New Composed Music
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
125 Commissions Project and Premieres
18|19 COMMISSIONS PROJECT Carnegie Hall’s commitment to the music of tomorrow continues with the fourth year of its five-year project during which at least 125 new works will be commissioned from today’s leading composers. Through the 125 Commissions Project, Carnegie Hall expands upon its history as the preeminent venue where music history is made. Launched during the Hall’s 125th anniversary season in 2015, the project features new solo, chamber, and orchestral music from both established and emerging composers, including John Adams, Thomas Adès, Timo Andres, Donnacha Dennehy, Bryce Dessner, Philip Glass, Sofia Gubaidulina, Brad Mehldau, Nico Muhly, Steve Reich, Frederic Rzewski, Caroline Shaw, Tyshawn Sorey, Chris Thile, and Jörg Widmann. As part of the project, Carnegie Hall has sought to partner with co-commissioners as much as possible in order to maximize the number of performances for new each work. As part of the 125 Commissions Project, Kronos Quartet and Kronos Performing Arts Organization continue Fifty for the Future: The Kronos Learning Repertoire. Collaborating with many diverse partners over five seasons, Kronos is co-commissioning 50 new works by 25 men and 25 women devoted to contemporary approaches to the string quartet, designed expressly for the training of students and emerging professionals. Composers commissioned to write works for previous seasons included Fodé Lassana Diabaté, Rhiannon Giddens, Garth Knox, Aleksandra Vrebalov, Wu Man, and Karin Rehnqvist. Commissions for the 2018–2019 season include works written by Bryce Dessner, Susie Ibarra, Jlin, Vladimir Martynov, Missy Mazzoli, Misato Mochizuki, Terry Riley, Henry Threadgill, Mario Galeano Toro, and Lu Yun. -
FROM the HEAD of DEPARTMENT the Major Piece of Research
FROM THE HEAD OF DEPARTMENT The major piece of research news over the past term an event that also saw a display of materials from the has undoubtedly been the release in December of Daphne Oram archive. Coincidentally, at about the the results of the Research Assessment Exercise. same time, we also secured the purchase of Daphne Keith Negus has given a full appraisal of these in Oram’s original ‘Oramics’ machine, one of the first his contribution below so I will simply reiterate his ever electronic music composition systems. We point that having 70% of the Department’s work rated anticipate that this will lead to some very interesting as being either ‘world leading’ or ‘internationally future strands of research, as well as potential excellent’ was an exceptionally good outcome for us, collaborations with other high-profile partners. and a result that, in percentage terms, was exceeded Another indicator of the Department’s high standing by only one other department within the College as a in music research is the number and quality of PhD whole. The RAE will soon give way to the Research students we are able to attract. Even so, it was Excellence Framework (REF), and we shall shortly something of a pleasant surprise when I discovered begin to contemplate the potential implications for that we have enrolled no fewer than 20 PhD students the Department of this revised method of research in the department in the last calendar year, two of assessment. But for the moment we can draw whom have joined us on AHRC-funded scholarships breath and congratulate ourselves on the very fine (making a total of five students in the Department achievement this time around. -
RUSSIAN, SOVIET & POST-SOVIET CONCERTOS a Discography Of
RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Edited by Stephen Ellis Composers H-P GAGIK HOVUNTS (see OVUNTS) AIRAT ICHMOURATOV (b. 1973) Born in Kazan, Tatarstan, Russia. He studied clarinet at the Kazan Music School, Kazan Music College and the Kazan Conservatory. He was appointed as associate clarinetist of the Tatarstan's Opera and Ballet Theatre, and of the Kazan State Symphony Orchestra. He toured extensively in Europe, then went to Canada where he settled permanently in 1998. He completed his musical education at the University of Montreal where he studied with Andre Moisan. He works as a conductor and Klezmer clarinetist and has composed a sizeable body of music. He has written a number of concertante works including Concerto for Viola and Orchestra No1, Op.7 (2004), Concerto for Viola and String Orchestra with Harpsicord No. 2, Op.41 “in Baroque style” (2015), Concerto for Oboe and Strings with Percussions, Op.6 (2004), Concerto for Cello and String Orchestra with Percussion, Op.18 (2009) and Concerto for Piano and Orchestra, Op 40 (2014). Concerto Grosso No. 1, Op.28 for Clarinet, Violin, Viola, Cello, Piano and String Orchestra with Percussion (2011) Evgeny Bushko/Belarusian State Chamber Orchestra ( + 3 Romances for Viola and Strings with Harp and Letter from an Unknown Woman) CHANDOS CHAN20141 (2019) 3 Romances for Viola and Strings with Harp (2009) Elvira Misbakhova (viola)/Evgeny Bushko/Belarusian State Chamber Orchestra ( + Concerto Grosso No. 1 and Letter from an Unknown Woman) CHANDOS CHAN20141 (2019) ARSHAK IKILIKIAN (b. 1948, ARMENIA) Born in Gyumri Armenia. -
Oranit Kongwattananon 1
Oranit Kongwattananon 1 Introduction Arvo Pärt, an Estonian composer, was born in 1935. He studied at Tallinn Conservatory under his composition teacher, Heino Eller, in 1958-1963. While studying, he worked as a sound engineer at the Estonian Radio, and continued working there until 1968, when he became a freelance composer. At the beginning of 1980, Arvo Pärt and his family emigrated to Austria where he received Austrian citizenship. Afterwards, he received a scholarship from Der Deutsche Akademische Austauschdienst (German Academic Exchange Service) in 1981-1982, so he and his family moved to West Berlin.1 Most of the works at the beginning of his career as a composer were for piano in neo- classical style. He won the first prize of the All-Union Young Composers’ Competition in Moscow in 1962, and turned his interest to serial music at this time. He studied from books and scores, which were difficult to obtain in the Soviet Union. The first work to which he applied serial techniques, Nekrolog, was composed in 1960. Although he was panned by the critics for this work, he nevertheless continued creating his works with serial techniques throughout the 1960s. One well-known piece called Credo, composed in 1968, was the last work combining tonal and atonal styles.2 For several years afterwards, Pärt turned his attention to studying tonal monody and two-part counterpoint exercises.3 Between 1968-1976 Pärt initiated a “self-imposed silence”; during which he published only one work, Symphony no. 3, whilst studing early music: At the beginning of this period, Pärt heard Gregorian chant for the first time in his life and was completely overwhelmed by what he heard: he immediately sought out other examples, and went on to make an intensive study of early music, including not only Gregorian chant, but also the music of the Notre Dame school, Gillaume de Machaut, 1 Wright, Stephen, “Arvo Pärt (1935- ),” in Music of the twentieth-century avant-garde: a biocritical sourcebook, ed. -
Like Reich on Vodka TUESDAY, DECEMBER 3, 2002 at 4 A.M
Like Reich On Vodka TUESDAY, DECEMBER 3, 2002 AT 4 A.M. 1 Anton Batagov: relentless rhythmic repetition for meditative purposes By coincidence I arrived in Moscow the day the theater siege began. I found a population distracted and depressed, but not too traumatized to share musical enthusiasms. I hadn't heard a peep of Russian music in decades—only the occasional Estonian like Arvo Pärt and Lepo Sumera, or displaced Ukrainian like Virko Baley. So I was surprised, given Europe's still-modernist tendencies, to find Russia awash in simple tonality, in brash repetition, in its own cheeky form of post- minimalism. Such a large country, so crowded with musicians, is not so simply summed up in stylistic terms, of course. But in Vladimir Martynov, Pavel Karmanov, Anton Batagov, Georgs Peletsis, Alexander Rabinovitch, Sergei Zagny, and Alexander Bakshi, I found an entire generation of in- your-face tonalists. I heard a few live performances, mostly by a scintillating and versatile string orchestra called Opus Posth at the Dom Foundation's Alternativa festival (in which I performed). Wider vistas were opened up by dozens of CDs given to me as I was trying to buy them, many of them by Dom's director, Nicolas Dmitriev, others by critic Dmitri Oukhov, sort of the Kyle Gann of Russia, as he described himself: the only person there whose job consists of writing about new experimental music. With typical European obliviousness to conflict-of-interest issues we're hypersensitive to, Oukhov is not only a leading critic but curator of Alternativa and other festivals. -
