Bernat Vivancos Barbican Hall ‘Freire Played Messe Aux Sons Des Cloches with a Master’S Debussy R

Total Page:16

File Type:pdf, Size:1020Kb

Bernat Vivancos Barbican Hall ‘Freire Played Messe Aux Sons Des Cloches with a Master’S Debussy R The Barbican’s Associate Orchestra bbc.co.uk/symphonyorchestra Season Box Office 0845 120 7596 (bkg fee) www.barbican.org.uk Reduced booking fee online Welcome to the BBC Symphony Orchestra’s 2008–09 Barbican season. Chief Conductor Jiˇrí Beˇlohlávek launches the season with Beethoven’s Missa solemnis, joined by a stellar quartet of soloists and the superb BBC Symphony Chorus. Jiˇrí continues his highly praised explorations of the symphonies of Bruckner and Mahler and returns to the music of his homeland for a concert staging of Martinu’s° glorious opera Julietta.We explore the music of France and Spain, with a month devoted to French music and musicians and a Spanish-themed concert featuring FRIDAY 3 OCTOBER De Falla’s El amor brujo (Love, the Magician). 7.00PM In December, we celebrate the 100th birthday of Elliott Carter and early Beethoven in 2009 we introduce a trio of events – our ‘Total Immersion’ series Missa solemnis of Composer Days in which we delve into the extraordinary musical worlds of Karlheinz Stockhausen,Tristan Murail and Iannis Xenakis. Jirˇí Beˇlohlávek conductor In addition, there is a heady mix of premieres and commissions, an Christine Brewer soprano exciting list of soloists including Christine Brewer, Nelson Freire, Soile Ekaterina Semenchuk mezzo-soprano Isokoski and Gil Shaham, while conductors making a welcome return Paul Groves tenor Stephen Milling bass to the Orchestra include Edward Gardner and Andrew Litton. BBC Symphony Chorus All of our concerts are broadcast on BBC Radio 3 and streamed online and, this season a number will be broadcast live. Look out for these live ‘From the heart – may it go to the heart.’ Beethoven’s inscription on the score of his concerts, which will begin at 7.00pm. ‘Solemn Mass’ stands as a profound wish for I look forward to seeing you at the Barbican. ‘This was singing of one of the greatest works of Western sacred art.The composer’s visionary interpretation of Paul Hughes rare charm and divine glory and sinful mankind’s insignificance, General Manager versatility, at both forged against a background of personal turmoil and creative uncertainty, reveals the sublime. ends of a vast Prepare for an unforgettable spiritual and emotional spectrum.’ emotional journey under the inspired care The Observer of Jirˇí Beˇlohlávek and a great solo team, on Christine Brewer led by the incomparable Christine Brewer. Pre-concert talk, 6.00pm Barbican Hall An introduction to tonight’s concert. Tickets £24 £20 £16 £12 £8 bbc.co.uk/symphonyorchestra 3 FRIDAY 10 OCTOBER FRIDAY 24 OCTOBER 7.30PM 7.00PM Musorgsky Spanish Scenes Night on the Bare Mountain (original version) Turina Matthias Pintscher Danzas fantásticas New work Benet Casablancas (BBC co-commission: world premiere) Siete escenas de Hamlet (UK premiere) Tchaikovsky Ravel Manfred Rapsodie espagnole Kazushi Ono conductor Apollo Voices De Falla El amor brujo In 1884 Tchaikovsky visited a dying friend in Josep Pons conductor Switzerland, carrying with him a copy of Lord Byron’s Flamenco singer to be announced ‘Gothic’ verse-drama Manfred and reading it while Actor to be announced deep in Alpine country.The combination of poetry and natural imagery fired Tchaikovsky’s imagination Spain’s musical past includes compelling meetings between and fuelled tireless work on his Manfred symphony. high and popular culture, vividly captured in Manuel de Falla’s ‘It seems to me, that it is the best of my compositions,’ so-called ‘gypsy revel’, El amor brujo (Love, the Magician). he wrote.Tonight’s concert includes the first Delicate contrasts of sound and richly woven textures lie performance of acclaimed young German at the musical heart of Benet Casablancas’s Siete escenes de composer Matthias Pintscher’s latest score, based Hamlet (Seven Scenes from Hamlet), written