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Heralding a New Enlightenment
Peculiarities of Clarinet Concertos Form-Building in the Second Half of the 20th Century and the Beginning of the 21st Century Marina Chernaya and Yu Zhao* Abstract: The article deals with clarinet concertos composed in the 20th– 21st centuries. Many different works have been created, either in one or few parts; the longest concert that is mentioned has seven parts (by K. Meyer, 2000). Most of the concertos have 3 parts and the fast-slowly-fast kind of structure connected with the Italian overture; sometimes, the scheme has variants. Our question is: How does the concerto genre function during this period? To answer, we had to search many musical compositions. Sometimes the clarinet is accompanied by orchestra, other times it is surrounded by an ensemble of instruments. More than 100 concertos were found and analyzed. Examples of such concertos were written by C. Nielsen, P. Boulez, J. Adams, C. Debussy, M. Arnold, A. Copland, P. Hindemith, I. Stravinsky, S. Vassilenko, and the attention in the article is focused on them. A special complete analysis is made as regards “Domaines” for clarinet and 21 instruments divided in 6 groups, by Pierre Boulez that had a great role for the concert routine, based on the “aleatoric” principle. The conclusions underline the significant development of the clarinet concerto genre in the 20th -21st centuries, the high diversity of the compositions’ structures, the considerable expressiveness and technicality together with the soloist’s part in the expressive concertizing (as a rule). Further studies suggest the analysis of stylistic and structural peculiarities of the found compositions that are apparently to win their popularity with performers and listeners. -
FRENCH SYMPHONIES from the Nineteenth Century to the Present
FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen. -
Nicolas Bacri
Nicolas Bacri Nicolas Bacri Sturm und Drang © Olivier Dhénin Lisa Batiashvili violin Sharon Bezaly flute Riitta Pesola cello François Leleux oboe Tapiola Sinfonietta · Jean-Jacques Kantorow BIS-CD-1579 BIS-CD-1579_f-b.indd 1 09-08-19 12.28.35 BIS-CD-1579 Bacri .:booklet 10/8/09 10:00 Page 2 BACRI, Nicolas (b. 1961) Concerto amoroso ‘Le printemps’ (Le Chant du Monde) 13'08 for oboe, violin and string orchestra, Op. 80 No. 2 (2004–05) 1 Mosaïca 3'33 2 Notturno 7'36 3 Mosaïca II 1'57 Lisa Batiashvili violin · François Leleux oboe Concerto for Flute and Orchestra (Salabert) 15'53 Op. 63 (1999) 4 I. Largo misterioso – Allegro moderato 4'55 5 II. Estatico 5'22 6 III. Andante scorrevole 5'21 Sharon Bezaly flute 7 Concerto nostalgico ‘L’automne’ (Le Chant du Monde) 10'24 for oboe, cello and string orchestra, Op. 80 No. 1 (2000/02) Elegia – Scherzo alla Fuga – Romanza – Epilogo François Leleux oboe · Riitta Pesola cello 2 BIS-CD-1579 Bacri .:booklet 10/8/09 10:00 Page 3 8 Nocturne (Le Chant du Monde) 4'14 for cello and string orchestra, Op. 90 (2004) Riitta Pesola cello Symphony No. 4 (Durand) 13'50 Symphonie classique ‘Sturm und Drang’, Op. 49 (1995) 9 I. Allegro fuocoso · Omaggio a Richard Strauss 3'31 10 II. Arietta · Omaggio a Igor Stravinsky 3'30 11 III. Menuetto · Omaggio a Arnold Schœnberg 3'14 12 IV. Finale · Omaggio a Kurt Weill 3'27 TT: 58'54 Tapiola Sinfonietta Jean-Jacques Kantorow conductor 3 BIS-CD-1579 Bacri .:booklet 10/8/09 10:00 Page 4 icolas Bacri was born in Paris on 23rd November 1961 and over the past three decades has built up a substantial corpus of big-boned compositions Nlargely ignored by the contemporary-music establishment. -
Mariam Adam & Berginald Rash