2011 Next Wave Festival SEP 2011
2011 Next Wave Festival SEP 2011 Donald Baechler, Red + Blue Rose (detail), 2011 BAM 2011 Next Wave Festival sponsor Published by: BAM 2011 Next Wave Festival Brooklyn Academy of Music presents Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Awakening: Adam E. Max, Vice Chairman of the Board A Musical Meditation Karen Brooks Hopkins, President on the Anniversary of 9/11 Joseph V. Melillo, Executive Producer BAM Howard Gilman Opera House Sep 21—24, 2011 at 7:30pm Approximate running time: 90 minutes, no intermission Kronos Quartet Violin David Harrington Violin John Sherba Viola Hank Dutt Cello Jeffrey Zeigler With special guest Brooklyn Youth Chorus, conducted by Dianne Berkun Scenic and lighting design by Laurence Neff Audio engineer Brian Mohr Technical associate Calvin Ll. Jones Awakening was first performed on September 11, 2006, at Herbst Theatre in San Francisco, California. BAM 2011 Next Wave Festival sponsor The 2011 Richard B. Fisher Next Wave Award honors the Kronos Quartet and its production of Awakening. Leadership support for the Next Wave Festival is provided by The Ford Foundation. Leadership support for Awakening provided by Goldman Sachs Gives at the recommendation of R. Martin Chavez. Awakening A Musical Meditation on the Anniversary of 9/11 I. Dmitri Yanov-Yanovsky Awakening* (Uzbekistan) Unknown (arr. Ljova & Kronos) Oh Mother, the Handsome Man Tortures Me+ (Iraq) Traditional (arr. Jacob Garchik) Lullaby+ (Iran) Ram Narayan (arr. Kronos, transc. Ljova) Raga Mishra Bhairavi: Alap+ (India) II. Einstürzende Neubauten Armenia+ (Germany) (arr. Paola Prestini & Kronos) John Oswald Spectre* (Canada) Michael Gordon Selections from The Sad Park* (United States) Part 1 two evil planes broke in little pieces and fire came Part 4 and all the persons that were in the airplane died III. -
2020-2021 Season Chronology of Events
Carnegie Hall 2020–2021 Season Chronological Listing of Events All performances take place at Carnegie Hall, 57th Street and Seventh Avenue, unless otherwise indicated. October CARNEGIE HALL'S Wednesday, October 7, 2020 at 7:00 PM OPENING NIGHT GALA Los Angeles Philharmonic LOS ANGELES PHILHARMONIC Gustavo Dudamel, Music and Artistic Director Stern Auditorium / Perelman Stage Lang Lang, Piano Liv Redpath, Soprano JOHN ADAMS Tromba Lontana EDVARD GRIEG Piano Concerto in A Minor, Op. 16 EDVARD GRIEG Selections from Peer Gynt DECODA Thursday, October 8, 2020 at 7:30 PM Weill Recital Hall Decoda LUDWIG VAN BEETHOVEN Septet in E-flat Major, Op. 20 FRANZ SCHUBERT String Trio in B-flat Major, D. 471 GUSTAV MAHLER Selection from "Kräftig bewegt, doch nicht zu schnell" from Symphony No. 1 in D Major (arr. Decoda) ARNOLD SCHOENBERG Selections from Variations for Orchestra, Op. 31 (arr. Decoda) VARIOUS COMPOSERS Ode to Beethoven (World Premiere created in collaboration with the audience) LOS ANGELES PHILHARMONIC Thursday, October 8, 2020 at 8:00 PM Stern Auditorium / Perelman Stage Los Angeles Philharmonic Gustavo Dudamel, Music and Artistic Director Leila Josefowicz, Violin Gustavo Castillo, Narrator GABRIELLA SMITH Tumblebird Contrails (NY Premiere) ANDREW NORMAN Violin Concerto (NY Premiere, co-commissioned by Carnegie Hall) ALBERTO GINASTERA Estancia, Op. 8 Andrew Norman is holder of the 2020-2021 Richard and Barbara Debs Composer's Chair at Carnegie Hall. LOS ANGELES PHILHARMONIC Friday, October 9, 2020 at 8:00 PM Stern Auditorium / Perelman -
Vladimir Martynov