in the late 1980s. Kazushi Ono Herbie Yamaguchi on his evocative music-theatre piece L’espace dernier. Thanks to his Basque maternal family, Ravel’s connections with Iberian culture ran deep. His Rapsodie espagnole evokes the Pre-concert talk, 6.00pm effervescent, exotic spirit of Spain. ‘Filled with a Barbican Hall musical energy Matthias Pintscher in conversation. Pre-concert talk, 6.00pm Barbican Hall narrowed BBC Music Intro Concert An introduction to tonight’s concert. and pinpointed An introduction to concert-going for families. See page 28 for details. BBC Music Intro Concert by elegant An introduction to concert-going for families. technique’ Tickets £24 £20 £16 £12 £8 See page 28 for details. New York Times on Kazushi Ono Tickets £24 £20 £16 £12 £8 4 BBC Symphony Orchestra 2008–09 bbc.co.uk/symphonyorchestra 5 FRIDAY 28 NOVEMBER David Crookes 7.00PM Carmina burana Svatopluk Havelka Hommage à Hieronymous Bosch Sally Matthews (UK premiere) ‘Sally Matthews gave Hindemith the performance Symphonic Metamorphosis after Themes by Carl Maria von Weber an extra touch of class, singing with Orff a beauty of tone Carmina burana and an ability to WEDNESDAY 12 NOVEMBER shape phrases in 7.30PM Jakub Hru˚sˇa conductor Sally Matthews soprano a personal way John Graham-Hall tenor that made her Bruckner William Dazeley baritone outstanding.’ Symphony No. 5 in B flat major Trinity Boys’ Choir Financial Times BBC Symphony Chorus Jirˇí Beˇlohlávek conductor Svatopluk Havelka, a central composer of the Czech ‘New Wave’ The BBC Symphony Orchestra and its Chief school of film music, now in his early eighties, attracted worldwide Conductor, Jirˇí Beˇlohlávek, have garnered rave acclaim following the premiere of his Homage to Hieronymus Bosch reviews for their Bruckner performances, drawing in 1974.The work’s striking evocations of Bosch’s paintings of late- critical superlatives last year after a searing account medieval life, debauchery and death provide the ideal preface to of the Austrian composer’s Seventh Symphony. Carl Orff’s Carmina burana. Ale-swilling monks, pompous abbots, ‘My life has lost all joy and enthusiasm,’ wrote flagrant lovers and assorted gluttons here take their turn on Bruckner around the time he was working on Fortune’s wheel, with Orff imparting unstoppable momentum the transcendent slow movement of his to a score bristling with energy. monumental Fifth Symphony in 1875. His testing personal and emotional circumstances, however, Pre-concert talk, 6.00pm take second place to the expression of defiant Fountain Room optimism and ultimate triumph. An introduction to tonight’s concert. Pre-concert talk, 6.00pm Post-concert talk Fountain Room Fountain Room An introduction to tonight’s concert Meet the BBC Symphony Chorus. A chance to find out about life in the BBC Symphony Chorus. Tickets £24 £20 £16 £12 £8 Tickets £24 £20 £16 £12 £8 6 bbc.co.uk/symphonyorchestra 7 Boyd Hagen MONDAY 8 DECEMBER TUESDAY 16 DECEMBER 7.30PM 7.30PM Focus on Gil Shaham Elliott Carter Centenary Concert Sam Hayden Substratum Elliott Carter (BBC commission: world premiere Soundings of complete work) Cello Concerto Mozart Sound Fields Gil Shaham Violin Concerto No. 2 in D major Horn Concerto Messiaen Boston Concerto ‘Shaham’s playing Un sourire Oliver Knussen conductor had a searing Anssi Karttunen cello intensity, but it was Stravinsky Martin Owen horn the irrepressible Violin Concerto Elliott Carter’s global influence since the 1940s – as a composer, energy he exuded writer and teacher – has been the result of his constant exploration David Robertson conductor of new ideas and his lucid confrontation of tired conventions. that brought every Gil Shaham violin The native New Yorker, born on 11 December 1908, has long note so vividly enjoyed a fruitful partnership with Oliver Knussen, and with the to life.’ Gil Shaham’s place among today’s great BBC Symphony Orchestra, which mounted a weekend-long festival violinists rests secure on foundations of insightful of Carter’s music in 2006.Tonight’s celebration features four recent The Guardian musicianship, breathtakingly beautiful sound works – three of them written only in the past four years. Carter’s and irresistible panache, qualities guaranteed to concertos for horn and for cello explore the wide possibilities illuminate Mozart’s joyful Second Violin Concerto available to those instruments, while the inventive Soundings makes and the witty elegance of Stravinsky’s Violin a feature of the interplay between a solo piano and the orchestra. Concerto. He joins forces with David Robertson, Composed only last year, the brief string orchestra piece Sound the BBC Symphony Orchestra’s Principal Guest Fields focuses on a dramatic contrast of textures, while Conductor, for tonight’s concert.The programme the loudness and tone-colour remain constant. opens with the world premiere of the complete version of the multi-layered Substratum, created Pre-concert talk, 6.00pm for the BBC SO by Sam Hayden as a constantly Barbican Hall evolving construction of kaleidoscopic sounds The Music of Elliott Carter. and orchestral textures. Tickets Post-concert talk, 6.00pm £24 £20 £16 £12 £8 Fountain Room Sam Hayden in conversation. Tickets £24 £20 £16 £12 £8 8 BBC Symphony Orchestra 2008–09 bbc.co.uk/symphonyorchestra 9 THURSDAY 8 JANUARY 7.00PM Smetana Libusˇe–overture Total Immersion: Suk Three Composer Days Fantasy in G for Violin and Orchestra Mahler Stockhausen Saturday 17 January Lieder eines fahrenden Gesellen Tristan Murail Saturday 7 February Xenakis Saturday 7 March Dvorˇák Symphony No. 9, Prepare to be transported to thrilling new worlds of sound ‘From the New World’ and imagination in the company of three extraordinary composers.The creative artists chosen to launch the BBC Jirˇí Beˇlohlávek conductor Symphony Orchestra’s unmissable days of Total Immersion Dagmarˇ Pecková mezzo-soprano stand for the marriage of music, thought and emotion, inventors Ivan Zenat≥ violin of abundantly eloquent musical languages with the power to Tonight’s profusely Romantic programme celebrates the vibrancy provoke, captivate and inspire. of Czech music, the strength of which influenced the young Mahler and soared to sublime creative heights in Dvorˇák’s ‘New World’ Obituary notices for Karlheinz Stockhausen (1928–2007), Symphony.
Recommended publications
  • Littérature Et Vocalité Chez Xenakis Ou Comment Traiter Des Abîmes Nicolas Darbon
    Document generated on 09/24/2021 11 a.m. Intersections Canadian Journal of Music Revue canadienne de musique Littérature et vocalité chez Xenakis ou comment traiter des abîmes Nicolas Darbon Volume 34, Number 1-2, 2014 Article abstract The mytheme of Chaos is studied through the vocal works of Xenakis. It is URI: https://id.erudit.org/iderudit/1030872ar representative of the history, the concerns, and the sensibility of the DOI: https://doi.org/10.7202/1030872ar “contemporary” (of the end of the twentieth century): although inspired by Greek antiquity, the treatment of the text oscillates between the poles of pure See table of contents abstraction and significant expression. Furious, stormy, the Xenakian Chaos can result from trauma, madness, and war, to indicate the state of what has no shape, the abyss, the deluge, the genesis, the perdition, to be a transition, Publisher(s) process, to represent the origin or the end of the world. So the composer wanted “to handle abysses” by the soloist or the choir vocality, to find “all the Canadian University Music Society / Société de musique des universités cosmic wealth, but chaotically.” This article opens a diptych; the second section canadiennes is entitled “The Big Neolithic Mother in Serment-Orkos” (published by the Iannis Xenakis Center, University of Rouen). The postulate is that chaos theory ISSN and complexity theory belong themselves to an anthropology of the imagination. This article joins research on the transdiction (notion explained 1911-0146 (print) on the site of the CEREdI, University of Rouen): sound and body in the 1918-512X (digital) musico-literary transfers.
