DOCSLIB.ORG

György Ligeti and the Future of Maverick

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
György Ligeti and the Future of Maverick ! György Ligeti and the Future of Maverick Modernity Conference soundSCAPE Festival, 14 July 2014 www.soundSCAPEfestival.org ! 08:00 Check In at Auditorium Città di Maccagno - via Valsecchi 23, Maccagno (VA) !light breakfast pastries, coffee and water will be available for conference presenters 09:15 Welcome Address !Nathanael May, Artistic Director; soundSCAPE !Session 1: Analysis 09:30 Ligeti’s Aventures and Nouvelles Aventures: An exploration of musical technique !Benjamin Levy, Assistant Professor of Music Theory; University of California, Santa Barbara 10:00 The Transcendental Perception of the Piano Concerto (1st movement) by György Ligeti !Lee Kar Tai Phoebus, Teaching Assistant; The Chinese University of Hong Kong 10:30 Timbre and Space in Ligeti's Music !Lukas Haselboeck, Assistant Professor for Music Analysis; University of Music Vienna !11:00 ~ break ~ !Session 2: Performance 11:30 Poème Symphonique: A digital reconstruction !Jason Charney, Bowling Green State University 12:00 Performing Ligeti’s Violin Concerto: A work for the present day !Jane Roper, Professor for Academic Studies; Royal College of Music 12:30 Ligeti and Performance Skills !Peter Susser, Director of Undergraduate Musicianship; Columbia University !13:00 ~ lunch ~ not provided !Session 3: Philosophies 14:30 Codes, Constraints, and the Loss of Control in Ligeti’s Keyboard Works !Amy Bauer, Associate Professor of Music; University of California, Irvine 15:00 Ligeti the Maverick? An Examination of Ligeti’s Ambivalent Role in Contemporary Music !Mike Searby, Principal Lecturer in Music; Kingston University 15:30 ~ break ~ ! 15:45 “the serious is always comic, and the comic frightening.” The twins of humour and horror in Ligeti’s music !Wolfgang Marx, Senior Lecturer and Head of the School of Music; University College Dublin 16:15 Apophatic Aesthetics: Ligeti’s metamechanics and self-destructs !Benjamin Dwyer, Professor of Music; Middlesex University !16:45 ~ break ~ Keynote Address: 17:00 Escape Roots--A Ligeti Experiment !James Currie, Associate Professor of Music; University of Buffalo !18:00 ~ dinner ~ not provided !21:00 György Ligeti Concert programme to be announced !—————— 15 July 2014: with special guest, Lukas Ligeti !Auditorium Città di Maccagno !09:00 Presentation: Music of Lukas Ligeti !09:45 Open Rehearsals with Lukas Ligeti !11:00 Closed Dress Rehearsal 12:00 Concert: Music of Lukas Ligeti; with Lukas Ligeti, composer and performer Program: Stroboscope, for percussion quartet Dambangoma, for flute and perc Excerpts from Time, for violin and piano Pattern Transformation, for two marimbas Omaggio a Shenandoah e Scarlatti, for two marimbas Marimba Lumina: - Great Circle’s Tune, part II - Chimaeric Procession - Improvisation from Labyrinth of Clouds ! - entering: perceiving masks; exiting: perceiving faces ca. 13:30 Lunch with Lucas Ligeti for festival faculty and conference presenters, by reservation: !http://soundscapefestival.org/apply/payments/ 16:00 Workshop with Lukas Ligeti: Why I like using electronics in Africa; new !possibilities for polymetric/polyrhythmic composition 21:00 Concert: soundSCAPE Participant Composer Premieres ! ! !PAPER ABSTRACTS Session 1: Analysis Benjamin Levy: Ligeti’s Aventures and Nouvelles Aventures: An ! exploration of musical technique György Ligeti’s works Aventures and Nouvelles Aventures are complicated and at times self- contradictory pieces. The composer himself has described them as both “expressive and deep frozen,” (Ligeti in Conversation, 44) and “semantically incomprehensible, yet in terms of affect, clearly understandable.” (Gesammelte Schriften 2, 197) Ligeti balances conflicting ideals in works that are emotionally charged, yet distant and restrained, and which are communicative but resist specific meaning. These pieces speak to a rich variety of human experiences, but present these experiences in a highly condensed way—often as brief, stylized excerpts, which neither imply a clear chain of cause and effect nor establish a unified narrative viewpoint, but which nevertheless remain dramatic and evocative. A careful study of the sketches, undertaken in this paper, helps elucidate compositional methods Ligeti first developed in these pieces, which continued to mark his style for the following decade. These