Music in the Making” (Formerly “Composer Conversation Series”)
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MEREDITH MONK and ANN HAMILTON: Aaron Copland Fund for Music, Inc
The House Foundation for the Arts, Inc. | 260 West Broadway, Suite 2, New York, NY 10013 | Tel: 212.904.1330 Fax: 212.904.1305 | Email: [email protected] Web: www.meredithmonk.org Incorporated in 1971, The House Foundation for the Arts provides production and management services for Meredith Monk, Meredith Monk & Vocal Ensemble, and The House Company. Meredith Monk, Artistic Director • Olivia Georgia, Executive Director • Amanda Cooper, Company Manager • Melissa Sandor, Development Consultant • Jahna Balk, Development Associate • Peter Sciscioli, Assistant Manager • Jeremy Thal, Bookkeeper Press representative: Ellen Jacobs Associates | Tel: 212.245.5100 • Fax: 212.397.1102 Exclusive U.S. Tour Representation: Rena Shagan Associates, Inc. | Tel: 212.873.9700 • Fax: 212.873.1708 • www.shaganarts.com International Booking: Thérèse Barbanel, Artsceniques | [email protected] impermanence(recorded on ECM New Series) and other Meredith Monk & Vocal Ensemble albums are available at www.meredithmonk.org MEREDITH MONK/The House Foundation for the Arts Board of Trustees: Linda Golding, Chair and President • Meredith Monk, Artistic Director • Arbie R. Thalacker, Treasurer • Linda R. Safran • Haruno Arai, Secretary • Barbara G. Sahlman • Cathy Appel • Carol Schuster • Robert Grimm • Gail Sinai • Sali Ann Kriegsman • Frederieke Sanders Taylor • Micki Wesson, President Emerita MEREDITH MONK/The House Foundation for the Arts is made possible, in part, with public and private funds from: MEREDITH MONK AND ANN HAMILTON: Aaron Copland Fund for -
Tracing the Development of Extended Vocal Techniques in Twentieth-Century America
CRUMP, MELANIE AUSTIN. D.M.A. When Words Are Not Enough: Tracing the Development of Extended Vocal Techniques in Twentieth-Century America. (2008) Directed by Mr. David Holley, 93 pp. Although multiple books and articles expound upon the musical culture and progress of American classical, popular and folk music in the United States, there are no publications that investigate the development of extended vocal techniques (EVTs) throughout twentieth-century American music. Scholarly interest in the contemporary music scene of the United States abounds, but few sources provide information on the exploitation of the human voice for its unique sonic capabilities. This document seeks to establish links and connections between musical trends, major artistic movements, and the global politics that shaped Western art music, with those composers utilizing EVTs in the United States, for the purpose of generating a clearer musicological picture of EVTs as a practice of twentieth-century vocal music. As demonstrated in the connecting of musicological dots found in primary and secondary historical documents, composer and performer studies, and musical scores, the study explores the history of extended vocal techniques and the culture in which they flourished. WHEN WORDS ARE NOT ENOUGH: TRACING THE DEVELOPMENT OF EXTENDED VOCAL TECHNIQUES IN TWENTIETH-CENTURY AMERICA by Melanie Austin Crump A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2008 Approved by ___________________________________ Committee Chair To Dr. Robert Wells, Mr. Randall Outland and my husband, Scott Watson Crump ii APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The School of Music at The University of North Carolina at Greensboro. -
The Clarinet and Piano
REVIEWS The explanations are succinct without CLARINET AND PIANO BOOKS sacrificing depth of understanding. The Brian Balmages. Dream Sonatina for Kornel Wolak. Articulation Types for pictures highlighting each muscle group are well presented and clear, and the clarinet and piano. Potenza Music, Clarinet. Music Mind Inc., 2017. 