    [Show full text]
  • Iannis Xenakis Celebration of the Centenary of the Composer (1922-2001) by the Percussions De Strasbourg
    Iannis Xenakis celebration of the centenary of the composer (1922-2001) by the Percussions de Strasbourg Pléiades at the Festival Milano Musica Percussions de Strasbourg Percussions Celebration of the centenary of the de Strasbourg IANNIS XENAKIS composer (1922-2001) by the Percussions de Strasbourg It has been said several times that, thanks to percussion, Xenakis reintroduced the problem of rhythm that was thought to have disappeared from contemporary music. Architect, engineer and composer, this genius of composition writes music whose complex and harmonious structure contrasts with the explosive energy that comes out of it. The Percussions de Strasbourg are proud to have collaborated so closely with this composer who dedicated to them the works Persephassa (1969) and Pléiades (1979), which have become a must in the field of percussion. Idmen A and B (1985) is also dedicated to the Percussions de Strasbourg. Psappha (1975) and Rebonds A and B (1987-88) are solos that appear in our repertoire as well as the trio Okho (1989). Minh-Tâm Nguyen, artistic director of the Percussions de Strasbourg Xenakis and the Percussions de Strasbourg, 1984 2021: 20th death anniversary of the composer 2022: Centenary of the birth of the composer ON TOUR Pléiades (1979) - intermission - Persephassa (1969) immersive concert for 6 percussionists July 2021, Reggia di Caserta, Naples, Italy 19th of March 2022, Philharmonie, Paris, France 10th of April 2022, Megaron Concert Hall, Athens, Greece 12th of April 2022, Thessaloniki Concert Hall, Thessaloniki, Greece
    [Show full text]
  • This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
    This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Vagopoulou, Evaggelia Title: Cultural tradition and contemporary thought in Iannis Xenakis's vocal works General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Cultural Tradition and Contemporary Thought in lannis Xenakis's Vocal Works Volume I: Thesis Text Evaggelia Vagopoulou A dissertation submitted to the University of Bristol in accordancewith the degree requirements of the of Doctor of Philosophy in the Faculty of Arts, Music Department.
    [Show full text]
  • C:\Users\Hhowe\Dropbox\Courses
    Iannis Xenakis (1922-2001): Catalogue of Musical Compositions (from www.iannis-xenakis.org) Seven untitled pieces, Menuet, Air populaire, Allegro molto, Mélodie, Andante : 1949-50; piano, unpublished. Six Chansons : 1951; piano; 8’. Dhipli Zyia :1952; duo (vln, vlc); 5’30. Zyia :1952; 2 versions: a) soprano, men’s chorus (minimum 10) and duo (fl, pno); b) soprano, fl, pno; 10’. Trois poèmes : 1952; narrator and pno; unpublished. La colombe de la paix : 1953; alto and 4-voice mixed chorus; unpublished. Anastenaria. Procession aux eaux claires : 1953; mixed chorus (30), men chorus (15) and orchestra (62); 11’. Anastenaria. Le Sacrifice :1953; orchestra (51); 6’. Stamatis Katotakis, chanson de table : 1953; voice and 3-voice men chorus; unpublished. Metastasis : 1953-4; orchestra (60); 7’ Pithoprakta :1955-6; string orchestra (46), 2 trb and perc; 10’ Achorripsis :1956-7; orchestra (21); 7’ Diamorphoses :1957-8; electroacoustic tape. 7’. Concret PH :1958; electroacoustic tape; 2’45". Analogiques A & B :1958-9; string ensemble (9) and electroacoustic tape; 7’30". Syrmos :1959; string ensemble (18 or 36); 14". Duel :1959; 2 orchestras (56 total) and 2 conductors; variable duration (circa 10’). Orient-Occident :1960; electroacoustic tape; 12’. Herma : 1961; for solo piano; 10’ ST/48,1-240162 :1956-62); orchestra (48); 11’ ST/10, 1-080262 : 1956-62; ensemble (10); 12’ ST/4, 1-080262 : 1956-62; string quartet; 11’ Morsima - Amorsima (ST/4, 2-030762) :1956-62); quartet (pno, vln, vlc, db); 11’ Atrées (ST/10, 3-060962) : 1956-62; ensemble (11); 15’. Stratégie : 1962; 2 orchestras (82 total) and 2 conductors; variable duration (10 to 30’) Polla ta dhina :1962; children's chorus (20) and orchestra (48); 6’ Bohor :1962; electroacoustic tape; 21’30".
