SYMPHONY No.5 PHILIP GLASS SYMPHONY No.5
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21C Liederabend, Op
Third biennial “Lieder-palooza” comes to BAM with 21c Liederabend, op. 3 on Nov 22 & 23 Contemporary art song recital spans two nights with nine world premieres and more than 30 new music and vocal luminaries 21c Liederabend, op. 3 / Festival of Contemporary Art Song Creative direction by Beth Morrison and Paola Prestini Music direction by Julian Wachner Featuring NOVUS NY, New York's finest solo singers, and The Choir of Trinity Wall Street Scenic and lighting design by Maruti Evans Projection design by S. Katy Tucker Featuring compositions by: Thomas Cabaniss, Christopher Ceronne, Thomas Cipullo, Anna Clyne, Mohammed Fairouz, Judd Greenstein, David Handler, Ted Hearne, Marie Incontrera, David T. Little, Tod Machover, Missy Mazzoli, Nico Muhly, Olga Neuwirth, Paola Prestini, Huang Ruo, Michel van der Aa, Aleksandra Vrebalov, Julian Wachner, Eric Whitacre, and Du Yun American Express is the BAM 2013 Next Wave Festival sponsor BAM Harvey Theater (651 Fulton St) Nov 22—Program 1 Nov 23—Program 2 7:30pm Tickets start at $20 Master Class: Art Song Forward with Christopher Burchett and Julian Wachner Nov 23 at 10:30am BAM Penthouse Studio (30 Lafayette Ave) $25 for singers; $15 for composers “…an expansive, at times explosive survey of contemporary art song, musical theater and opera.”—Time Out New York Brooklyn, NY/October 21, 2013—BAM presents 21c Liederabend, op.3, a 21st- century art song festival produced and curated by independent producers Beth Morrison of Beth Morrison Projects and Paola Prestini of VisionIntoArt. Called a 21st-century “Lieder-palooza” by WQXR, 21c Liederabend is an ambitious biennial that seeks to present the diverse and expansive styles of today’s art song. -
Shanghai Quartet 2020-21 Biography
SHANGHAI QUARTET 2020-21 BIOGRAPHY Over the past thirty-seven years the Shanghai Quartet has become one of the world’s foremost chamber ensembles. The Shanghai’s elegant style, impressive technique, and emotional breadth allows the group to move seamlessly between masterpieces of Western music, traditional Chinese folk music, and cutting-edge contemporary works. Formed at the Shanghai Conservatory in 1983, soon after the end of China’s harrowing Cultural Revolution, the group came to the United States to complete its studies; since then the members have been based in the U.S. while maintaining a robust touring schedule at leading chamber-music series throughout North America, Europe, and Asia. Recent performance highlights include performances at Carnegie Hall, the Metropolitan Museum of Art, the Freer Gallery (Washington, D.C.), and the Festival Pablo Casals in France, and Beethoven cycles for the Brevard Music Center, the Beethoven Festival in Poland, and throughout China. The Quartet also frequently performs at Wigmore Hall, the Budapest Spring Festival, Suntory Hall, and has collaborations with the NCPA and Shanghai Symphony Orchestras. Upcoming highlights include the premiere of a new work by Marcos Balter for the Quartet and countertenor Anthony Roth Costanzo for the Phillips Collection, return performances for Maverick Concerts and the Taos School of Music, and engagements in Los Angeles, Syracuse, Albuquerque, and Salt Lake City. Among innumberable collaborations with eminent artists, they have performed with the Tokyo, Juilliard, and Guarneri Quartets; cellists Yo-Yo Ma and Lynn Harrell; pianists Menahem Pressler, Peter Serkin, Jean-Yves Thibaudet, and Yuja Wang; pipa virtuoso Wu Man; and the vocal ensemble Chanticleer. -
From Pan-Africanism to Rastafari Giulia Bonacci
