DOCSLIB.ORG

Programmheft

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Programmheft Programme 06 Foyer des Herkulessaals, 19.15 h | Pre-Concert 08 Herkulessaal, 20.00 h | Orchesterkonzert Jörg Widmann: ›Dubairische Tänze‹ 10 Werkdaten 12 Jörg Widmann: In die Fremde gehen, um das Eigene zu entdecken Cathy Milliken: ›Earth Plays‹ 14 Werkdaten 16 Cathy Milliken: Akustische Echos von vier Begegnungsstätten 21 Frederik Hanssen: Hommage an Erdenorte 24 Texte zu Earth Plays Steve Reich: ›Tehillim‹ 30 Werkdaten 31 Steve Reich: Musikalische Intuition – wohin sie auch immer führt 36 Text zu Tehillim 38 Biographien Jörg Widmann [39], Cathy Milliken [40], Steve Reich [41] Fiona Campbell [42], Synergy Vocals [42] Zoro Babel [43], Peter Rundel [43] Programmvorschau › musica viva ‹ 44 22. Januar 2016, 20.00 h, Orchesterkonzert Symphonieorchester des Bayerischen Rundfunks Verunelli (UA ) – Manoury – Mundry (UA ) 45 neu im Saisonprogramm! 22. Januar 2016, 22.30 h, Late Night: Klavierduo GrauSchumacher Busoni – Manoury 46 Nachweise/Impressum Bitte schalten Sie Ihr Mobiltelefon vor Beginn des Konzertes aus ! WID/ MANN ua 12 MILLIKEN 2015 REICH 4 musicaviva München | Freitag, 4. Dezember 2015, 19:15 h Foyer des Herkulessaals der Residenz PRE-CONCERT Response-Werkstatt zu Earth Plays für Mezzosopran und Orchester von Cathy Milliken Sabine Staudinger , Alt Nicolaus Richter de Vroe , Violine Schülerinnen des Maria-Ward-Gymnasiums München-Nymphenburg Leitung: Cathy Milliken , Komposition 6 In der Response-Werkstatt gestalten Kinder und Jugendliche ihre eigene Musik. Sie improvisieren und experimentieren mit Klängen und entwickeln so gemeinsam mit Musikern des Symphonieorchesters klingende Antworten auf ein bestehendes Werk, indem sie mit dessen Themen, Klangfarben und Instrumenten experimentieren. Bei diesem kreativen Musikprojekt haben die Teilnehmerinnen das Prinzip »Response« umgedreht: Zu Cathy Millikens Earth Plays für Mezzosopran und Or - ches ter haben 30 Schülerinnen der Klasse 7c des Maria-Ward-Gymnasiums Mün- chen-Nymphen burg eine Art musikalisches »Vorwort« entwickelt: gemeinsam mit der Komponistin Cathy Milliken sowie den Musikern Sabine Staudinger (Alt) und Nico laus Richter de Vroe (Violine) aus Chor und Symphonieorchester des Baye- rischen Rundfunks. Wie in Cathy Millikens Earth Plays steht im Zentrum ihrer Komposition ein konkreter Ort, an dem akustische Spuren hinterlassen wurden: das Radom in Raisting. Die erste deutsche Erdfunkstelle zur kommerziellen Satelliten- kommunikation er möglichte in den Jahren zwischen 1964 und 1985 unter anderem Telefongespräche nach Übersee und die Fernsehübertragung der Mondlandung ins (west-) deutsche Fernsehen. Zu Beginn des Projekts erhielten die Schülerinnen bei einer Führung durch das Industriedenkmal einen ersten Eindruck vom Radom. Bei dieser Ge legen heit experimentierten sie bereits mit der besonderen Akustik des Ra - doms, einer Trag lufthallenkonstruktion, und nahmen kurze Sequenzen auf. Im Anschluss waren Cathy Milliken und die Musiker eine Woche lang in der Schule zu Gast, um gemeinsam mit den Schülerinnen aus den inhaltlichen sowie klanglichen Impressionen des Besuchs im Radom eine eigene Komposition zu entwickeln. Die Aufnahmen aus der Traglufthalle bildeten dabei die musikalische Grundlage