation of Notre Dame proposed by si indagano le ragioni che hanno permesso l’invenzione moderna Davide Daolmi in this journal, the article analyzes the reasons that dell’esecuzione polifonica del XII-XIII secolo, ripercorrendo gli allowed the modern invention of polyphonic performance of 12th esperimenti promossi nel corso del primo Novecento e and 13th centuries, tracing experiments promoted during the early consolidatisi, in pieno early music revival, verso la fine degli anni 20th century and strengthened in the early music revival in the late Settanta. Le scelte musicali compiute appaiono espressione del Seventies. The musical choices appear as expressions of a cultural mainstream culturale più che dell’evidenza documentaria e mainstream more than documentary evidence: at the beginning the tuttavia, se all’inizio le ragioni musicologiche, pur provvisorie e musicological reasons are references for the first performances (with pregiudiziali sul Medioevo, rimangono riferimento per le prime preconceptions about Middle Age), then the vocal interpretation of esecuzioni, in seguito le proposte vocali del Dopoguerra hanno the second Postwar became extraneous to the historical research preferito una strada slegata dalla ricerca storica (in realtà priva di (moreover lacking of any new contribution) and found aesthetic nuovi apporti) per trovare ragioni e alibi estetici in ambiti alibis in different environment (social, politic, market).
    [Show full text]
  • PMMS Josquin Des Prez Discography June 2021
    Josquin des Prez Discography Compiled by Jerome F. Weber This discography of Josquin des Prez (Josquin Lebloitte dit des Prez), who has been indexed as Josquin Desprez, Des Près, and Pres, adopts the format of the Du Fay discography previously posted on this website. It may be noted that at least three book titles since 2000 have named him simply “Josquin,” bypassing the spelling problem. Acknowledgment is due to Pierre-F. Roberge and Todd McComb for an exhaustive list of records containing Josquin’s music in www.medieval.org/emfaq. It incorporates listings from the work of Sydney Robinson Charles in Josquin des Prez: A Guide to Research (Garland Composer Resource Manuals, 1983) and Peter Urquhart in The Josquin Companion (ed. Richard Sherr, Oxford, 2000), which continued where Charles left off. The last two lists each included a title index. This work has also used the following publications already incorporated in the three cited discographies. The 78rpm and early LP eras were covered in discographic format by The Gramophone Shop Encyclopedia of Recorded Music (three editions, 1936, 1942, 1948) and The World’s Encyclopaedia of Recorded Music (three volumes, 1952, 1953, 1957). James Coover and Richard Colvig compiled Medieval and Renaissance Music on Long-Playing Records in two volumes (1964 and 1973), and Trevor Croucher compiled Early Music Discography from Plainsong to the Sons of Bach (Oryx Press, 1981). The Index to Record Reviews compiled by Kurtz Myers (G. K. Hall, 1978) provided useful information. Michael Gray’s classical-discography.org has furnished many details. David Fallows offered many valuable suggestions.
    [Show full text]
  • Music Genre Madness
    Name: Date: Music Genre Madness Across 1. Melody-only vocal music sung by monks to aid churches in prayer. 2. Originated from African-American work songs and spirituals; lyric-based and expressive. 3. Lyrics about love and dancing from the 1960s-70s. 4. Transmitted through oral tradition with a simple melody and song structure. 5. MCing, turntables, breakdancing, and rhythmic beatboxing are elements of this type of music. 6. Poetry set to classical music, usually sung by a vocalist and simple piano accompaniment, originating in Germany. 7. Jamaican rhythm and blues with topics of news, social gossip, and political commentary. Down 1. Group or solo singing without instrumental accompaniment 2. Four to seven singers also playing instruments such as the guitar, double bass, fiddle, five-string banjo, and mandolin. 3. Folk music from Trinidad and the Caribbean consisting of steel drums, marimbas, horns, shakers, and brassy tambourine. 4. Traditional music of Ireland, Scotland, and Wales using instruments such as the lute, violin, flute, and bagpipes. 5. Singers perform a dramatic work combining text and music in a theatrical setting. Two modes of singing Key For more free tools visit http://edtools.mankindforward.com Across 1. gregorianchant 2. blues 3. disco 4. folk 5. hip-hop 6. lieder 7. reggae Down 1. acapella 2. bluegrass 3. calypso 4. celtic 5. opera Music Genres Name _____________________ Across Down 2. uses technology and heard in clubs 1. music designed to be popular with the masses 5. involves a speaking style vocal delivery 3. most orchestral styles between 1750 and 1820 6. often uses a 12-bar chord structure 4.