    [Show full text]
  • Περίληψη : a Music Composer of Greek Origin, Coming from a Family of the Greek Diaspora
    IΔΡΥΜA ΜΕΙΖΟΝΟΣ ΕΛΛΗΝΙΣΜΟΥ Συγγραφή : Ροβίθη Χαρά Μετάφραση : Αμπούτη Αγγελική Για παραπομπή : Ροβίθη Χαρά , "Xenakis Iannis", Εγκυκλοπαίδεια Μείζονος Ελληνισμού, Εύξεινος Πόντος URL: <http://www.ehw.gr/l.aspx?id=11573> Περίληψη : A music composer of Greek origin, coming from a family of the Greek Diaspora. During his lifetime, being as a participant of the social, political and cultural life in the years following the Second World War, he followed a course of research and creation serving his vision of art. Iannis Xenakis produced a rich musical, architectural and auctorial work which made him one of the most important progressive creators of the 20th century. Τόπος και Χρόνος Γέννησης 29th of May, 1922 ? (or 1921), Brăila, Romania. Τόπος και Χρόνος Θανάτου 4th of February, 2001, Paris. Κύρια Ιδιότητα Architect, mechanic, composer. 1. The First Years-Basic Studies Iannis Xenakis was born in Brăila of Romania, on the 29th of May, 1922 (the date is uncertain as it is probable that he was born in 1921) of parents who were members of the Greek Diaspora. His father, Klearchos, director of a British import-export company, came from Euboea, and his mother, Fotini Pavlou, came from the island of Limnos. Iannis Xenakis had two younger brothers, Kosmas, an urban planner and a painter, and Iasonas, a philosophy professor. Xenakis was introduced to music by his mother, who was a pianist. It is said that during his early childhood his mother gave him as a present a flute encouraging him to get involved in music. When he was five years old, his mother died from measles and the three children were brought up by French, English and German governesses.
    [Show full text]
  • 2011 Celebrating the Life and Influence of Composer, Architect and Visionary X Iannis Enakis
    VANCOUVER NEW MUSIC FESTIVAL2011 Celebrating the life and influence of composer, architect and visionary X Iannis enakis newmusic.org OCT 20 22 Listening to the music of Iannis Xenakis…is like being flung ALL EVENTS AT back into some fierce atavistic SCOTIABANK world before culture existed… DANCE Such magnificently innocent music is bound to be out of place in our oblique, knowing age, so obsessed with its past, so CENTRE fastidiously ironic, so concerned, in its art, to layer ambiguity upon ambiguity. That Xenakis could have denied this pervasive cultural trend for 40 years is an amazing feat. Perhaps only 677 someone who had no need of the western tradition, someone whose roots lay elsewhere, could have done it. DAVIE ST. from IannIS XenakIS’ obITuary, by Ivan HeweTT, ” ShOwS 8PM PublISHed February 5, 2001 In The Guardian Celebrating the work and influence of Something one of the most original and prolific creative figures of the 20th century, Rich and VNM’s 2011 Festival honours the 10th StrangE anniversary of the death of composer, FIlM architect and visionary Iannis Xenakis. SCREENINg Xenakis’ works span every media and Oct21- 6PM numerous approaches, from orchestral to electroacoustic to multi-media. ICKETS Also a mathematician, experimental $20 regular • $15 students + seniors engineer and architect, theoretician, sikora’s classical records brown Paper Tickets $ $ educator, and author, Xenakis was a 3-NIGHT Pass 50• 35 432 w. Hastings st. brownpapertickets.ca avaIlable oNly through true renaissance figure. 1-800-838-3006 vaNcouver New MusIc 604.633.0861 & aT the door Xenakis Project Amof tehericas Black CMYK Pantone OCT THURSDAY 20 James harley is a Canadian composer presently 8PM based in ontario, where he teaches digital Music at lorI FreedMAN (Montreal) IANNIS XeNAKIS mini-polytope 01 the university of Guelph.