für das Stück der Schüler in nen. Das Maria-Ward-Gymnasium München-Nymphenburg ist seit Herbst 2015 Partner- schule des Symphonieorchesters des Bayerischen Rundfunks. In der zweijährigen Kooperation nehmen Schülerinnen unterschiedlicher Jahrgangsstufen regelmäßig an Projekten des Symphonieorchesters teil. Unter anderem werden Schülerinnen der Oberstufe ein Jugendkonzert organisieren und künstlerisch mitgestalten. Kontakt | Symphonieorchester des Bayerischen Rundfunks, Referat Jugendar beit/ Education – 80300 München, Telefon: [089] 5900 34116; Telefax [089] 5900 34122; E-Mail: [email protected] 7 München | Freitag, 4. Dezember 2015, 20:oo h Herkulessaal der Residenz 18:45 h Einführung Susanne Schmerda Jörg Widmann Dubairische Tänze für Orchester [2009/2010] Chorische Fassung I Zwiefacher II Valse mécanique III Wiegenlied IV Jeux d’eaux V Valse bavaroise VI Schlaflied VII Landler VIII Vier Strophen vom Heimweh IX Souvenir bavarois Cathy Milliken Earth Plays für Mezzosopran und Orchester [2014–15] I Thingvellir II Epidauros III Gohyaku Rakan Part 1 Kazoku Song Part 2 Mirai Song Part 3 Umi mo, yama mo, kawa mo Part 4 A chance of Life IV Radio City Hall Kompositionsauftrag der musica viva des Bayerischen Rundfunks URAUFFÜHRUNG 8 < Pause > Steve Reich Tehillim für 4 Frauenstimmen und Orchester (1981) Fiona Campbell Mezzosopran Synergy Vocals Caroline Jaya-Ratnam hoher Sopran Kirsty Hopkins Sopran Rachel Weston Sopran Heather Cairncross Alt Symphonieorchester des Bayerischen Rundfunks Zoro Babel Klangregie Peter Rundel Leitung Das Konzert wird mitgeschnitten und am Mittwoch, den 16. Dezember 2015 um 20.03 h auf BR-Klassik gesendet. 9 Jörg Widmann [*1973] Dubairische Tänze für Orchester | Chorische Fassung Sätze I – III, VI – VIII Flöte (auch Piccolo) Oboe 2 Klarinetten in B (1. auch Klarinette in Es, 2. auch Bassklarinette) Fagott (auch Kontrafagott) Horn in F 2 Trompeten in C (ad lib. 2 Kornette) Tuba (auch Posaune) Schlagzeug I: Glockenspiel, 5 Buckelgongs (C, Des, E, F, G) Beckenpaar, Becken (tief), Chinesisches Becken Cup-Becken (hoch), China-Oper-Gong, Tamtam (tief) Kleine Trommel (mit Schnarrsaite), Arabische Trommel ad lib. Gran Cassa, Metal Chimes, Peitsche, Vibra-Slap Schlagzeug II: Glockenspiel, Xylophon (Xylorimba ad lib.) Vibraphon, hängendes Becken (hoch) Becken (Mittel), Chinesisches Becken Cup-Becken (sehr hoch) Kleine Trommel, Gran Cassa (mit aufgeschnalltem Becken) Riqus (arabische Trommel mit Schellen) Streicher: 10 – 8 – 6 – 4 – 2 Satz IV, Jeux d’eaux Improvisation für zwei Schlagzeuger Für jeden Schlagzeuger einen Wasserbottich aus Zink 10 Satz V, Valse bavaroise Violine Violoncello Satz IX, Souvenir bavarois Piccoloflöte 3 Flöten 4 Oboen Es-Klarinette 3 Klarinetten (3. auch Bassklarinette) 3 Fagotte Kontrafagott 4 Hörner 4 Trompeten 3 Posaunen Tuba Schlagzeug : Glockenspiel, hängendes Becken sehr hohes Cup-Becken kleine Trommel, kleine Trommel mit Schnarrseiten große Trommel mit Becken, arabische Trommel mit Schellen Streicher: 14 – 12 – 10 – 8 - 6 Entstehungszeit : 2009/2010 Auftraggeber: Ensemble Modern und Siemens Arts Program für das Projekt »into Dubai« (Dubairische Tänze ) und Cincinnati Symphony Orchestra (Souvenir bavarois ) Uraufführung der Dubairischen Tänze : 27. Mai 2009 im Konzerthaus Berlin durch das Ensemble