techniques let Ligeti develop rich and expressive categories of material and then pared down this material in the events of the score, constraining explicit references to these categories and ensuring this ultimate balance !between representation and abstraction. While the categories and subtypes that Ligeti develops in his sketches are slightly different from those he recalls in later interviews, the sketch material can be traced into performance directions and musical notation of the score, at times quite directly, and at times through intermediary stages. Examples discussed include the “Horologes Démoniaques” section from Nouvelles Aventures and the “Conversation” section from Aventures along with other passages, showing a wide breadth of associative contexts, including references to musical ideas, literature, and everyday experience. These examples also show the composer’s carefully chosen techniques for condensing the expression of these reference points into the brief but suggestive moments that make these works so remarkable and contribute to their enduring appeal. ! Lee Kar Tai Phoebus: The Transcendental Perception of the Piano Concerto ! (1st movement) by György Ligeti G. Ligeti himself had described his Concerto for Piano and Orchestra as an aesthetics credo amidst his compositions in the later period. The piece is of most notable among his six concertos on account of its high degree of complexity. This complexity is attained, not merely by its apparent polymetric and polyrhythmic structure, but, along the way how his musical ideas !unfold in the flux of time. The superimposition of multiple layers of various rhythmic and melodic linear movements leads us to a journey of static time illusion. The blossoming of complex structure at the piano concerto is fascinating. It is believed that such motive is a further development from the ideas of his orchestral pieces, Apparitions, and Atmosphères. This paper attempts to realize the actual kaleidoscopic perceptual effect of the first movement of the concerto onto our ears with the support of theories on musical time by Jonathan Kramer and Robert Morgan, who had expressed significant vision of time perception at the contemporary times of the studied subject, ca. 1988. This demonstrates that how the excitement of the movement be a transcendental enjoyment of suspended state of mind is and be the light of future style of polyphonic maverick. ! !Lukas Haselboeck: Timbre and Space in Ligeti's Music" In his writings, Ligeti often commented on the impact of timbre and (real or imaginary) musical space. Although timbre and space are always present in our musical experience, it is not easy to describe their relationship. In order to specify these phenomena, one possibility is the analogy to visual perception: By listening to music, we tend to associate low frequencies with dark and higher frequencies with brighter colours. In our imagination, this leads to a specific disposition of low and high sounds in musical space. Ligeti himself described these phenomena by discussing examples in music of Wagner, Mahler and his own works. Furthermore, timbre can be associated with motions between musical foreground and background ("lontano"). This dimension of "depth" seems even harder to describe by using conventional analytic vocabulary. In this context, dynamics, timbre (sounds with a clear or distorted spectral quality) and the historical perspective of sound play a decisive role. As an example, Ligeti discussed f.e. the scordatura passage in Mahler's Fourth Symphony. Considering these observations, I would like to analyze passages of Ligeti's orchestral works from two different perspectives: On the one hand, it is possible to analyze formal processes by dividing them into sections. On the other hand, we can take into account the timbral quality of these sections which leads to the notion of an imaginary musical space. Thus, our perception of !musical time (and therefore also the conception of form) can change radically. ! !Session 2: Performance !Jason Charney: Poème Symphonique: A Digital Reconstruction Though Gÿorgy Ligeti’s 1962 composition for 100 metronomes, Poème Symphonique, owes much of its success in his legacy to the absurdity of its spectacle, no piece in his oeuvre better distills the composer’s fascination with the entropy of mechanical systems. However, performances are rare, in large part due to the difficulty of locating suitable