54 2015. Duration 10’30” $24.95 pp. PDF e-book $14.99, hard copy bibliography of materials for additional $19.99 study compliments his explanations nicely. American composer Brian Balmages I found this part of the book particularly (b. 1975) has written numerous works helpful. It directs the student to additional for wind and brass instruments. Dream exercises and methods that will help refine Sonatina was composed for clarinetist the technique in question. Articulation Marguerite Levin and premiered by Types for Clarinet is an excellent primer her in Weill Recital Hall, New York and first step in the understanding and City. Balmages fulfilled the specifics of application of the various available the commission by composing a work reflecting life in his 30s. For Balmages articulations. It was an enjoyable read, this centered on the birth of his two and I recommend it to anyone looking to children and three types of dreams they present articulation concepts to students experienced: daydreams, sweet dreams in a fresh and novel way. and bad dreams. The dreams are each Kornel Wolak’s book Articulation Types – Osiris Molina portrayed in a separate movement. for Clarinet is an extension of his work for The music is well-written, convincing Music Mind Inc. and his graduate research and of medium-hard difficulty, and it uses at the University of Toronto. -
DEREK BERMEL: VOICES DUST DANCES | THRACIAN ECHOES | ELIXIR DEREK BERMEL B
DEREK BERMEL: VOICES DUST DANCES | THRACIAN ECHOES | ELIXIR DEREK BERMEL b. 1967 DUST DANCES [1] DUST DANCES (1994) 9:26 THRACIAN ECHOES [2] THRACIAN ECHOES (2002) 19:23 ELIXIR [3] ELIXIR (2006) 7:21 VOICES, FOR SOLO CLARINET AND ORCHESTRA VOICES, FOR SOLO CLARINET AND ORCHESTRA (1997) [4] I. Id 6:43 DEREK BERMEL clarinet [5] II. She Moved Thru the Fair 5:46 BOSTON MODERN ORCHESTRA PROJECT [6] III. Jamm on Toast 6:12 GIL ROSE, CONDUCTOR TOTAL 54:54 2 COMMENT idea in the orchestral realm by writing myself a clarinet concerto. My thoughts immediately turned to two of my favorite musicians, bass clarinetist Eric Dolphy and bassist Charles Mingus. Their conversational rapport inspired the first movement—called “Id”—and the rest of the concerto followed from there. I dedicated Voices to my father, who taught me By Derek Bermel an enormous amount about theatre. The outer movements more fully embrace my jazz From an early age, I was obsessed with the orchestra. During my preteen years I would background—using techniques including glissandi, growl tones, and flutter tongue—with return from the public library with armfuls of LP records—Stravinsky, Bartok, Debussy, a nod to the bittersweet “keening” of Irish folksong in the middle movement. Berg, Mussorgsky, Ravel, Copland, Britten, Webern, Messiaen, Ives. During the same Another tradition that had always fascinated me was Bulgarian folk music. In August period my knowledge of jazz was deepening. When my grandmother bought me a beat- 2001, I traveled to Plovdiv, Bulgaria, where I spent six months learning the Thracian folk up piano for $300 (she overpaid), I immediately began to reenact the works of Thelonious style with clarinetist Nikola Iliev. -
Áé( Áfý%¯Ð¨Ý Ñ˛
559281bk Hersch 1/8/06 5:27 pm Page 8 AMERICAN CLASSICS MICHAEL HERSCH Symphonies Nos. 1 and 2 Fracta Arraché Michael Hersch would like to thank the Argosy Foundation, Fran Richard, the staff and musicians of the Bournemouth Symphony Orchestra, Andrew Walton, Bournemouth Symphony Ignat Solzhenitsyn, George and Gene Rochberg, Jamie Hersch, Christopher Middleton, Orchestra Jessica Lustig, Michael Lutz, Glenn Petry, Albert Imperato, Louise Barder, and his wife Karen and daughter Abigail Hersch. Marin Alsop 8.559281 8 559281bk Hersch 1/8/06 5:27 pm Page 2 Michael Hersch (b.1971): Symphonies Nos. 1 and 2 • Fracta • Arraché ierten Wiederholung der Anfangslinien überleitet. Eine choralartige, dunkel gefärbte Figur in Fagotten und Klari- Reihe sich steigernder Codas führt zum Augenblick der netten. Ist das vielleicht ein Gebet um Kraft gegen das Intensity and passion always increasing… conductor consistently programmed Hersch’s music Wahrheit: Tatsächlich endet die Symphonie mit einem Böse, das gleich ausgestrahlt werden wird? Auf jeden Fall This marking found in Michael Hersch’s Symphony No. 1 and helped to instill confidence that his voice was a Unisono-C der Glocken. Mag das Leben auch noch so wird der Hörer tatsächlich von dieser sorgenvollen Re- best sums up the American composer’s music. His worthy one. That relationship has continued to this day, düster sein, die Ausdauer wird doch belohnt. flexion durch ein kantiges, hüpfendes Thema „weggeris- output abounds with extreme shifts in dynamics and leading to the present disc of definitive recordings with Arraché, das jüngste Werk auf dieser CD, zeigt deut- sen“, das zu einem dichten, stachligen Allegro führt. -
