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International Conference on Contemporary Music A Coruña, 25-27 April 2010 Paranimph Hall of the Rectorate of the University of A Coruña Bernard Comrie, Carmen Durán, Florian Vlashi, David Gil, Juan Durán, Tomás Marco, Víctor Pablo, Juan Vara, Paulino Pereiro, Edmond Buharaja, Fernando Buide, Helena Palma, Julio Mourenza, José Luis Turina, Michel Edgerton, Haig Zacharian, Ingrid Stölzel, Ramon Humet, Carlos Duque, Puddu, Macchiarella, Vadim Larchikov, Jura Kojs, Yuko Ohara, Oscar Colomina, Anthony Green, Santiago Barro, Mateo Arnáiz, Almut Kuehne, Jorge Montes, Carlos García Amigo, Alejandro Sanz Redondo, Vicente López Puig, Olga Veselina, Belén Torrente, Jakub Polaczyk, Moon Young Ha, Olli Koskelin, Kyong Mee Choi, Nicola Straffelini, Xiao Hu, Jeff Myers, Ioannis Papadopoulos, Antón García Abril, Rafael Muñoz, Arben Llozi, Sergio Blardony, Raymond Arteaga, Ruslana Prokopenko, Rediana Lukaçi, Todd Williamson, Claudia Walker, Manuel Moya, José Belmonte, Vera Pavlova, José Nuñez, Iván Marín, Clara Jelihovschi Panas Facultade de Dep Filoloxía Filoloxía Española http://www.udc.es/grupos/ln/ICCM/ICCM.html Universidade da Coruña!!!!!!! CI[MC] 2010 Congreso Internacional de Música Contemporánea A Coruña, 25-27 de abril de 2010 Paraninfo da Reitoría da Universidade A Coruña http://www.udc.es/grupos/ln/ICCM/ICCM-es/cimc.html © Universidade da Coruña 2010 © pintura de la portada de Manfred W. Rupp El Congreso Internacional de Música paradojas. Los individuos del SCA se Contemporánea persigue unir el mundo sorprenden ante las entidades o los eventos creativo de la composición con el mundo de que contradicen el orden conocido y que la investigación científica en torno al hecho viven en el límite del caos (4). El SCA, tras sonoro. También tiene como objetivo inspeccionar su entorno y detectar los primordial reflexionar acerca de la eventos en el límite del caos, conjetura una naturaleza de la relación dinámica que se posible explicación, que formaliza en un establece entre la obra sonora, los “esquema”. El SCA despliega el esquema intérpretes y el oyente, así como promover y sobre el mundo y comprueba su eficacia difundir la importante actividad creativa que para comprender los nuevos eventos y para está siendo realizada por los compositors e hacer predicciones que le ayuden a actuar. intérpretes gallegos contemporáneos. El SCA es capaz de modificar el esquema un El Congreso Internacional de Música número infinito de veces para adaptarlo al Contemporánea se articula en torno a dos entorno (2). Algunos ejemplos de SCA que temas que están estrechamente relacionados: han sido estudiados son la diversidad y complejidad de las formas de vida, la a) Lo simple y lo complejo. dinámica de las civilizaciones, la evolución b) La relación entre el lenguaje natural y de la cultura, la adquisición del lenguaje el lenguaje musical. natural, la evolución del lenguaje humano. Dada la gran variedad de sistemas que Para el concepto de lo simple y lo poseen propiedades de un SCA, su estudio complejo partimos del modelo de ha sido multidisciplinario. complejidad dinámica de los Sistemas El mundo de la música posee una red Complejos Adaptativos (SCA) propuesto de relaciones dinámicas extremadamente por Murray Gell-mann (2) y John Holland rica que muestra las propiedades de los (3). Un sistema complejo es aquel formado SCA. Los agentes de esta red son el por un número finito de elementos simples compositor, la obra, el intérprete, el oyente, que se combinan siguiendo alguna el propio sonido y el mundo en el que se modalidad del principio de recursividad. El produce. Pero, a su vez, también estos principio de recursividad da cuenta de la agentes actúan como un SCA. capacidad que tienen los individuos simples El lenguaje humano, en su modalidad para recombinarse y formar un número natural y musical, se comporta como un potencialmente infinito de sistemas SCA. El lenguaje humano emplea la complejos. Un Sistema Complejo recursividad como procedimiento creativo. Adaptativo es un sistema complejo Las operaciones recursivas nos permiten dinámico, formado por individuos que formar un número potencialmente infinito interactúan simultáneamente, en paralelo, y de oraciones a partir de un número finito de evolucionan en el tiempo, como respuesta unidades, así como entender oraciones que adaptativa a las acciones de otros individuos nunca antes habíamos oído. del sistema. La interacción de los En el Congreso Internacional de individuos-agentes da lugar a propiedades Música Contemporánea se presentan obras emergentes que no son poseídas por las en donde se investigan los siguientes partes (4). problemas de la relación lenguaje natural- ¿Qué mueve a los individuos de un lenguaje musical: SCA a evolucionar? La fuerza que parece ¿Cómo se puede