instruments. This project is a digital simulation of Poème Symphonique created in the Max/MSP programming environment. Though a digital version certainly loses the piece’s intended theatricality, it is much simpler to create – and reiterate – its chaotic sonic world. Because the piece depends on the gradual release of energy in a physical system, the program attempts to closely model the behavior and limitations of real mechanical metronomes, its variability refined through analysis of several trials (e.g. plotting time elapsed against metronomes remaining). It also models the variability of the performer’s “skill” in starting the metronomes simultaneously, by distributing onsets among each group of ten metronomes. Individual metronomes are modeled on-screen as oscillating sliders, triggering synthesized impulses
Load more

Recommended publications
  • Piano; Trio for Violin, Horn & Piano) Eric Huebner (Piano); Yuki Numata Resnick (Violin); Adam Unsworth (Horn) New Focus Recordings, Fcr 269, 2020
    Désordre (Etudes pour Piano; Trio for violin, horn & piano) Eric Huebner (piano); Yuki Numata Resnick (violin); Adam Unsworth (horn) New focus Recordings, fcr 269, 2020 Kodály & Ligeti: Cello Works Hellen Weiß (Violin); Gabriel Schwabe (Violoncello) Naxos, NX 4202, 2020 Ligeti – Concertos (Concerto for piano and orchestra, Concerto for cello and orchestra, Chamber Concerto for 13 instrumentalists, Melodien) Joonas Ahonen (piano); Christian Poltéra (violoncello); BIT20 Ensemble; Baldur Brönnimann (conductor) BIS-2209 SACD, 2016 LIGETI – Les Siècles Live : Six Bagatelles, Kammerkonzert, Dix pièces pour quintette à vent Les Siècles; François-Xavier Roth (conductor) Musicales Actes Sud, 2016 musica viva vol. 22: Ligeti · Murail · Benjamin (Lontano) Pierre-Laurent Aimard (piano); Bavarian Radio Symphony Orchestra; George Benjamin, (conductor) NEOS, 11422, 2016 Shai Wosner: Haydn · Ligeti, Concertos & Capriccios (Capriccios Nos. 1 and 2) Shai Wosner (piano); Danish National Symphony Orchestra; Nicolas Collon (conductor) Onyx Classics, ONYX4174, 2016 Bartók | Ligeti, Concerto for piano and orchestra, Concerto for cello and orchestra, Concerto for violin and orchestra Hidéki Nagano (piano); Pierre Strauch (violoncello); Jeanne-Marie Conquer (violin); Ensemble intercontemporain; Matthias Pintscher (conductor) Alpha, 217, 2015 Chorwerk (Négy Lakodalmi Tánc; Nonsense Madrigals; Lux æterna) Noël Akchoté (electric guitar) Noël Akchoté Downloads, GLC-2, 2015 Rameau | Ligeti (Musica Ricercata) Cathy Krier (piano) Avi-Music – 8553308, 2014 Zürcher Bläserquintett:
    [Show full text]
  • Pianist MARINO FORMENTI to Perform Solo Recital LISZT INSPECTIONS Music by Franz Liszt Juxtaposed with Works by Modern and Contemporary Masters
    Contact: Katherine E. Johnson (212) 875-5718; [email protected] National Press Representative: Julia Kirchhausen (917) 453-8386; [email protected] Lincoln Center Contact: Eileen McMahon (212) 875 -5391; [email protected] JUNE 4, 2014, AT LINCOLN CENTER FOR THE PERFORMING ARTS IN THE STANLEY H. KAPLAN PENTHOUSE: Pianist MARINO FORMENTI To Perform Solo Recital LISZT INSPECTIONS Music by Franz Liszt Juxtaposed with Works by Modern and Contemporary Masters As part of the NY PHIL BIENNIAL, Lincoln Center for the Performing Arts will present an intimate concert featuring Italian pianist Marino Formenti, June 4, 2014, at Lincoln Center’s Stanley H. Kaplan Penthouse, on its Great Performers series. The solo recital, Liszt Inspections, will provide a fresh look at the work of Franz Liszt (Hungary, 1811–86) and his sonic legacy by juxtaposing performances of his compositions with those of modern and contemporary masters. Complimentary wine will be served. Marino Formenti said: “This program explores the astonishing and prophetic aspects in the music of Liszt, who foresaw not only atonality, but also dodecaphony, spatial music, music without development, concept music, and minimalist music. By joining works of the 19th-century Hungarian Liszt with 20th-century mavericks, I have attempted to inspect, examine, and reveal multifarious and enlightening relationships and show how beautiful and timeless modern music can be. I am honored to contribute to the first-ever NY PHIL BIENNIAL.” The program will feature Liszt’s Hungarian Folksong No. 5, Piano Piece No. 2 in A-flat major, Bagatelle without tonality, Michael Mosonyi, Funérailles, Au lac de Wallenstadt, Lullaby, and Resignation.