Grow Your Art Residency Luciana Souza Thursday, November 7, 2019 Brown Hall 7:30 P.M
Grow Your Art Residency Luciana Souza Thursday, November 7, 2019 Brown Hall 7:30 p.m. Doralice Antonio Almeida and Dorival Caymmi Dona Lu Marco Pereira He Was Too Good To Me Music by Richard Rodgers Lyrics by Lorenz Hart These Things Luciana Souza Say No To You Luciana Souza In March (I Remember) Luciana Souza Só Danço Samba Music by Antonio Carlos Jobim Lyrics by Vinicius De Moraes Ester Wiesnerova, voice Priya Carlberg, voice Ian Buss, tenor saxophone Moshe Elmakias, piano Andres Orco-Zerpa, guitar Andrew Schiller, bass Avery Logan, drums Intermission No Wonder Luciana Souza, arranged by Jim McNeely Heaven Duke Ellington, arranged by Guillermo Klein Choro Dançado Maria Schneider A Felicidade Music by Antonio Carlos Jobim Lyrics by Vinicius De Moraes arranged by Ken Schaphorst Cravo e Canela Milton Nascimento, arranged by Vince Mendoza NEC Jazz Orchestra Ken Schaphorst, conductor Aaron Dutton, soprano and alto saxophones, flute, clarinet Samantha Spear, alto saxophone, clarinet, flute, piccolo Jesse Beckett-Herbert, tenor saxophone, flute, clarinet Declan Sheehy-Moss, tenor saxophone, clarinet, bass clarinet Nick Suchecki, baritone saxophone, contra-alto clarinet, bass clarinet Trumpets Miles Keingstein Massimo Paparello Eliza Block Daniel Hirsch Trombones Michael Prentky Michael Sabin Sam Margolis Dorien Tate Piano Moshe Elmakias Guitar Andres Orco-Zerpa Bass Domenico Botelho Drums Charlie Weller Born in São Paulo, Brazil, Ms. Souza grew up in a family of Bossa Nova innovators - her father, a singer and songwriter, her mother, a poet and lyricist. Ms. Souza’s work as a performer transcends traditional boundaries around musical styles, offering solid roots in jazz, sophisticated lineage in world music, and an enlightened approach to new music. -
Mango Suite Program Pages
PRINCETON SYMPHONY ORCHESTRA ROSSEN MILANOV, MUSIC DIRECTOR 2018–2019 Sunday May 19, 2019, 4pm Richardson Auditorium DEREK BERMEL’S MANGO SUITE Rossen Milanov, conductor Paulina Villarreal, mezzo-soprano Griset Damas-Roche, flamenco dancer Derek Bermel Mango Suite* (World Premiere) Lyrics by 1. A House of My Own Sandra Cisneros 2. Cathy Queen of Cats 3. Darius and the Clouds 4. Four Skinny Trees 5. One Longing 6. Mango Says Goodbye Sometimes *Princeton Symphony Orchestra Co-Commission The Mango Suite Project is made possible in part through an award from the National Endowment for the Arts. INTERMISSION Be sure to admire the visual art and writing in the lobby created by area middle school students in response to composer Missy Mazzoli’s Sinfonia (for Orbiting Spheres), performed by the PSO in March 2019. The students are participants in this season’s PSO BRAVO! Listen Up! program. Manuel de Falla El amor brujo Introducción y escena (Introduction and Scene) En la cueva (In the Cave) Canción del amor dolido (Song of Love’s Sorrow) El Aparecido (The Apparition) Danza del terror (Dance of Terror) El círculo mágico (The Magic Circle) A medianoche (Midnight) Danza ritual del fuego (Ritual Fire Dance) Escena (Scene) Canción del fuego fatuo (Song of the Will-o’-the-Wisp) Pantomima (Pantomime) Danza del juego de amor (Dance of the Game of Love) Final (Finale) El sombrero de tres picos (The Three-Cornered Hat), Suite No. 1 Introduction—Afternoon Dance of the Miller’s Wife (Fandango) The Corregidor The Grapes La vida breve, Spanish Dance No. 1 This concert is made possible in part through the support of Yvonne Marcuse. -
Influencersnfluencers