From Pan-Africanism to Rastafari Giulia Bonacci To cite this version: Giulia Bonacci. From Pan-Africanism to Rastafari: African American and Caribbean ’Returns’ to Ethiopia. G. Prunier, E. Ficquet. Understanding Contemporary Ethiopia, Hurst, pp.147-158, 2015, 9781849042611. hal-01340848 HAL Id: hal-01340848 https://hal.archives-ouvertes.fr/hal-01340848 Submitted on 5 Jul 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. 5 FROM PAN-AFRICANISM TO RASTAFARI AFRICAN AMERICAN AND CARIBBEAN ‘RETURNS’ TO ETHIOPIA Giulia Bonacci 1 On 7 November 1964 Noel Dyer, a Jamaican Rastafari who had migrated to England, took the train from London to Dover. After arriving in Paris, he worked for three months in order to be able to continue on his way to Spain and Morocco. From there, he set off towards the east. He crossed Algeria, Tunisia, Libya and Egypt on foot, went beyond the Aswan dam and over the desert to reach Sudan, where he got arrested by the authorities, because he did not have a visa. He spent three months in prison until the Ethiopian Ambassador in Khartoum heard about the Rastafari who wanted to go to Addis Ababa on foot and authorized him to enter Ethiopia. -
Jazz at Lincoln Center with Wynton Dave Liebman Explained from His Seat at Jazz at Marsalis Fêted Mccoy Tyner and Charles Mcpherson Kitano’S Bar (Apr
new york @ nigHt To provide healthcare and disaster relief for needy Jazz these days can be found most anywhere, from musicians, Wendy Oxenhorn and the Jazz Foundation hallowed concert hall to basement dive bar screaming o f of America must repeatedly replenish the non-profit’s fire-code violations. But perhaps the best place to hear FrEeDoM Sound coffers. The 17th annual “A Great Night in Harlem” creative musicians is in the company of other creations, benefit, held at the Apollo Theater on the anniversary like an art gallery or bookstore. There is an analogue of Martin Luther King’s 1968 assassination (Apr. 4th), between the notes and lines being generated by the could have been a somber occasion, but the mood was instruments and the colors and textures of a painting celebratory. Harry Belafonte (not present), Tony or sentences and themes of a novel. This synergy is Bennett and the late Hugh Masekela were honored for what drove local jazz journalist and all-around lifelong commitment to humanitarian causes, each an enthusiast Luigi Santosuosso to form a partnership agent for political change through music. Indeed, in with Rizzoli Books, one of the city’s most charming his remembrances of Belafonte and King, erstwhile purveyors of print. His series is in its ninth month and Civil Rights activist/ambassador Andrew Young fills a need for afternoon jazz appropriate for both quoted Paul Robeson: “Artists are the gatekeepers of aficionados and families striving to become so. On the truth.” The music, casual but passionate, scripted yet first gorgeous weekend of 2019, a large crowd came to freeform, reinforced the political spirit. -
2015 ANNUAL REPORT Pictured (Top to Bottom, L-R)
OUR 2015 ANNUAL REPORT Pictured (top to bottom, l-r): Shawn Patterson and vocalist Sammy Allen at the 2015 ASCAP Film & TV Music Awards Latin Heritage Award honorees La Original Banda el Limón at the 2015 ASCAP Latin Music Awards ASCAP Golden Note Award honoree Lauryn Hill at the 2015 R&S Awards Lady Antebellum at the 2015 ASCAP Country Music Awards Dave Grohl congrat- ulates Gene Simmons and Paul Stanley on their ASCAP Found- ers Award at the 2015 ASCAP Pop Awards Cast members from Invisible Thread with Richard Rodgers New Horizons Award winners Matt Gould (at piano) & Griffin Matthews (far right) at the 2015 ASCAP Foundation Awards The American Con- temporary Music En- semble (ACME) at the 2015 ASCAP Concert Music Awards Annual Report design by Mike Vella 2015 Annual Report Contents 4 16 OUR MISSION Our ASCAP Our Success We are the world leader in performance 6 18 royalties, advocacy and service for Our Growth Our Celebration songwriters, composers and music publishers. Our mission is to ensure that 8 20 Our Board Our Licensing our music creator members can thrive Partners alongside the businesses who use our 10 music, so that together, we can touch Our Advocacy 22 Our Commitment the lives of billions. 12 Our Innovation 24 Our Communication 14 Our Membership 25 Financial Overview 3 OUR ASCAP USIC IS AN ART. AND MUSIC IS A BUSINESS. The beauty of ASCAP, as conceived by our visionary founders over 100 years ago, is that it serves to foster both music and commerce so that each partner in this relationship can flourish. -