    [Show full text]
  • Library Orders - Music Composition/Electronic Music
    LIBRARY ORDERS - MUSIC COMPOSITION/ELECTRONIC MUSIC COMPOSER PRIORITY TITLE FORMAT PUBLISHER PRICE In Collection? Babbitt, Milton A Three Compositions for Piano score Boelke-Bomart 9.50 Bartok, Bela A Mikrokosmos; progressive piano pieces. Vol. 1, NEW DEFINITIVE ED score Boosey & Hawkes Inc. 0.00 YES Bartok, Bela A Mikrokosmos; progressive piano pieces. Vol. 2, NEW DEFINITIVE ED score Boosey & Hawkes Inc. 0.00 YES Bartok, Bela A Mikrokosmos; progressive piano pieces. Vol. 3, NEW DEFINITIVE ED score Boosey & Hawkes Inc. 0.00 YES Bartok, Bela A Mikrokosmos; progressive piano pieces. Vol. 4, NEW DEFINITIVE ED score Boosey & Hawkes Inc. 0.00 YES Bartok, Bela A Mikrokosmos; progressive piano pieces. Vol. 5, NEW DEFINITIVE ED score Boosey & Hawkes Inc. 0.00 YES Bartok, Bela A Mikrokosmos; progressive piano pieces. Vol. 6, NEW DEFINITIVE ED score Boosey & Hawkes Inc. 0.00 YES Bartok, Bela A Music for strings, percussion, and celesta score Boosey & Hawkes Inc. 0.00 YES Berbarian, Cathy A Stripsody : for solo voice score C.F. Peters Corp. 18.70 Berg, Alban A Violin Concerto score Warner Brothers Music Pub. 0.00 YES Berio, Luciano A Sequenza V, for trombone score Warner Brothers Music Pub. 19.95 Berio, Luciano A Sequenza VII; per oboe solo score Warner Brothers Music Pub. 15.95 Berio, Luciano A Sequenza XII : per bassoon solo score Warner Brothers Music Pub. 35.00 Berio, Luciano A Sinfonia, for eight voices and orchestra score Warner Brothers Music Pub. 125.00 Boulez, Pierre A Marteau sans maître : pour voix d'alto et 6 instruments score Warner Brothers Music Pub.
    [Show full text]
  • To Graphic Notation Today from Xenakis’S Upic to Graphic Notation Today
    FROM XENAKIS’S UPIC TO GRAPHIC NOTATION TODAY FROM XENAKIS’S UPIC TO GRAPHIC NOTATION TODAY FROM XENAKIS’S UPIC TO GRAPHIC NOTATION TODAY PREFACES 18 PETER WEIBEL 24 LUDGER BRÜMMER 36 SHARON KANACH THE UPIC: 94 ANDREY SMIRNOV HISTORY, UPIC’S PRECURSORS INSTITUTIONS, AND 118 GUY MÉDIGUE IMPLICATIONS THE EARLY DAYS OF THE UPIC 142 ALAIN DESPRÉS THE UPIC: TOWARDS A PEDAGOGY OF CREATIVITY 160 RUDOLF FRISIUS THE UPIC―EXPERIMENTAL MUSIC PEDAGOGY― IANNIS XENAKIS 184 GERARD PAPE COMPOSING WITH SOUND AT LES ATELIERS UPIC/CCMIX 200 HUGUES GENEVOIS ONE MACHINE— TWO NON-PROFIT STRUCTURES 216 CYRILLE DELHAYE CENTRE IANNIS XENAKIS: MILESTONES AND CHALLENGES 232 KATERINA TSIOUKRA ESTABLISHING A XENAKIS CENTER IN GREECE: THE UPIC AT KSYME-CMRC 246 DIMITRIS KAMAROTOS THE UPIC IN GREECE: TEN YEARS OF LIVING AND CREATING WITH THE UPIC AT KSYME 290 RODOLPHE BOUROTTE PROBABILITIES, DRAWING, AND SOUND TABLE SYNTHESIS: THE MISSING LINK OF CONTENTS COMPOSERS 312 JULIO ESTRADA THE UPIC 528 KIYOSHI FURUKAWA EXPERIENCING THE LISTENING HAND AND THE UPIC AND UTOPIA THE UPIC UTOPIA 336 RICHARD BARRETT 540 CHIKASHI MIYAMA MEMORIES OF THE UPIC: 1989–2019 THE UPIC 2019 354 FRANÇOIS-BERNARD MÂCHE 562 VICTORIA SIMON THE UPIC UPSIDE DOWN UNFLATTERING SOUNDS: PARADIGMS OF INTERACTIVITY IN TACTILE INTERFACES FOR 380 TAKEHITO SHIMAZU SOUND PRODUCTION THE UPIC FOR A JAPANESE COMPOSER 574 JULIAN SCORDATO 396 BRIGITTE CONDORCET (ROBINDORÉ) NOVEL PERSPECTIVES FOR GRAPHIC BEYOND THE CONTINUUM: NOTATION IN IANNIX THE UNDISCOVERED TERRAINS OF THE UPIC 590 KOSMAS GIANNOUTAKIS EXPLORING
    [Show full text]
  • A Ndrej Slávik X. Tre E Tyd Er Ö Ve Re Tt Te Maav Ia Nn Is X Enak Is