    [Show full text]
  • Focus 2020 Pioneering Women Composers of the 20Th Century
    Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers.
    [Show full text]
  • Repertoire List
    APPROVED REPERTOIRE FOR 2022 COMPETITION: Please choose your repertoire from the approved selections below. Repertoire substitution requests will be considered by the Charlotte Symphony on an individual case-by-case basis. The deadline for all repertoire approvals is September 15, 2021. Please email [email protected] with any questions. VIOLIN VIOLINCELLO J.S. BACH Violin Concerto No. 1 in A Minor BOCCHERINI All cello concerti Violin Concerto No. 2 in E Major DVORAK Cello Concerto in B Minor BEETHOVEN Romance No. 1 in G Major Romance No. 2 in F Major HAYDN Cello Concerto No. 1 in C Major Cello Concerto No. 2 in D Major BRUCH Violin Concerto No. 1 in G Minor LALO Cello Concerto in D Minor HAYDN Violin Concerto in C Major Violin Concerto in G Major SAINT-SAENS Cello Concerto No. 1 in A Minor Cello Concerto No. 2 in D Minor LALO Symphonie Espagnole for Violin SCHUMANN Cello Concerto in A Minor MENDELSSOHN Violin Concerto in E Minor DOUBLE BASS MONTI Czárdás BOTTESINI Double Bass Concerto No. 2in B Minor MOZART Violin Concerti Nos. 1 – 5 DITTERSDORF Double Bass Concerto in E Major PROKOFIEV Violin Concerto No. 2 in G Minor DRAGONETTI All double bass concerti SAINT-SAENS Introduction & Rondo Capriccioso KOUSSEVITSKY Double Bass Concerto in F# Minor Violin Concerto No. 3 in B Minor HARP SCHUBERT Rondo in A Major for Violin and Strings DEBUSSY Danses Sacrée et Profane (in entirety) SIBELIUS Violin Concerto in D Minor DITTERSDORF Harp Concerto in A Major VIVALDI The Four Seasons HANDEL Harp Concerto in Bb Major, Op.
    [Show full text]
  • PROGRAM NOTES by Phillip Huscher
    PROGRAM NOTES by Phillip Huscher Wolfgang Mozart – Piano Concerto No. 20 in D Minor, K. 464 Born January 27, 1756, Salzburg, Austria. Died December 5, 1791, Vienna, Austria. Piano Concerto No. 20 in D Minor, K. 464 Mozart entered this concerto in his catalog on February 10, 1785, and performed the solo in the premiere the next day in Vienna. The orchestra consists of one flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings. At these concerts, Shai Wosner plays Beethoven’s cadenza in the first movement and his own cadenza in the finale. Performance time is approximately thirty-four minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Mozart’s Piano Concerto no. 20 were given at Orchestra Hall on January 14 and 15, 1916, with Ossip Gabrilowitsch as soloist and Frederick Stock conducting. Our most recent subscription concert performances were given on March 15, 16, and 17, 2007, with Mitsuko Uchida conducting from the keyboard. The Orchestra first performed this concerto at the Ravinia Festival on July 6, 1961, with John Browning as soloist and Josef Krips conducting, and most recently on July 8, 2007, with Jonathan Biss as soloist and James Conlon conducting. This is the Mozart piano concerto that Beethoven admired above all others. It’s the only one he played in public (and the only one for which he wrote cadenzas). Throughout the nineteenth century, it was the sole concerto by Mozart that was regularly performed—its demonic power and dark beauty spoke to musicians who had been raised on Beethoven, Chopin, and Liszt.