The Hilltop 3-18-1977
Howard University Digital Howard @ Howard University The iH lltop: 1970-80 The iH lltop Digital Archive 3-18-1977 The iH lltop 3-18-1977 Hilltop Staff Follow this and additional works at: http://dh.howard.edu/hilltop_197080 Recommended Citation Staff, Hilltop, "The iH lltop 3-18-1977" (1977). The Hilltop: 1970-80. 181. http://dh.howard.edu/hilltop_197080/181 This Book is brought to you for free and open access by the The iH lltop Digital Archive at Digital Howard @ Howard University. It has been accepted for inclusion in The iH lltop: 1970-80 by an authorized administrator of Digital Howard @ Howard University. For more information, please contact [email protected]. •• Hilltop Highlights ''/)cl \ f ' ! < c 111c <' Cf(•<.. A Brother Is Gon.e ...... p4 !l(Jfl1i11~ Alh aji Dada Us man ..... c p5 Securit y Co unc il Debate p6 111 h<1u1" c/e11L1n c/" HU Cho ir Globetrots .... p7 • ' Faculty Art Exhibition . p8 Bison Sto rm Miami ....••• p9 ) . , ''THE VOICE OF THF HOWARD COMMUNITY'' Track Ninth Best .. ....... p10 • Vol1.' 59, No. 21 Howard University, Washington, D.C. 20059 '' 18 March 1977 H U Mourns Loss of Alumnus Memorial Fund Established Funeral Services Held shi ps and serve as a By Denise R. Williams Cheek, joined Maurice's memorial to the contri By Venola Rolle Hilltop Stilffwriter family and friends, the city , butions that Williams made Hilltop Stilffwriter to the broadcast jou rnalism council -- lead by Mayor WHUR - FM, Howard Walter Washington and O.C. field for years to come. A tense, gloomy quiet University radio station, 1n Delegate Walter Fauntroy - The station manager in filled W H UR-F M's news conjunction with the and WHUR-FM's·staff at Tur dicated that the goal 1s to room Wednesday, March 9, Howard University School of ner Me.morial A.M.E. -
The Guardian.Pdf
My favourite film: Koyaanisqatsi By Leo Hickman December 13, 2011 It's a film without any characters, plot or narrative structure. And its title is notoriously hard to pronounce. What's not to love about Koyaanisqatsi? I came to Godfrey Reggio's 1982 masterpiece very late. It was actually during a Google search a few years back when looking for timelapse footage of urban traffic (for work rather than pleasure!) that I came across a "cult film", as some online reviewers were calling it. This meant I first watched it as all its loyal fans say not to: on DVD, on a small screen. If ever a film was destined for watching in a cinema, this is it. But, even without the luxury of full immersion, I was still truly captivated by it and, without any exaggeration, I still think about it every day. Koyaanisqatsi's formula is simple: combine the epic, remarkable cinematography of Ron Fricke with the swelling intensity and repeating motifs of Philip Glass's celebrated original score. There's your mood bomb, right there. But Reggio's directorial vision is key, too. He was the one who drove the project for six years on a small budget as he travelled with Fricke across the US in the mid-to-late 1970s, filming its natural and urban wonders with such originality. Koyaanisqatsi (1982) directed by Godfrey Reggio with music by Philip Glass. Photograph: Murdo Macleod for the Guardian Personally, I view the film as the quintessential environmental movie – a transformative meditation on the current imbalance between humans and the wider world that supports them (in the Hopi language, "Koyanaanis" means turmoil and "qatsi" means life). -
Music Making Politics: Beyond Lyrics