    Andrej Slávik Andrej Historien börjar med en enkel scen. Vi befinner oss på Gare d’Austerlitz, en av Paris sex stora järnvägsstationer. Året är 1947 och dagen den 11 november. Tre etyder Det är jour de l’armistice, årsdagen för första världskrigets slut. Ett tåg anländer över ett tema till stationen. Det stannar långsamt upp: otåliga passagerare har redan börjat ta av Iannis Xenakis sig ned på perrongen – och mitt ibland dem en ovanligt luggsliten man, närmare X. (1922–2001) trettio än tjugo och ensam så när som på sin kappsäck. Det är alltför lockande att Tre etyder över ett tema av Iannis av tema ett över etyder Tre uppfatta denna gestalt som en sinnebild för den moderna individen: en anonym resenär, utan mål, utan historia, utan identitet. På passet i hans innerficka står det förvisso ett namn – men det säger oss inte mycket: namnet är ett falskt namn, passet förfalskat. Vi skulle lika gärna kunna kalla honom för X. Iannis Xenakis (1922–2001) betraktas årtiondet efter sin död som en av nittonhundratalets mest inflytelserika tonsättare, även känd för sina banbrytande arkitekturprojekt och storslagna audiovisuella installationer. Dessutom var Xenakis en produktiv teoretiker som formulerade sin musikalisk-filosofiska vision i en lång rad texter av skiftande slag. Det är framför allt de sistnämnda som underkastas en ingående granskning i denna bok, som inte bara är den första monografin om kompositören på svenska utan också den första studien på något språk som ger sig i kast med hans estetik i dess fulla vidd. X. Tre etyder över ett tema av Iannis Xenakis tecknar en medvetet motsägelsefull bild av tonsättaren.
    [Show full text]
  • CHARLES UNIVERSITY in PRAGUE Faculty of Education Department of Music Education
    CHARLES UNIVERSITY IN PRAGUE Faculty of Education Department of Music Education Iannis Xenakis: The Analysis of Four Works for Piano Solo Constantine Soteriou Music Education – Instrument playing (piano) Supervisor: Prof. PaedDr. Michal Nedělka, Dr. Opponent: Doc. PhDr. Stanislav Pecháček, Ph.D. 2010 / 2011 Prague KARLOVA UNIVERSITA V PRAZE Pedagogická Fakulta Katedra Hudební Výchovy Iannis Xenakis: analyza čtyř sladeb pro sólový klavír Constantine Soteriou Hudební výchova – hra na nástroj (klavír) Vedoucí práce: Prof. PaedDr. Michal Nedělka, Dr. Oponent: Doc. PhDr. Stanislav Pecháček, Ph.D. 2010 / 2011 Praha Declaration I confirm that this is my own work and the use of all materials from other sources has been properly and fully acknowledged. I agree with storing my work in the library of the Faculty of Education, of Charles University in Prague, Czech Republic, in order to be available for educational purposes. Constantine Soteriou Prague, 29 March 2011 Iannis Xenakis Contents Introduction ...……………………………………………………………......... 6 CHAPTER 1: Biography ……………………………………………............. 8 CHAPTER 2: Xenakis‟s Compositional Style and Influences ……………... 12 CHAPTER 3: Basic Concepts and Theories used in Xenakis‟s Music …….... 14 CHAPTER 4: Xenakis's Piano Works ……………………………….……... 20 CHAPTER 5: Herma …………………………………………………..……. 21 CHAPTER 6: Evryali ………………………………………………….……. 27 CHAPTER 7: Mists ……………………………………………………..…... 61 CHAPTER 8: À R (Hommage à Ravel) ………………………….…….…... 76 Conclusion ……………………………………………………………...……. 89 Summary ………………………………………………………………...……
    [Show full text]
  • Analysis and Performance Practice of Selected Works Mark Aaron Grimm University of Texas at El Paso, [email protected]