Modern unter der Leitung von Franck Ollu Uraufführung von Souvenir bavarois : 3. Februar 2011 in Cincinnati durch das Cincinnati Symphony Orchestra unter der Leitung von Paavo Järvi 11 Jörg Widmann: »In die Fremde gehen, um das Eigene zu entdecken« zu Dubairische Tänze Dubai war das Ziel seiner Reise, als Jörg Widmann vom Siemens Arts Program in die Wüste geschickt wurde. In der Weltstadt, mitten am Persischen Golf, sollte er sich zu einer neuen Komposition inspirieren lassen. Doch seine Dubairischen Tän ze klingen weniger nach Mittlerem Osten als nach der Heimat: Bayerische Ländler, Zwiefache und eine ganze Reihe weiterer geistreich verfremdeter Tänze. Mein einmonatiger Dubai-Aufenthalt mit vielen schönen aber auch zwie- spältigen Eindrücken rief in mir eine intensive Beschäftigung hervor mit der Frage, wo ich – auch musikalisch – eigentlich herkomme. Genauso, wie es einen zuhause naturgemäß in die Ferne zieht, muss man vielleicht in die Fremde gehen, um das Eigene zu entdecken oder zumindest die Frage da - nach zu stellen. Meine Antwort – sei sie nun Konsequenz, Substrat oder Gegenfrage – lautet nun also: Dubairische Tänze . Wenn es ein historisches Vorbild für diese Art, Tanz zu denken, gibt, dann ist es Bernd Alois Zimmermann, der »seiner« Stadt Köln mit den »Rheini- schen Kirmestänzen« ein herrliches Denkmal setzte. Die Primitivität des lauten Karnevalstreibens wird dort bitterböse vorgeführt und doch spürt man in jedem Takt eine tiefe Liebe zu ebendieser Mentalität, der diese Kirmestänze entsprungen sind. Bei mir sind es imaginäre und doch ganz hand feste bayerische Zwiefache, Ländler, Märsche. Es war eine immen- se Freude, diese Tänze in ihrem Schwung und ihren Girlanden ganz urtümlich zu begreifen und dabei ganz anders und neu zu erfinden. Dass sich in einigen dieser Tänze immer deutlicher einige Arabesken hinein- schleichen, ist nicht nur meinen Dubai-Eindrücken geschuldet, sondern auch der Münchener Historie, die schon seit Jahrhunderten die arabische 12 »Mo resca« kennt. Gemeint sind schwarze, eben Morisken-Tänzer, deren oft der be Tänze schon früh als typisch münchnerisch galten und rasch im ei gent lichen Sinne Volksmusik wurden. [März 2009] Ich wünsche mir, die hier erstmals zur Aufführung gelangende chorische Fassung möge die rhythmische Drastik der schnellen Sätze noch schärfer konturieren, und gleichzeitig der traumverhangenen Intimität der spiel- uhrartigen stillen Sätze eine noch größere Weite geben. [November 2015] 13 Cathy Milliken Earth Plays für Mezzosopran und Orchester Mezzosopran Piccoloflöte 2 Flöten 2 Oboen Englischhorn 2 Klarinetten Bassklarinette 2 Fagotte Kontrafagott 4 Hörner 3 Trompeten 3 Posaunen Tuba Schlagzeug: Pauke, Ocean Drum, Kleine Trommel, hängendes Becken (groß), Plattenglocken, Kastagnetten, Clappers/Rattles, Bongos, Beanpod Shaker, Maracas, Kuhglocken, Handglocken, Binsasara, Claves, Chinesische Becken, Tibetische Schalen, Crotales, Bongos, 2 Toms (mittel, groß), String Drum, Tamtam, Große Trommel, Große Donnertrommel, Steel Drum, Egg Maracas, Hihat Becken, Waterphone (und Bogen), Gongs, Tamburin, Triangel,
Load more

Recommended publications
  • Wuorinen Printable Program