Vol. 47 • No. 4 September 2020 ALSO IN THIS ISSUE Research Competition Winner: Humming and Singing While Playing Interview with Derek Bermel Nicolas Bacri’s Ophelia’s Tears The Quarter-Tone MARIAM ADAM Extended Clarinet & BERGINALD RASH THE CLARINETISTS OF CHINEKE! TO DESIGN OUR NEW CLARINET MOUTHPIECE WE HAD TO GO TO MILAN “I am so happy to play the Chedeville Umbra because it is so sweet, dark, so full of colors like when you listen to Pavarotti. You have absolutely all kind of harmonics, you don’t have to force or push, and the vibration of the reed, the mouthpiece, the material, it’s connected with my heart.” Milan Rericha – International Soloist, Co-founder RZ Clarinets The New Chedeville Umbra Clarinet Mouthpiece Our new Umbra Bb Clarinet Mouthpiece creates a beautiful dark sound full of rich colors. Darker in sound color than our Elite model, it also has less resistance, a combination that is seldom found in a clarinet mouthpiece. Because it doesn’t add resistance, you will have no limits in dynamics, colors or articulation. Each mouthpiece is handcrafted at our factory in Savannah Georgia Life Without Limits through a combination of new world technology and old world craftsmanship, and to the highest standards of excellence. Chedeville.com President’sThe EDITOR Rachel Yoder [email protected] ASSOCIATE EDITOR Dear ICA Members, Jessica Harrie [email protected] hope everyone is remaining safe and healthy during the EDITORIAL BOARD COVID-19 pandemic. Although the pandemic has changed Mitchell Estrin, Heike Fricke, Denise Gainey, our lives in ways we could not have imagined just a short Jessica Harrie, Rachel Yoder time ago, inspiring musical and technological creativity is keeping us all connected. -
TOCC0370DIGIBKLT.Pdf
MUSIC FOR MY LOVE, VOLUME TWO by Martin Anderson Yodit Tekle was born in Asmara, the capital of Eritrea, on 29 December 1977, and came to the United Kingdom as a refugee from the harsh internal policies of her native country. We were introduced by a mutual friend at a concert on 13 April 2008, and she stopped the breath in my throat – I hope you know the feeling when you frst see someone and know that’s where you have to be – and, but for a hiatus of a few months, we spent the rest of her short life together. In the autumn of 2014 Yodit was diagnosed with stomach cancer. Tat kind of news throws everything into perspective and so the frst thing I said to her when I went to see her in hospital was: ‘I hadn’t realised I loved you so much’. Quick as a fash, she answered: ‘So where’s the ring?’ I countered: ‘But what happens if we get married and you survive?’ We both laughed loudly – because neither of us thought for a minute that she really might die. Even so, on the bus home that evening I didn’t require much refection to understand what needed to be done, and as soon as I got in, I went online and bought a ring. We duly got engaged on Christmas Day, when Yodit was so full of life and happiness that even now, years later, it doesn’t seem possible that she had less than fve months to live.1 Tis project of 100+ new pieces for string orchestra had its origins in a Skype conversation with the composer Steve Elcock just afer that frst shocking diagnosis. -
WORLD PREMIERES All Performances from 1891 to 1904 Were Given at the Auditorium Theatre and Thereafter at Orchestra Hall, Unless Otherwise Noted
WORLD PREMIERES All performances from 1891 to 1904 were given at the Auditorium Theatre and thereafter at Orchestra Hall, unless otherwise noted. Soloists, when known, also are indicated. 1891-99 │ 1900-09 │ 1910-19 │ 1920-29 │ 1930-39 │ 1940-49 │ 1950-59 1960-69 │ 1970-79 │ 1980-89 │ 1990-99 │ 2000-09 │ 2010-19 Date Composer Composition Conductor 1891-99 Columbus Ode, Ode for the Opening of the Chicago World’s Fair (World’s Columbian 21-Oct-1892 George Chadwick Theodore Thomas Exposition, Manufacturers and Liberal Arts Building) Columbus March and Hymn (World’s Columbian 21-Oct-1892 John Knowles Paine Exposition, Manufacturers and Liberal Arts Theodore Thomas Building) Festival Jubilate, Op. 17 (World’s Columbian 1-May-1893 Amy Beach Theodore Thomas Exposition, Women’s Building) Triumphal March (World’s Columbian Exposition, Woizech Iwanowich 7-Jun-1893 Alexander Glazunov Music Hall) Hlavac Overture, Witichis (World’s Columbian 29-Jul-1893 Margaret Lang Theodore Thomas Exposition, Festival Hall) Cello Concerto in G Minor, Op. 33 (Bruno 30-Nov-1894 Arthur Foote Theodore Thomas Steindel) Concerto No. 2 for Piano in D Minor (W. C. E. 25-Jan-1895 W. C. E. Seeboeck Theodore Thomas Seeboeck) 17-Apr-1896 Frederic Grant Gleason Symphonic Poem, Edris Theodore Thomas 22-Oct-1897 Hugo Kaun Festival March and Hymn to Liberty Theodore Thomas 3-Feb-1899 Hugo Kaun Overture, Der Maler von Antwerpen Theodore Thomas 29-Dec-1899 Henry Schoenefeld Impromptus for String Orchestra Henry Schoenefeld 1900-09 5-Jan-1900 Adolf Weidig Capriccio, Op. 13 Theodore -