Politik Nummer 1 | Årgang 23 | 2020 Music making politics: beyond lyrics M.I. Franklin, Professor of Global Media and Politics, Goldsmiths University of London In this article I argue that considering how any sort of music is made more closely - as sonic material, performance cultures, for whom and on whose terms, is integral to pro- jects exploring the music-politics nexus. The case in point is “My Way”, a seemingly apo- litical song, as it becomes repurposed: transformed through modes of performance, unu- sual musical arrangements, and performance contexts. The analysis reveals a deeper, underlying politics of music-making that still needs unpacking: the race, gender, and class dichotomies permeating macro- and micro-level explorations into the links between music, society, and politics. Incorporating a socio-musicological analytical framework that pays attention to how this song works musically, alongside how it can be reshaped through radical performance and production practices, shows how artists in diverging contexts can ‘re-music’ even the most hackneyed song into a form of political engage- ment. Introduction In 2016, Bob Dylan was awarded the Nobel Prize for Literature. In 2018 Kendrick Lamar became the first Rap artist to win the Pulitzer Prize for Music. Between these two medi- atized moments of public recognition, across the race and genre divides of contemporary culture lie many musico-political timelines, recording careers, playlists, and embodied musicalities. This article aims to show why, and how theory and research into the rela- tionship between (the study of) politics and music-making need to move beyond indica- tors of political relevance that are based on lyrics, an artist’s public persona, public profile or critical acclaim. -
There's a Real Buzz and Sense of Purpose About What This Company Is Doing
15 FEBRUARY 7.15PM & 17 FEBRUARY 2PM “There’s a real buzz and sense of purpose about what this company is doing” ~ The Guardian www.niopera.com Grand Opera House, Belfast Welcome to The Grand Opera House for this new production of The Flying Dutchman. This is, by some way, NI Opera’s biggest production to date. Our very first opera (Menotti’s The Medium, coincidentally staged two years ago this month) utilised just five singers and a chamber band, and to go from this to a grand opera demanding 50 singers and a full symphony orchestra in such a short space of time indicates impressive progress. Similarly, our performances of Noye’s Fludde at the Beijing Music Festival in October, and our recent Irish Times Theatre Award nominations for The Turn of the Screw, demonstrate that our focus on bringing high quality, innovative opera to the widest possible audience continues to bear fruit. It feels appropriate for us to be staging our first Wagner opera in the bicentenary of the composer’s birth, but this production marks more than just a historical anniversary. Unsurprisingly, given the cost and complexities involved in performing Wagner, this will be the first fully staged Dutchman to be seen in Northern Ireland for generations. More unexpectedly, perhaps, this is the first ever new production of a Wagner opera by a Northern Irish company. Northern Ireland features heavily in this production. The opera begins and ends with ships and the sea, and it does not take too much imagination to link this back to Belfast’s industrial heritage and the recent Titanic commemorations. -
The Psalms Experience
Sunday, November 5, 2017, at 5:00 pm The Psalms Experience CONCERT 4 Powerlessness and Redemption The Choir of Trinity Wall Street Julian Wachner , Conductor Introduction bY ReV. Phillip A. Jackson, Vicar, TrinitY Church Wall Street This program is approximately one hour long and will be performed without intermission. Please join the artists for a White Light Lounge following the performance. (Program continued) The White Light FestiVal presentation of The Psalms Experience is supported bY The AndreW W. Mellon Foundation. This program is supported as part of the Dutch Culture USA program bY the Consulate General of the Netherlands in NeW York. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. St. Paul’s Chapel Please make certain all your electronic devices are switched off. WhiteLightFestiVal.org American Airlines is the Official Airline of Lincoln UPCOMING WHITE LIGHT FESTIVAL EVENTS: Center Thursday, November 9, at 6:30 pm at the New Nespresso is the Official Coffee of Lincoln Center York Society for Ethical Culture NeWYork-PresbYterian is the Official Hospital of The Psalms Experience Lincoln Center Concert 5: State of Humankind Artist Catering proVided bY Zabar’s and Zabars.com Netherlands Chamber Choir Peter Dijkstra , conductor Visit PsalmsEXperience.org for full concert schedule. The Psalms Experience was created and Thursday, November 9, at 8:30 pm at the New first produced by Tido Visser, managing York Society for Ethical Culture director of the Netherlands Chamber The Psalms Experience Choir. Concert 6: Gratitude Tallis Scholars The Netherlands Chamber Choir Was supported Peter Phillips , conductor bY the Netherland-America Foundation for the Visit PsalmsEXperience.org for full concert schedule. -