poner música a una activar la evolución del SCA son las lengua tonal, que ya posee melodía como 2 parte de su estructura grammatical y léxica? (Ancient Voice). Referencias ¿Cuáles son los límites de los sonidos 1. Darwin, Charles (1871) The Descent of fonéticamente posibles para la voz humana? Man, and Selection in Relation to Sex (2 (Anaphora) vols.) Londres. Murray. ¿Qué tienen en común las anáforas del 2. Gell-mann, Murray (1994) The Quark lenguaje natural y del lenguaje musical? and the Jaguar. Adventures in the Simple (Anaphora) and the Complex. New York Freeman and ¿Es posible traducir la modalidad Co. natural del lenguaje humano a la modalidad 3. Holland, John Henry (1975) Adaptation musical o viceversa? A favor de la in Natural and Artificial Systems. The MIT posibilidad de traducción entre modalidades Press,1992. se presenta la composición The Descent of 4. Holland, John Henry (1998) Emergence: Man (El origen del ser humano), que se From Chaos to Order. Addison-Wesley; construye como una simulación sónica, (also Oxford Press.) expresada por la voz de un violín, de lo que 5. Mithen, Steven (2006) The singing pudo haber sido el lenguaje de los Neanderthal. Harvard Univ. Press. homínidos fósiles. Cambridge. MA. ¿Qué tiene en común la estructura 6. Schaeffer, Pierre (19669 Traité des dinámica del diálogo en el lenguaje musical Objects Musicaux Ed. du Seuil. y en el lenguaje del drama? ¿Cómo se Wallin, Nils, Björn Merker and Steven ensambla el lenguaje natural y el lenguaje Brown (2000) The Origin of Music. The musical en el diálogo del drama? Este MIT Press. Cambridge. MA. aspecto lo ilustra la opera Divinas Palabras de Antón García Abril. ¿Cómo se manifiesta el espíritu de la galleguidad en las dos modalidades, lingüística y musical? Este aspecto es tratado en Sete cancións populares galegas. Los dos temas del congreso son estudiados en profundidad en dos ponencias plenarias pronunciadas por expertos internacionales: La ponencia plenaria del prestigioso lingüista Bernard Comrie, Evolving Linguistic Complexity, se centra en ambos temas del congreso. En esta ponencia el profesor Comrie estudia la evolución de la complejidad en el lenguaje de la especie humana a partir del Homo sapiens sapiens. La ponencia plenaria del brillante compositor Tomás Marco, Compleja simplicidad, simple complejidad, aborda el tema de lo simple y lo complejo desde el interior de la propia composición musical. 3 Congreso Internacional de Música Contemporánea A Coruña, 25-27 de abril de 2010 Paraninfo del Rectorado de la Universidade da Coruña Programa ___________________________________________________________________ __ Domingo 25 de abril La metamorfosi del cristallo de Edmond 12:00-12:30: Bienvenida Buharaja 12:30-13:ensemble s21 _________________________________ Vicente López Puig, clarinete Jorge Montes, violín Florian Vlashi, violín Carlos García Amigo, violonchelo Rediana Lukaçi, violonchelo Julio Mourenza, piano Todd Williamson, contrabajo Alejandro Sanz, percusión Manuel Moya, trompa José Belmonte, percusión interpretan Aparición de Fernando Buide interpretan Makassar de Jeff Myers Música para un poema desconocido de Juan Montage de Ioannis Papadopoulos Vara 13:10 Almuerzo Intermedio Almut Kuehne, soprano 20:30: GISXX/ Florian Vlashi interpreta Rafael Muñoz, violín Anaphora de Michael Edgerton Ruslana Prokopenko, violonchelo _________________________________ Claudia Walker, flauta Iván Marín, clarinete Todd Williamson, contrabajo Vera Pavlova, piano José Belmonte, percusión interpreta interpretan Omaggio a Iannis Xenakis de Nicola Straffelini Track de Kyong Mee Choi _________________________________ _________________________________ Florian Vlashi, violín Claudia Walker, flauta interpreta interpreta The Descent of Man de Helena Palma Tintinnio de Olli Koskelin _________________________________ _________________________________ Clara Jelihovschi Pana, soprano Florian Vlashi, violín Florian Vlashi, violín Rediana Lukaçi, violonchelo Rafael Muñoz, violín Iván Marín, clarinete Raymond Arteaga, viola Vera Pavlova, piano Rediana Lukaçi, violonchelo interpretan interpretan 4 Ancient Voice de Xiao Hu Florian Vlashi, violín Lunes 26 de abril interpreta 9:20-10:00 Olga Veselina Voicing and Cadenza de Haig Zacharian Features of Natural Language as Sources _________________________________ for Contemporary Instrumental Chamber Music (by example of the violonchello duo Florian Vlashi, violín genre) Rafael Muñoz, violín Arben Llozi, viola 10:00-10:40 Santiago Barro y Belén Raymond Arteaga, viola Torrente The Sound Wave of the Virtual Ruslana Prokopenko, violonchelo Harpsichord: Adventures in the Simple and Rediana Lukaçi, violonchelo the Complex. interpretan 10:40-11:20 David Gil Music and The Thinking Machine de Oscar Colomina Language: Commonalities and Differences.