    [Show full text]
  • PÉROTIN and the ARS ANTIQUA the Hilliard Ensemble
    CORO hilliard live CORO hilliard live 1 The Hilliard Ensemble For more than three decades now The Hilliard Ensemble has been active in the realms of both early and contemporary music. As well as recording and performing music by composers such as Pérotin, Dufay, Josquin and Bach the ensemble has been involved in the creation of a large number of new works. James PÉROTIN MacMillan, Heinz Holliger, Arvo Pärt, Steven Hartke and many other composers have written both large and the and small-scale pieces for them. The ensemble’s performances ARS frequently include collaborations with other musicians such as the saxophonist Jan Garbarek, violinist ANTIQUA Christoph Poppen, violist Kim Kashkashian and orchestras including the New York Philharmonic, the BBC Symphony Orchestra and the Philadelphia Orchestra. John Potter’s contribution was crucial to getting the Hilliard Live project under way. John has since left to take up a post in the Music Department of York University. His place in the group has been filled by Steven Harrold. www.hilliardensemble.demon.co.uk the hilliard ensemble To find out more about CORO and to buy CDs, visit www.thesixteen.com cor16046 The hilliard live series of recordings came about for various reasons. 1 Vetus abit littera Anon. (C13th) 3:47 At the time self-published recordings were a fairly new and increasingly David James Rogers Covey-Crump John Potter Gordon Jones common phenomenon in popular music and we were keen to see if 2 Deus misertus hominis Anon. (C13th) 5:00 we could make the process work for us in the context of a series of David James Rogers Covey-Crump John Potter Gordon Jones public concerts.
    [Show full text]
  • Norway's Jazz Identity by © 2019 Ashley Hirt MA
    Mountain Sound: Norway’s Jazz Identity By © 2019 Ashley Hirt M.A., University of Idaho, 2011 B.A., Pittsburg State University, 2009 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Musicology. __________________________ Chair: Dr. Roberta Freund Schwartz __________________________ Dr. Bryan Haaheim __________________________ Dr. Paul Laird __________________________ Dr. Sherrie Tucker __________________________ Dr. Ketty Wong-Cruz The dissertation committee for Ashley Hirt certifies that this is the approved version of the following dissertation: _____________________________ Chair: Date approved: ii Abstract Jazz musicians in Norway have cultivated a distinctive sound, driven by timbral markers and visual album aesthetics that are associated with the cold mountain valleys and fjords of their home country. This jazz dialect was developed in the decade following the Nazi occupation of Norway, when Norwegians utilized jazz as a subtle tool of resistance to Nazi cultural policies. This dialect was further enriched through the Scandinavian residencies of African American free jazz pioneers Don Cherry, Ornette Coleman, and George Russell, who tutored Norwegian saxophonist Jan Garbarek. Garbarek is credited with codifying the “Nordic sound” in the 1960s and ‘70s through his improvisations on numerous albums released on the ECM label. Throughout this document I will define, describe, and contextualize this sound concept. Today, the Nordic sound is embraced by Norwegian musicians and cultural institutions alike, and has come to form a significant component of modern Norwegian artistic identity. This document explores these dynamics and how they all contribute to a Norwegian jazz scene that continues to grow and flourish, expressing this jazz identity in a world marked by increasing globalization.
    [Show full text]
  • 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;
    [Show full text]
  • WOLFRAM LATTKE Tenor ROBERT POHLERS Tenor FRANK OZIMEK Bariton DANIEL KNAUFT Bass HOLGER KRAUSE Bass
    WOLFRAM LATTKE Tenor ROBERT POHLERS Tenor FRANK OZIMEK Bariton DANIEL KNAUFT Bass HOLGER KRAUSE Bass Unverwechselbarer Klang, atemberaubende Homogenität, musikalische Stilsicherheit und eine gehörige Portion Charme und Witz sind die besonderen Markenzeichen von amarcord. Das äußerst Facettenreiche und breitgefächerte Repertoire umFasst Gesänge des Mittelalters, Madrigale und Messen der Renaissance, Kompositionen und Werkzyklen der europäischen Romantik und des 20. Jahrhunderts sowie A-cappella-Arrangements weltweit gesammelter Volkslieder und bekannter Songs aus Soul und Jazz. Dem Neuen gegenüber auFgeschlossen, legen die Sänger großen Wert auF die PFlege und Förderung zeitgenössischer Musik. So schrieben u.a. Bernd Franke, SteFFen Schleiermacher, Ivan Moody, James MacMillan, Sidney M. Boquiren, Siegfried Thiele und Dimitri Terzakis Werke für amarcord. Wenngleich reine A-cappella-Programme im Mittelpunkt der Konzerttätigkeit stehen, gibt es regelmäßig Projekte mit namhaFten Ensembles und Künstlern wie dem Gewandhausorchester Leipzig, der Lautten Compagney, dem Swedish Chamber Orchestra, dem Vogler-Quartett, dem Ensemble Modern, der Pianistin Ragna Schirmer, dem Bandoneonvirtuosen Per Arne Glorvigen, der Gambistin Hille Perl und Friend 'n Fellow. Das Vokalensemble ist Preisträger zahlreicher internationaler Wettbewerbe (Tolosa/Spanien, Tampere/Finnland, Pohlheim/Deutschland, 1. Chor-Olympiade in Linz/Österreich). Im Jahr 2002 gewann das Ensemble den Deutschen Musikwettbewerb, nachdem es bereits zwei Jahre zuvor mit dem Stipendium und der
    [Show full text]