Organicism in Nicolas Bacri's Symphony No. 6, Op. 60
ORGANICISM IN NICOLAS BACRI’S SYMPHONY NO. 6, OP. 60 by Kris Brian Chapman An essay submitted to the Moores School of Music, Kathrine G. McGovern College of the Arts in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Orchestral Conducting Chair of Committee: Aaminah Durrani Committee Member: Paul Bertagnolli Committee Member: Franz Anton Krager Committee Member: Marcus Maroney University of Houston October 2019 Copyright 2019 Kris Brian Chapman ii DEDICATION This dissertation is dedicated my parents, Gary and Mary Jo Chapman, without whom I would have nothing. Your unconditional love, endless support, and thoughtful guidance mean more to me than you can possibly know. You inspire each day to be the best man I can be for myself and for others. Thank you and I love you. iii ACKNOWLEDGMENTS I would like to thank the members of my committee Dr. Paul Bertagnolli and Dr. Marcus Maroney for their flexibility and thoughtful comments. Special thanks go to Maestro Franz Anton Krager for his belief in my ability and continual guidance of my growth as a conductor and teacher. Thank you for giving me the opportunity to work with the University of Houston Moores School of Music Symphony Orchestra and present the United States premier of Nicolas Bacri’s Symphony No. 6. A very special thank you goes out to Mr. Nicolas Bacri for his beautiful music, penetrating discourse, and assistance in securing his compositions for research and performance. It is with the utmost humility and immense gratitude that I thank Dr. Aaminah Durrani for her selfless dedication to this project. -
557541Bk Kelemen
!"#!$%&'()*+,-.!!"!/0&'(1232425($6$((#/7"700((0#.$8(9:((9*;2(0 Nicolas Bacri (né 1961) utilisés dans les différentes parties, se réfèrent à une même lui-même, avait introduit une Gavotte à la place d’un Œuvres pour piano source : deux thèmes exposés au début de l’oeuvre dans scherzo ou d’un éventuel menuet, dans sa propre Nicolas l’Adagio doloroso, contemplatif et douloureux. Symphonie « Classique ». L’Arioso barocco e fuga mono- Dans Notes étrangères, son ouvrage de réflexion esthétique forme, non seulement comme organisation rigoureuse des Le compositeur inclut au cœur de sa sonate, un Scherzo dica a due voci (2006) est un résumé du recueil, avec ses sur sa situation comme compositeur d’aujourd’hui, Nicolas matériaux, mais aussi comme régulation du flux des sombre et angoissant, avec ses trilles sarcastiques, ses deux pièces situées aux extrêmes de la leçon que le BACRI Bacri déclarait : contrastes expressifs. « J’aime cette possibilité d’une rythmes désarticulés, son tempo haletant et ses registres compositeur a voulu tirer du « classicisme baroquisant » : « Ma musique n’est pas néoclassique, elle est classique métamorphose de l’écoute impliquée par deux niveaux de contrastés. Les idées exposées dans la première partie du « l’Arioso barocco frôle l’exercice de style alors que la car elle retient du classicisme ce qu’il a d’intemporel : la lecture : l’une sensible, l’autre intellectualisée se fécondant Scherzo incorporent des éléments musicaux provenant des Fuga monodica représente une appropriation d’un principe Piano Music rigueur de l’expression. mutuellement. » thèmes du mouvement liminaire et aboutissent à un ample esthétique, tout en limitant drastiquement les conséquences Ma musique n’est pas néoromantique, elle est Le Prélude et Fugue, op.