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    Clarinetfest® 2015 — Madrid

    Antonio Romero and his time ClarinetFest® 2015 — madrid Volume 42, Number 2 March 2015 ABOUT THE COVER… FEATURES CLARINETFEST® 2015 – MADRID, SPAIN / JULY 22–26, 2015 by Héctor Abella . 30 Antonio Romero (engraving from his Method, 2nd ed . Library of the Royal Superior MÁXIMO MUÑOZ PAVÓN: Conservatory in Madrid, signature 1/190); A BENCHMARK OF THE CLARINET IN SPAIN by Carlos Javier Fernández Cobo . 34 Romero System clarinet by Lefêvre, Paris, DON’T GIVE ME DAPHNIS: ca. 1867. Gift of William J. Maynard, AN INJURY RECOVERY GUIDE FOR CLARINETISTS Massapequa Park, New York, 1996. by Mary Alice Druhan, with Kristin Keesey, and Debbie Gillespie . 36 (Photo by Bill Willroth, Sr., courtesy of National Music HYSTERICALLY SPEAKING by Eric Hoeprich . 39 Museum, University of South Dakota, NMM 5924) A PERSPECTIVE ON ENRIQUE CALVIST (1851–1897) INDEX OF ADVERTISERS by Àngel Lluís Ferrando Morales . 40 SPANISH CLARINET MUSIC: AMB Clarinet . 46 THE PATH FROM ROMERO TO TODAY by Gregory Barrett . 44 Ann Arbor Clarinet Connection . 46 KLEZMER DANCES FOR CLARINET, Aria International Summer Academy . 96 STRINGS, PERCUSSION AND TUBA by Eugene Kavadlo . 53 AW-Reeds GbR . 45 THE ROMERO-SYSTEM CLARINET: Belgian Clarinet Academy . 93 HISTORICAL NOTES AND OTHER INQUIRIES by Pedro Rubio . 54 Brannen Woodwinds . 25 AN INTERVIEW WITH JOSÉ ANTONIO TOMÁS PÉREZ by Carlos J. Casadó . 60 Brevard Music Center . 14 Brixton Publications . 84 MIGUEL YUSTE (1870–1947): THE SEARCH FOR HIS WORKS by Malena McLaren . 64 Buffet Group USA . IFC RESTORING ALEC WILDER’S ORIGINALS by Glenn Bowen . 67 California Clarinet Clinic . 50 PATRICE SCIORTINO AND HIS WORKS WITH CLARINET by Jean-Marie Paul .
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    1930s vIoLIn COncert S vol1 BARBER HARTMANN BERG STRAVINSKY BRITTEN Gil Shaham A 1 A cD1 Samuel BARBER Karl Amadeus HARTMANN Violin Concerto, Op.14 23:11 Concerto funebre 20:19 for solo violin and string orchestra 1 i Allegro 10:12 2 ii Andante 08:36 8 i Introduktion (Largo) 00:58 3 iii Presto in moto perpetuo 04:23 9 ii Adagio 07:20 10 iii Allegro di molto 07:49 Gil Shaham, violin 11 iv Choral (Langsamer Marsch) 04:12 David Robertson, conductor New York Philharmonic Gil Shaham, violin and director Sejong Soloists Recorded live in concert, Avery Fisher Hall, New York, February 25-27, 2010 Recorded August 31 and September 1, 2013, LeFrak Concert Hall, Aaron Copland School of Music, Queens College, CUNY, New York Alban BERG Violin Concerto 27:29 'To the Memory of an Angel' 4 i a) Andante 04:44 5 b) Allegretto 06:47 6 ii a) Allegro 07:13 7 b) Adagio 08:45 Gil Shaham, violin David Robertson, conductor Staatskapelle Dresden Recorded live in concert, Staatsoper Dresden, Dresden, June 13-15, 2010 A 2 A 2 cD2 Igor STRAVINSKY Violin Concerto in D Major 21:39 1 i Toccata 05:47 2 ii Aria I 04:09 3 iii Aria II 05:22 4 iv Capriccio 06:21 Gil Shaham, violin David Robertson, conductor BBC Symphony Orchestra Recorded live in concert, Barbican Centre, London, December 8, 2008 Benjamin BRITTEN Violin Concerto in D minor, Op.15 32:44 5 i Moderato con moto - Agitato - Tempo primo 09:41 6 ii Vivace - animando - largamente - Cadenza 08:12 7 iii Passacaglia: Andante Lento (un poco meno mosso) 14:51 Gil Shaham, violin Juanjo Mena, conductor Boston Symphony Orchestra Recorded live in concert, Symphony Hall, Boston, November 1-3 and 6, 2012 A 3 A 3 1930s VIOLIN CONCERTOS Claire Delamarche The ‘Roaring Twenties’ in the United States, the name a few: each brought their powers to bear on ‘Golden Twenties’ in Britain, Germany’s ‘Goldene this major classical genre, Khachaturian rounding off Zwanziger,’ and the ‘Années folles’ of France: at the start of a new decade in 1940.