Professionals MA 30 The of the year IInfluencersnfluencers december 2015 1. GEOFFREY JOHN DAVIES on the cover Founder and CEO The Violin Channel 2. LEILA GETZ 4 Founder and Artistic Director 3 Vancouver Recital Society 1 5 3. JORDAN PEIMER Executive Director ArtPower!, University of CA, San Diego 2 4. MICHAEL HEASTON 10 11 Director of the Domingo-Cafritz Young 6 7 9 Artist Program & Adviser to the Artistic Director Washington National Opera Associate Artistic Director Glimmerglass Festival 15 8 5. AMIT PELED 16 Cellist and Professor Peabody Conservatory 12 6. YEHUDA GILAD 17 Music Director, The Colburn Orchestra The Colburn School 13 Professor of Clarinet 23 Colburn and USC Thornton School of Music 14 7. ROCÍO MOLINA 20 Flamenco Dance Artist 22 24 8. FRANCISCO J. NÚÑEZ 19 21 Founder and Artistic Director 18 Young People’s Chorus of New York City 26 25 9. JON LIMBACHER Managing Director and President St. Paul Chamber Orchestra 28 10. CHERYL MENDELSON Chief Operating Officer 27 Harris Theater for Music and Dance, Chicago 30 11. MEI-ANN CHEN 29 Music Director Chicago Sinfonietta and 18. UTH ELT Memphis Symphony Orchestra R F Founder and President 24. AFA SADYKHLY DWORKIN San Francisco Performances President and Artistic Director 12. DAVID KATZ Sphinx Organization Founder and Chief Judge 19. HARLOTTE EE The American Prize C L President and Founder 25. DR. TIM LAUTZENHEISER Primo Artists Vice President of Education 13. JONATHAN HERMAN Conn-Selmer Executive Director 20. OIS EITZES National Guild for Community Arts Education L R Director of Arts and Cultural Programming 26. JANET COWPERTHWAITE WABE-FM, Atlanta Managing Director 14. -
Music: the Quintessential American Sound
Music: The Quintessential American Sound By Tim Smith The early years of the 21st century have yet to provide a clear-cut sense of where music in America is heading, but through the mixed signals, it's possible to draw some promising conclusions. Despite premature reports of its demise, the classical genre is still very much alive and kicking. American composers continue to create rewarding experiences for performers and listeners alike; most orchestras sound better than ever; most opera companies are enjoying increasingly sizable audiences, with particularly strong growth in the desirable 18- to-24-year-old category. Singer Norah Jones and her album "Come The pop music field -- from the cutting- Away With Me" captured eight Grammy Awards in 2003. edge to the mainstream to the retro -- is (Robert Mora, © 2002 Getty Images) still spreading its stylistic influences around a world that has never lost its appetite for the latest American sounds and stars. The Advent of Cyber Technology Technological advances continue to influence the whole spectrum of America's music in mostly positive ways. Composer Tod Machover has pioneered computer-generated "hyperinstruments" that electronically augment the properties of conventional instruments and expand a performer's options of controlling pitch, tempo, and all the other elements of music-making. Listeners are downloading not just the latest hit recordings, but also live classical concerts and opera performances via the Internet. Music organizations have been quick to add Web sites, giving regular and prospective patrons new opportunities to learn about works being performed and even to take music courses, not just buy tickets. -
Battles Around New Music in New York in the Seventies
Presenting the New: Battles around New Music in New York in the Seventies A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joshua David Jurkovskis Plocher IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY David Grayson, Adviser December 2012 © Joshua David Jurkovskis Plocher 2012 i Acknowledgements One of the best things about reaching the end of this process is the opportunity to publicly thank the people who have helped to make it happen. More than any other individual, thanks must go to my wife, who has had to put up with more of my rambling than anybody, and has graciously given me half of every weekend for the last several years to keep working. Thank you, too, to my adviser, David Grayson, whose steady support in a shifting institutional environment has been invaluable. To the rest of my committee: Sumanth Gopinath, Kelley Harness, and Richard Leppert, for their advice and willingness to jump back in on this project after every life-inflicted gap. Thanks also to my mother and to my kids, for different reasons. Thanks to the staff at the New York Public Library (the one on 5th Ave. with the lions) for helping me track down the SoHo Weekly News microfilm when it had apparently vanished, and to the professional staff at the New York Public Library for Performing Arts at Lincoln Center, and to the Fales Special Collections staff at Bobst Library at New York University. Special thanks to the much smaller archival operation at the Kitchen, where I was assisted at various times by John Migliore and Samara Davis. -