    [Show full text]
  • Henry Brant on the Birth of Angels and Devils by Nancy Toff
    The New York Flute Club N E W S L E T T E R March 2003 A Conversation With Robert Aitken Interview by Patti Monson Patti Monson spoke with Robert Aitken by phone in January. ATTI MONSON: Could you tell us often looking for works to play with instru- about some of your most recent ments besides piano. Then there are my Pcompositions? two [1977] solo flute pieces Plainsong ROBERT AITKEN: The last work and Icicle which are quite often played, [Shadows V, a concerto for flute and and may in fact become contemporary strings, 1999] was a commission for the flute classics. From time to time Plain- Chamber Orchestra of Neuchâtel [Switzer- song is a required piece in flute contests land]. They specifically wanted a work and Icicle is often a required work for related to native peoples. At first I had entrance to French music schools. little interest in doing exactly that, but Of course extended techniques are eventually I became fascinated with the used in all these pieces, but in an unpre- idea. I think it came off rather well. It is tentious, rather natural way. I hope that not an imitation of western Indian music all are playable on every flute. Of course In Concert but the inspiration for the work came one runs into trouble if a composition is from what I had learned about the music intended for a flute with B foot and the ROBERT AITKEN, flute several years ago. It is quite a long piece, flutist does not have one. But I am really PHOTO: JOHNPHOTO: SHAW Colette Valentine, piano some 22 minutes in length, [but it] seems not very upset if a practical solution is Saturday, March 29, 2003, to hold the attention of the audience.
    [Show full text]
  • Here Center and Performed There for 20 Seasons
    Merkin Hall at Kaufman Music Center Mindy Kaufman joined the New York Phil- music from Mozart concerti to Brazilian samba Sunday, November 17, 2019 at 8 pm harmonic in 1979 at age 22, after playing for worldwide. Paula Robison was a founding artist three years with the Rochester Philharmonic. She member of the Chamber Music Society of Lincoln graduated from the Eastman School of Music, where Center and performed there for 20 seasons. The New York Flute Club she studied with Walfrid Kujala, James Galway, She holds the Donna Hieken Flute Chair at New founded 1920 by Georges Barrère and Bonita Boyd. Ms. Kaufman has performed as England Conservatory. a soloist with the New York Philharmonic and for one season substituted as principal flute with the Nancy Toff is the author of The Development of Centennial Gala Concert Milwaukee Symphony. Ms. Kaufman has recorded the Modern Flute, The Flute Book, and Monarch more than 40 films. of the Flute: The Life of Georges Barrère, and was curator of the exhibition “Georges Barrère and the GEORGES BARRÈRE Nocturne (1913) Robert Langevin joined the New York Phil- Flute in America” at the New York Public Library (1876-1944) ROBERT LANGEVIN, flute harmonic as principal flute in 2001. He was for the Performing Arts, for which she wrote the BRYAN WAGORN, piano previously principal flute of the Pittsburgh Symphony catalog. She received the Dena Epstein Award Orchestra and taught at Duquesne University. for Archival and Library Research in American ELDIN BURTON Sonatina (1948) He served as associate principal of the Montreal Music from the Music Library Association and the (1913-1981) Allegretto grazioso Symphony Orchestra for 13 years and as a member National Flute Association’s 2012 Distinguished Andantino Sognando of Musica Camerata Montreal and l’Ensemble de Service Award.