    The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Celebrating Charles Wuorinen at 80 featuring Ensemble SIGNAL Brad Lubman, conductor Tuesday, April 24, 2018 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Charles Wuorinen (b. 1938) iRidule Jacqueline Leclair, oboe soloist Spin 5 Olivia De Prato, violin soloist Intermission Megalith Eric Huebner, piano soloist PERSONNEL Ensemble Signal Brad Lubman, Music Director Paul Coleman, Sound Director Olivia De Prato, Violin Lauren Radnofsky, Cello Ken Thomson, Clarinet, Bass Clarinet Adrián Sandí, Clarinet, Bass Clarinet David Friend, Piano 1 Oliver Hagen, Piano 2 Karl Larson, Piano 3 Georgia Mills, Piano 4 Matt Evans, Vibraphone, Piano Carson Moody, Marimba 1 Bill Solomon, Marimba 2 Amy Garapic, Marimba 3 Brad Lubman, Marimba Sarah Brailey, Voice 1 Mellissa Hughes, Voice 2 Kirsten Sollek, Voice 4 Charles Wuorinen In 1970 Wuorinen became the youngest composer at that time to win the Pulitzer Prize (for the electronic work Time's Encomium). The Pulitzer and the MacArthur Fellowship are just two among many awards, fellowships and other honors to have come his way. Wuorinen has written more than 260 compositions to date. His most recent works include Sudden Changes for Michael Tilson Thomas and the San Francisco Symphony, Exsultet (Praeconium Paschale) for Francisco Núñez and the Young People's Chorus of New York, a String Trio for the Goeyvaerts String Trio, and a duo for viola and percussion, Xenolith, for Lois Martin and Michael Truesdell. The premiere of of his opera on Annie Proulx's Brokeback Mountain was was a major cultural event worldwide.
    [Show full text]
  • Shed2 Press Release
    shed2 Press Release THE BLOOMBERG BUILDING 545 W 30th Street New York, NY 10001 For more information, please contact: Sommer Hixson Director of Communications The Shed (646) 876-6933 [email protected] Christina Riley Publicist The Shed Reich Richter features music composed by Steve Reich; a moving picture, in (646) 876-6858 collaboration with Corinna Belz; and images © Gerhard Richter 2019 (05042019). [email protected] Photo: Stephanie Berger. Courtesy The Shed. Reich Richter Pärt, Immersive Live Performance Installations Exploring the Amanda Domizio Shared Language of Visual Art and Music, Premieres on Saturday, April 6, Polskin Arts as an Opening Commission of The Shed (212) 583-2798 [email protected] NEW YORK, APRIL 6, 2019—In its opening week, The Shed presents Reich Richter Pärt, a marriage of music and visual art that brings together three @theshedny luminaries of 20th-century culture, in collaboration with each other for the first theshed.org time in their legendary careers. On Saturday, April 6th, celebrated American composer Steve Reich and pioneering artist Gerhard Richter will debut a world premiere commission, as two New York groups — Ensemble Signal and International Contemporary Ensemble — will alternate performances of Reich’s new score in counterpoint with Richter’s new work, including a new moving picture. Created by Gerhard Richter and filmmaker Corinna Belz, the moving picture will screen in an environment that is intentionally intimate for both audiences and musicians. “Gerhard and Corinna specially developed a new moving picture for this project using calculations based on Richter's book, Patterns: Divided, Mirrored, Repeated,” says Hans Ulrich Obrist, The Shed’s Senior Program Advisor.