UTOPIAVLADIMIR MARTYNOV VLADIMIR JUROWSKI conductor JUN HONG LOH violin LONDON PHILHARMONIC ORCHESTRA and CHOIR FOREWORD MICHAEL TAY In commissioning Vladimir Martynov to compose a tools at hand but not to use them. In our almost mindless symphony in 2004, I could not have foreseen a trajectory drive to progress, to globalise, to embrace technology, we leading to this recording by the London Philharmonic have lost part of our humanity. For whom are we Orchestra at the Abbey Road Studios. It was a leap of faith. ‘progressing’ and ‘globalising’? Martynov was inspired by the idea of a small country The Utopia Symphony is a universal call to arms – to rethink struggling with survival and emerging with something and reshape the principles that underlie our actions and unique and enduring. He set the libretto to the Tao Te existence. It is an attempt to recapture our sense of Ching, an ancient text that speaks of the Tao (‘the Way’) as beauty and order in nature and society; to become better the underlying reality that permeates and drives the beings than ourselves, to re-imagine Utopia. Like the idea universe. Martynov likens the search for Utopia to the Tao: of Utopia, the Symphony will be a work in progress. An ‘The tao that can be described is no longer the Tao’. Utopia allegory for our search for meaning – an empty vessel filled is elusive, not a destination or a state of being, but a by new meanings as time passes, ‘mother of all things’, process of becoming and striving to do better. ‘doing by not doing’, like the Tao. -
Full Repertoire List (Updated February 2021)
Full repertoire list (updated February 2021) Pre-classical Johan Sebastian Bach (1685 – 1750) Selection of fugues from Die Kunst der Fuge BWV 1080 arr. for string quartet Selection of fugues from Das Wohltemperiertes Klavier BWV 846-893 arr. for string quartet Selection of canons BWV 1072-1086 arr. for string quartet Ricercar a 6 from Musikalisches Opfer BWV 1079 arr. for string sextet Choral preludes BWV 662 & 731 arr. for string quartet Guillaume de Machaut (ca. 1300 – 1377) Selection of Messe de nostre dame arr. for string quartet by D. Faber Josquin des Prez (1450 – 1521) Mille regretz arr. for string quartet by D. Faber Giovanni Gabrieli (ca. 1555 – 1612) Sonata con XXI con tre violini arr. for string quartet by M. Wester Carlo Gesualdo (1566 – 1613) Selection of Madrigali libro sesto arr. for string quartet by D. Faber Johannes Ockeghem (ca. 1410 – 1497) Selection from Missa Prolationum arr. for string quartet by D. Faber Giovanni Pierluigi da Palestrina (ca. 1525 – 1594) Ave Marie á 4 arr. for string quartet by D. Faber Giovanni Pergolesi (1710 – 1736) Stabat Mater for soprano, alto, string quartet and continuo Perotin (fl. c. 1200) Viderunt Omnes arr. for string quartet by D. Faber Jean-Philippe Rameau (1683 – 1764) Entrée de Polymnie from Les Boreades arr. for string quintet by D. Faber Ouverture, 2 Gavottes & Chacony from Castor & Pollux arr. for string quartet by D. Faber Heinrich Schütz (1585 – 1672) Also hat Gott die Welt geliebt SWV 380 arr. for string quartet by D. Faber Jan Pieterszoon Sweelinck (1562 – 1621) Selection of Psalms arr. for string quartet by the D. -
Galina Ustvolskaya, Sofia Gubaidulina, and the Pursuit of Spiritual Freedom in the Soviet Union
To Be Totally Free: Galina Ustvolskaya, Sofia Gubaidulina, and the Pursuit of Spiritual Freedom in the Soviet Union Kathleen Renee Regovich Advisor: Gurminder Kaur Bhogal, Music Submitted in Partial Fulfillment of the Prerequisite for Honors in Music 2016 © 2016 Kathleen Renee Regovich 2 Table of Contents Introduction ..................................................................................................................................... 5 Chapter 1: Gender, Music, and the Soviet Union ........................................................................... 8 Chapter 2: Galina Ustvolskaya (1919-2006) ............................................................................... 36 Chapter 3: Sofia Gubaidulina (b. 1931) ........................................................................................ 66 Conclusion .................................................................................................................................... 