    [Show full text]
  • A Survey of Selected Piano Concerti for Elementary, Intermediate, and Early-Advanced Levels
    Graduate Theses, Dissertations, and Problem Reports 2017 A Survey of Selected Piano Concerti for Elementary, Intermediate, and Early-Advanced Levels Achareeya Fukiat Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Fukiat, Achareeya, "A Survey of Selected Piano Concerti for Elementary, Intermediate, and Early-Advanced Levels" (2017). Graduate Theses, Dissertations, and Problem Reports. 5630. https://researchrepository.wvu.edu/etd/5630 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. A SURVEY OF SELECTED PIANO CONCERTI FOR ELEMENTARY, INTERMEDIATE, AND EARLY-ADVANCED LEVELS Achareeya Fukiat A Doctoral Research Project submitted to College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Piano Performance James Miltenberger,
    [Show full text]
  • General Guidelines for Guest Editor
    1 Vol 15 Issue 01 – 02 January 2007 The Burkina Electric Project and Some Thoughts About Electronic Music in Africa Lukas Ligeti [email protected] http://www.lukasligeti.com Keywords Burkina Electric Project, electronic music, Africa, electronics and computer technology Abstract This paper is an updated summary of a presentation I gave at the Unyazi Electronic Music Festival in Johannesburg, South Africa in 2005. Burkina Electric, founded in 2004, is an ensemble featuring two musicians (singer Mai Lingani and guitarist Wende K. Blass) and two dancers (Hugues Zoko and Idrissa Kafando) from Burkina Faso; the German pop music pioneer Pyrolator on electronics (both audio and visual); and myself on electronics and drums. Our objective is to create and perform original music combining the traditions of Burkina Faso with the world of DJ/club/dance electronica. In so doing, we build bridges between African and Western cultures, especially in the domains of pop/youth culture and experimental music. Burkina Electric's debut CD, Paspanga, was recently released for the Burkinabè market. By using elements of Burkinabè traditional music, including rhythms not usually heard in contemporary urban music, plus rhythms of our own creation, we aim to enlarge the vocabulary of “grooves” in the club/dance landscape; the dancers help audiences interpret these unusual rhythmic patterns. Sonorities and structural models of West African music are transferred to electronics and reassembled and processed in various ways. Rather than superimposing drum programming on top of an African traditional structures, we compose music that aims to organically confront and combine Africa and Occident, and tradition and experiment, while maintaining the particular sensibilities of both worlds.
    [Show full text]
  • Gran Teatre Del Liceu
    GRAN �r TEATRE DEL LICEU Temporada 1986/87 - I CONSORCI DEL GRAN TEATRE DEL LICEU Generalitat de Catalunya Ajuntament de Barcelona Ministerio de Cultura de . Diputació Barcelona i Societat del Gran Teatre del Liceu IBA LULU Òpera en 3 actes Llibret i Música d' Alban Berg CASA Llibret basat en les obres Erdgeist i Die Büchse der Pandora de Franz Wedekind Tercer acte completat per Friedrich Cerha SMIIA Estrena a en Espanya d'aquesta versió tres actes Buenas ideas en artículos para el hogar, la mujer y el recién nacido. Funció de Gala Dilluns, 6 d'abril, a les 20 h., funció núm. 50, torn A 8 a les 20 núm. EN BARCELONA DELEGACiÓN EN ZARAGOZA D!mecres, d'abril, h., funció 51, tom B 10 a les 20 funció GRAN VIA CORTS CATALANES, 640 Divendres, d'abril, h., núm. 52, torn C TELÉFONO 31S 24 9S c106pe DIUmenge, 12 d'abril, a les 17 h., funció núm. 53, torn T OS007 BARCELONA ZURITA, S TEL(976) 23 74 54 LULU Produccio: Wiener Staatsoper (adaptada per al Gran Teatre del Liceu) Patricia Wise (dies 6, 8 i 12) Lulu Suzanne Sonnenschein (dia 10) La Comtessa de Geschwitz Glenys Linos (pintora) L'operària de Sastreria El Mosso Stefania Kaluza L'estudiant I El Doctor El Professor Hans Christian El comissari de Policia El Pintor Don�ld George El Negre I Dr. Schon (editor) Franz Mazura Jack l'Esventrador Alwa Jean Van Ree (fill del Dr. Schon, compositor) Schigolch Hans Hotter (un home vell) El Domador Alfred Kuhn L'Atleta I El Príncep (un explorador de l'Àfrica) Ernst Dieter Suttheimer El Criat ROSL\ BISBE ART/DISSENY I El Marquès Wolfgang Mueller-Lorenz GANDUXER, 20 El Director de Teatre TELEFONO 201 6590 Ernst Gutstein El Banquer I RBLA.