News Release
news release FOR IMMEDIATE RELEASE PRESS CONTACT: Maggie Stapleton, Jensen Artists September 25, 2019 646.536.7864 x2; [email protected] American Composers Orchestra Announces 2019-2020 Season Derek Bermel, Artistic Director & George Manahan, Music Director Two Concerts presented by Carnegie Hall New England Echoes on November 13, 2019 & The Natural Order on April 2, 2020 at Zankel Hall Premieres by Mark Adamo, John Luther Adams, Matthew Aucoin, Hilary Purrington, & Nina C. Young Featuring soloists Jamie Barton, mezzo-soprano; JIJI, guitar; David Tinervia, baritone & Jeffrey Zeigler, cello The 29th Annual Underwood New Music Readings March 12 & 13, 2020 at Aaron Davis Hall at The City College of New York ACO’s annual roundup of the country’s brightest young and emerging composers EarShot Readings January 28 & 29, 2020 with Buffalo Philharmonic Orchestra May 5 & 6, 2020 with Houston Symphony Third Annual Commission Club with composer Mark Adamo to support the creation of Last Year ACO Gala 2020 honoring Anthony Roth Constanzo, Jesse Rosen, & Yolanda Wyns March 4, 2020 at Bryant Park Grill www.americancomposers.org New York, NY – American Composers Orchestra (ACO) announces its full 2019-2020 season of performances and engagements, under the leadership of Artistic Director Derek Bermel, Music Director George Manahan, and President Edward Yim. ACO continues its commitment to the creation, performance, preservation, and promotion of music by 1 American Composers Orchestra – 2019-2020 Season Overview American composers with programming that sparks curiosity and reflects geographic, stylistic, racial and gender diversity. ACO’s concerts at Carnegie Hall on November 13, 2019 and April 2, 2020 include major premieres by 2015 Rome Prize winner Mark Adamo, 2014 Pulitzer Prize winner John Luther Adams, 2018 MacArthur Fellow Matthew Aucoin, 2017 ACO Underwood Commission winner Hilary Purrington, and 2013 ACO Underwood Audience Choice Award winner Nina C. -
Art Works Grants
National Endowment for the Arts — December 2014 Grant Announcement Art Works grants Discipline/Field Listings Project details are as of November 24, 2014. For the most up to date project information, please use the NEA's online grant search system. Art Works grants supports the creation of art that meets the highest standards of excellence, public engagement with diverse and excellent art, lifelong learning in the arts, and the strengthening of communities through the arts. Click the discipline/field below to jump to that area of the document. Artist Communities Arts Education Dance Folk & Traditional Arts Literature Local Arts Agencies Media Arts Museums Music Opera Presenting & Multidisciplinary Works Theater & Musical Theater Visual Arts Some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Page 1 of 168 Artist Communities Number of Grants: 35 Total Dollar Amount: $645,000 18th Street Arts Complex (aka 18th Street Arts Center) $10,000 Santa Monica, CA To support artist residencies and related activities. Artists residing at the main gallery will be given 24-hour access to the space and a stipend. Structured as both a residency and an exhibition, the works created will be on view to the public alongside narratives about the artists' creative process. Alliance of Artists Communities $40,000 Providence, RI To support research, convenings, and trainings about the field of artist communities. Priority research areas will include social change residencies, international exchanges, and the intersections of art and science. Cohort groups (teams addressing similar concerns co-chaired by at least two residency directors) will focus on best practices and develop content for trainings and workshops.