91 Appendix ..................................................................................................................................... 100 Bibliography ............................................................................................................................... 107 Table of Figures Figure 1: Galina Ustvolskaya and Sofia Gubaidulina ..................................................................... 4 Figure 2: A graphic depiction of the structure of Stimmen… Verstummen… . ............................. 82 3 “I am no bird; and no net ensnares me; -
Download Download
Journal of the International Society for Orthodox Church Music Vol. 1 (2014), Section I: Peer-reviewed Articles, pp. 20-32 https://journal.fi/jisocm Gregory Myers From Out of the Drawer: Faith, Ritual and Russian Orthodoxy - Nikolai Korndorf’s Setting of the Divine Liturgy1 The centerpiece of this study is a remarkable exemplar of sacred music composition literally extracted from the drawer: a complete setting of the Russian Orthodox Divine Liturgy by the late-twentieth-century Russian-Canadian composer, Nikolai Sergeevich Korndorf dated 1978.2 It has a two-fold purpose: (1) to explore some of the circumstances of its creation (how, why and when?) and, (2) to use it to frame a commentary on the impact of the Russian Orthodox Church on Russian music composition in general, looking to nineteenth-century precedents for lingering/prevailing attitudes towards it, posing the questions: Why has the Russian Orthodox Church been largely overlooked in Russian music production and why has it assumed a role in recent years? Example No. 1 – Title Page of Nikolai Korndorf’s Liturgy. Example 1 Title Page of Nikolai Korndorf’s Liturgy From the tenth to nineteenth centuries Orthodoxy defined Russia. The Christianity of the Greek Church, whose mandate was to maintain the pluralism of those lands into which it witnessed, gave both form and content to Russian culture; for centuries its elaborate ritual comings and goings for every conceivable occasion shaped the lives of the Russian people. But Christianity was syncretically adapted to and erected on a preexisting pagan foundation that has continued to underpin it, and both have coexisted to the present among the faithful held in a centuries-old symbiotic balance. -
Kronos Quartet West Coast Premiere I
CAL PERFORMANCES PRESENTS PROGRAM Sunday, December 13, 2009, 7pm Hertz Hall Terry Riley (b. 1935) Transylvanian Horn Courtship (2008) Kronos Quartet West Coast Premiere I. The Weaver and the Waterwheel…or the David Harrington, violin Good W’s that We Know John Sherba, violin II. Arangojuice Hank Dutt, viola III. Heavy Breathing in Dangerous Snowfields Jeffrey Zeigler, cello IV. Drunken Lovesong V. Rajastani Loops for K. M. Bhatt…That’s Special Guest Mr. Kool Man Krishna Mohan Pandit Joan Jeanrenaud, cello VI. Moonlight Shadows Dyno Walk VII. A Tender Moment in the Maze Laurence Neff, Lighting Designer VIII. Ram Chander Maharaj…a Dancing Scott Fraser, Sound Designer Toot Sultan in Beggar’s Clothes IX. Keep Hands Up Close to the Face Before the Knockout Punch PROGRAM Played without pause. Bryce Dessner (b. 1976) Aheym (Homeward) (2009) All of the works on tonight’s program were written for Kronos. Missy Mazzoli (b. 1980) Harp and Altar (2009) The Kronos Quartet records exclusively for Nonesuch Records. Vladimir Martynov (b. 1946) Schubert-Quintet (Unfinished), in two movements (2009) Cal Performances’ 2009–2010 season is sponsored by Wells Fargo. World Premiere with Joan Jeanrenaud, cello Sightlines INTERMISSION Sunday, December 13, 2009 Hertz Hall Please join us for a post-concert discussion with the artists. 28 CAL PERFORMANCES CAL PERFORMANCES 29 PROGRAM NOTES PROGRAM NOTES Bryce Dessner (b. 1976) cultures and communities. My father’s multimedia chamber opera, Song from the Uproar: Crane lived for some time at 110 Aheym (2009) family, Jewish immigrants from Poland The Lives and Deaths of Isabelle Eberhardt, pre- Columbia Heights in Brooklyn, in an and Russia, also lived near the park for miered in Brooklyn in 2009.