    University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2010-01-01 Analysis and Performance Practice of Selected Works Mark Aaron Grimm University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the Music Commons Recommended Citation Grimm, Mark Aaron, "Analysis and Performance Practice of Selected Works" (2010). Open Access Theses & Dissertations. 2695. https://digitalcommons.utep.edu/open_etd/2695 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. ANALYSIS AND PERFORMANCE PRACTICE OF SELECTED WORKS MARK GRIMM Department of Music APPROVED: _____________________ James White, M.M., Chair _____________________ Ron Hufstader, Ph.D. _____________________ Larry Murr, Ph.D. _______________________ Patricia D. Witherspoon, Ph.D. Dean of the Graduate School Copyright © By Mark Grimm 2010 ANALYSIS AND PERFORMANCE PRACTICE OF SELECTED WORKS by MARK AARON GRIMM, B.M. THESIS Presented to the Faculty of the Graduate School of The University of Texas at El Paso in Partial Fulfillment of The Requirements for the Degree of MASTER OF MUSIC Department of Music THE UNIVERSITY OF TEXAS AT EL PASO May 2010 Preface The purpose of this paper is to discuss specific musical aspects in three different disciplines of percussion which are; timpani, marimba and multiple percussion. The discussion is designed to inform the performer of ways in which to deal with the theoretical and performance practice of these works.
    [Show full text]
  • Universidade Federal De Goiás Escola De Música E Artes Cênicas Lucio Silva Pereira Particularidades Da Percussão Múltipla N
    UNIVERSIDADE FEDERAL DE GOIÁS ESCOLA DE MÚSICA E ARTES CÊNICAS LUCIO SILVA PEREIRA PARTICULARIDADES DA PERCUSSÃO MÚLTIPLA NA MÚSICA SOLO E DE CÂMARA MISTA DE IANNIS XENAKIS Goiânia 2014 LUCIO SILVA PEREIRA PARTICULARIDADES DA PERCUSSÃO MÚLTIPLA NA MÚSICA SOLO E DE CÂMARA MISTA DE IANNIS XENAKIS Produto final (produção artística e artigo) apresentado ao Programa de Pós-graduação da Escola de Música e Artes Cênicas da Universidade Federal de Goiás, para obtenção do título de Mestre em Música. Linha de pesquisa: Música na contemporaneidade. Área de concentração: Música, Criação e Expressão. Orientador: Prof. Dr. Fabio Fonseca de Oliveira Goiânia 2014 i LUCIO SILVA PEREIRA PARTICULARIDADES DA PERCUSSÃO MÚLTIPLA NA MÚSICA SOLO E DE CÂMARA MISTA DE IANNIS XENAKIS Trabalho de final de curso defendido junto ao Programa de Pós-graduação stricto sensu em Música da Escola de Música e Artes Cênicas da Universidade Federal de Goiás, para obtenção do título de Mestre, aprovado em vinte e cinco de abril de dois mil e quatorze, pela Banca Examinadora constituída pelos professores: __________________________________________________________ Prof. Dr. Fabio Fonseca de Oliveira – UFG Presidente da Banca __________________________________________________________ Prof. Dr. Antonio Marcos Souza Cardoso – UFG __________________________________________________________ Prof. Dr. Fernando Martins de Castro Chaib – IFG ii AGRADECIMENTOS A minha família: Penha, Aline, Ian e Gustavo. À Andressa Prata Strazzi, por ter me trazido à Terra novamente. Aos amigos da turma do mestrado. Aos amigos do grupo de percussão Impact(o). Aos professores e amigos dos cursos de Música, Dança e Teatro da Universidade Federal de Uberlândia (UFU). Ao amigo e professor Fabio Oliveira. iii Everything changes. How, then, can we know something about anything? Iannis Xenakis iv RESUMO Esta pesquisa está organizada em duas partes: A – Produção artística e B – Artigo.
    [Show full text]