    [Show full text]
  • Passacaglia and Lament in Ligeti's Recent Music
    tijdschrift 2004 #9/1/2 22-01-2004 09:16 Pagina 1 stephen taylor Passacaglia and lament in Ligeti’s recent music1 György Ligeti’s music since his opera Le Grand Macabre (1974-77, revised 1996) could be described as a collage of different compositional techniques. Two of the most prominent are passacaglia, and a melodic figure Ligeti calls the ‘lament motive’, based on the descending chromatic scale. Passacaglia and chromatic scales have appeared in Ligeti’s music since his student days, but they have become especially prominent in his recent music. This essay examines the development of these two techniques, focusing on their combination in the Horn Trio and Violin Concerto. These works not only show us how Ligeti uses the same ideas in different contexts; they also provide an overview of his recent compositional technique. Of the various compositional devices that appear in Ligeti’s music since his opera Le Grand Macabre (1974-77), two of the most prominent are the passacaglia and a melodic figure Ligeti calls the ‘lament motive’, based on the descending chromatic scale. Table 1 shows a list of works from the opera to the late 1990s in which these techniques appear. This essay examines the two slow movements that combine them: the fourth movement of the Horn Trio, ‘Lamento’, from 1982, and the fourth move- ment of the Violin Concerto, ‘Passacaglia: Lento intenso’, written a decade later. While both movements have much in common, their differences also highlight how Ligeti’s music has developed since he embarked on his new style in the early 1980s.
    [Show full text]
  • Sir James Galway : Living Legend
    VOLUME XXXIV , NO . 3 S PRING 2009 THE LUTI ST QUARTERLY SIR JAMES GALWAY : LIVING LEGEND Rediscovering Edwin York Bowen Performance Anxiety: A Resource Guide Bright Flutes, Big City: The 37th NFA Convention in New York City THE OFFICIAL MAGAZINE OF THE NATIONAL FLUTE ASSOCIATION , INC Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXIV, N O. 3 S PRING 2009 DEPARTMENTS 5 From the Chair 59 New York, New York 7 From the Editor 63 Notes from Around the World 11 Letters to the Editor 60 Contributions to the NFA 13 High Notes 61 NFA News 16 Flute Shots 66 New Products 47 Across the Miles 70 Reviews 53 From the 2009 Convention 78 NFA Office, Coordinators, Program Chair Committee Chairs 58 From Your Convention Director 85 Index of Advertisers 18 FEATURES 18 Sir James Galway: Living Legend by Patti Adams As he enters his 70th year, the sole recipient of the NFA’s 2009 Lifetime Achievement Award continues to perform for, teach, and play with all kinds of people in all forms of mediums throughout the world. 24 The English Rachmaninoff: Edwin York Bowen by Glen Ballard Attention is only now beginning to be paid to long neglected composer York Bowen (1884–1961). 28 York Bowen’s Sonata for Two Flutes, op.103: The Discovery of the Original “Rough and Sketchy Score” by Andrew Robson A box from eBay reveals romance, mystery, and an original score. 24 32 Performance Anxiety: A Resource Guide compiled by Amy Likar, with introduction by Susan Raeburn Read on for an introduction to everything you ever wanted to know (but were afraid to ask) about performance anxiety and related issues.
    [Show full text]