    [Show full text]
  • Steve Reich DOUBLE SEXTET / RADIO REWRITE Ensemble Signal Brad Lubman Conductor
    STEVE REICH DOUBLE SEXTET / RADIO REWRITE ENSEMBLE SIGNAL Brad Lubman conductor 1 STEVE REICH / Double Sextet / Radio Rewrite / ENSEMBLE SIGNAL / Brad Lubman HMU 907671 © harmonia mundi his CD holds recordings of two of Steve Reich’s most recent In truth, there is not much Radiohead in Radio Rewrite, just a STEVE REICH (b. 1936) pieces. Double Sextet is from 2007, Radio Rewrite is from 2012, few wisps of the harmonic motion from Everything in Its Right Place Tand they are both strong, tuneful, energetic, tightly made works. and a few scraps of tune from Jigsaw Falling into Place. But the whole (2007) [21’55] They are also from the complete other end of Steve’s career than the last piece keeps reminding me of another Reich project, Reich Remixed, in DOUBLE SEXTET CD of his music that Ensemble Signal made for harmonia mundi, their which electronica artists showed their debt to Reich’s innovations by 1 I. Fast 8’18 pristine and elegant recording of Steve’s 1974-76 masterpiece Music For morphing tiny bits of his music into large swaths of theirs. After all 6’57 2 II. Slow 18 Musicians. these years, Radio Rewrite feels like his own remix, using only as much 3 III. Fast 6’40 Music For 18 Musicians is one of those pieces that changed the mu- Radiohead as he needs to get his own music flowing. sical world. Most people never get the chance to change the world – it is – David Lang RADIO REWRITE (2013) [17’50] really hard! And rare. And it also raises certain challenges that ordinary people don’t usually face.
    [Show full text]
  • Barbican Centre Annual Review 2006/07
    London Symphony Orchestra port monuments arts festivals historic markets Guildhall School of Music & Drama arts funding City residents Barbican Centre churches City police Museum of London open spaces Barbican Centre Annual Review 2006/07 The 2006 Barbican Annual Review The City of London is the world’s leading international financial and business centre, a global powerhouse at the heart of the UK’s economy. City of London The City of London Corporation supports and promotes the City and the businesses within it. It sustains all the needs of a 24-hour city and helps position it for the future. Its mission is to ensure that the City continues to thrive and retains its place as Europe’s financial capital. and the The Barbican Centre is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation. / Barbican www.cityoflondon.gov.uk 07 2 Barbican Annual Review 06/07 53 The City of The Barbican’s London and vision and tbc the Barbican mission The Barbican Centre is provided by the City of London Driving the arts by leading, challenging and entertaining Corporation as part of its contribution to the cultural life of audiences through an imaginative, diverse and stimulating London and the nation. This contribution also includes the programme, offering quality, diversity and innovation, open Guildhall School of Music & Drama, Tower Bridge and the and accessible to all. Guildhall Art Gallery as well as sponsorship of numerous organisations, festivals and events. Satisfying our audiences by creating a welcoming and friendly environment that provides a total quality experience While providing local government services for an area not throughout the Centre, offering education and outreach, much larger than a square mile, the City Corporation commits expanding our audiences and exceeding our visitors’ more resources to arts and culture than any local authority, expectations.