Advance Program Notes Powaqqatsi: Life in Transformation Philip Glass Ensemble Friday, November 1, 2013, 8 PM
Advance Program Notes Powaqqatsi: Life in Transformation Philip Glass Ensemble Friday, November 1, 2013, 8 PM These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. CENTER FOR THE ARTS AT VIRGINIA TECH presents POWAQQATSI LIFE IN TRANSFORMATION The CANNON GROUP INC. A FRANCIS FORD COPPOLA and GEORGE LUCAS Presentation Music by Directed by PHILIP GLASS GODFREY REGGIO Photography by Edited by GRAHAM BERRY IRIS CAHN/ ALTON WALPOLE LEONIDAS ZOURDOUMIS Performed by PHILIP GLASS and the PHILIP GLASS ENSEMBLE conducted by Michael Riesman with the Blacksburg Children’s Chorale Patrice Yearwood, artistic director PHILIP GLASS ENSEMBLE Philip Glass, Lisa Bielawa, Dan Dryden, Stephen Erb, Jon Gibson, Michael Riesman, Mick Rossi, Andrew Sterman, David Crowell Guest Musicians: Ted Baker, Frank Cassara, Nelson Padgett, Yousif Sheronick The call to prayer in tonight’s performance is given by Dr. Khaled Gad Music Director MICHAEL RIESMAN Sound Design by Kurt Munkacsi Film Executive Producers MENAHEM GOLAN and YORAM GLOBUS Film Produced by MEL LAWRENCE, GODFREY REGGIO and LAWRENCE TAUB Production Management POMEGRANATE ARTS Linda Brumbach, Producer POWAQQATSI runs approximately 102 minutes and will be performed without intermission. SUBJECT TO CHANGE PO-WAQ-QA-TSI (from the Hopi language, powaq sorcerer + qatsi life) n. an entity, a way of life, that consumes the life forces of other beings in order to further its own life. POWAQQATSI is the second part of the Godfrey Reggio/Philip Glass QATSI TRILOGY. With a more global view than KOYAANISQATSI, Reggio and Glass’ first collaboration, POWAQQATSI, examines life on our planet, focusing on the negative transformation of land-based, human- scale societies into technologically driven, urban clones. -
Anthracite Fields
JULIA WOLFE ANTHRACITE FIELDS JULIA WOLFE ANTHRACITE FIELDS BANG ON A CAN ALL-STARS Ashley Bathgate – cello and lead voice on Breaker Boys Robert Black – bass Vicky Chow – piano and keyboard David Cossin – drums and percussion Mark Stewart – guitar and lead voice on Speech Ken Thomson – clarinets THE CHOIR OF TRINITY WALL STREET Julian Wachner, conductor Soprano: Jennifer Bates, Sarah Brailey, Eric S. Brenner, Linda Lee Jones, Molly Quinn, Melanie Russell, Elena Williamson Alto: Melissa Attebury, Luthien Brackett, Mellissa Hughes, Marguerite Krull, Kate Maroney Tenor: Andrew Fuchs, Brian Giebler, Timothy Hodges, Steven Caldicott Wilson Bass: Adam Alexander, Jeffrey Gavett, Christopher Herbert, Dominic Inferrera, Richard Lippold, Thomas McCargar (choral contractor), Jonathan Woody JULIA WOLFE ANTHRACITE FIELDS Music and text by Julia Wolfe FOUNDATION . 19:35 BREAKER BOYS . 14:24 SPEECH . 6:29 FLOWERS . 6:38 APPLIANCES . 12:32 I grew up in a small town in Pennsylvania – Montgomeryville. When we first moved there the road was dirt and the woods surrounding the house offered an endless playground of natural forts and ice skating trails. At the end of the long country road you’d reach the highway – route 309. A right turn (which was the way we almost always turned) led to the city, Philadelphia. A left turn on route 309 (which we hardly ever took) lead to coal country, the anthracite field region. I remember hearing the names of the towns, and though my grandmother grew up in Scranton, everything in that direction, north of my small town, seemed like the wild west. When the Mendelssohn Club of Philadelphia commissioned me to write a new work for choir and the Bang on a Can All-Stars, I looked to the anthracite region .