    [Show full text]
  • STEVE REICH Compositions
    STEVE REICH Compositions RUNNER (2016) 2 fl, 2 ob, 2 cl, 2vbs, 2 pro, 4 vin, 2 vla, 2vcl, 1 cb PULSE (2015) 2 fl, 2 Cl, Pno, Electric Bass, 4 vlns, 2 vla QUARTET (2013) 16' for 2 pianos and two percussion RADIO REWRITE (2013) 19' fl.cl-2vib-2pft-elec.bass.gtr-1.1.1.1.0 WTC 9/11 (2010) 15' for string quartet and pre-recorded tape MALLET QUARTET (2009) 15' for percussion quartet 2X5 (2009) 20' for five musicians and tape, or 10 live musicians DOUBLE SEXTET (2007) 22' for ensemble (or ensemble and pre-recorded tape) 2fl-2cl-2vln-2vcl-2vib-2pft or fl-cl-vln-vcl-vib-pft and pre-recorded tape Awarded the 1990 Pulitzer Prize in Music DANIEL VARIATIONS for large ensemble (2006) 30' Text: Book of Daniel; Daniel Pearl (E) 2cl-4pft-perc(6):BD/tam-t/4vib-*2vln.vla.vlc-4 voices(*SSTT) *max. 1 player/voice per part VARIATIONS FOR VIBES, PIANOS AND STRINGS (2005) 25’ dance piece for vibraphones, pianos and strings 2 pft-4vib-3 string quartets (or sm string section*) YOU ARE (VARIATIONS) for amplified ensemble and voices (2004) 27' text: Rabbi Nachman of Breslov (E), Psalms (Heb.), Wittgenstein (E) & Pirke Avot (Heb.) 2-2-3-0, no brass, 2 marimbas, 2 vibraphones, 4 pft., strings 3-3-3-3-1 voices S,S,S,A,T,T FOR STRINGS (WITH WINDS AND BRASS) for orchestra (1987/2004) 12' 4(IV=picc).4.4.4-4.4.3.1-2synth-strings(16.16.12.8.6) CELLO COUNTERPOINT (2003) 15' for amplified cello and multichannel tape DANCE PATTERNS (2002) 6' 2 xylophones, 2 vibraphones, 2 pianos THREE TALES (1997-2002) 60’ Documentary video opera in collaboration with video artist Beryl Korot Text: documentary material (English) Vocal forces: Lyric Soprano (2), Tenor (3) perc (4): 2vib / 2SD / 2pedal kick dr/susp.cym - 2 pft (I, II=samplers) - pre-recorded tape - strings (1.1.1.1.0) TRIPLE QUARTET (1999) 15' for string quartet and tape (or three quartets or small string section eg.
    [Show full text]
  • A Guide to Steve Reich's Music Without Steve Reich's Rhythms, Pulses and Phasing, Contemporary Culture Would Be a Much Poorer Place
    A guide to Steve Reich's music Without Steve Reich's rhythms, pulses and phasing, contemporary culture would be a much poorer place 'He has given the contemporary musical world a licence to groove' … Steve Reich. Photograph: Martin Godwin for the Guardian It's rare that one says this about a contemporary composer, but it's become too easy to take Steve Reich for granted. Of course, that's a sign of just how influential his music has been, the way it has drawn on everything from African drumming to concept art, and how it has influenced generations of pop, jazz and classical musicians over the last half-century. In fact, if you were to subtract Steve Reich from the total sum of today's musical culture, I think you'd notice more of a difference than if you took away any other single figure. Even if you think you don't know Reich's music directly, you will almost certainly be familiar with what it does, thanks to the way his music and his example have been refracted by other composers in other fields. Here's a whistlestop tour: in the 1960s, with Terry Riley and Philip Glass, Reich gave pulse back to experimental music (listen to Clapping Music for the Reichian pulse at its purest), he discovered tape-based techniques of looping and phasing using recordings of fragments of speech (try Come Out and It's Gonna Rain ), and then molecules of musical material ( Piano Phase , Violin Phase , or the Fluxus-ish Pendulum Music). And phasing itself? Imagine you have a pattern that consists of 12 quavers.
    [Show full text]
  • Philadelphia Music Project 2010 Grant Recipients
    The Pew Center for Arts & Heritage Philadelphia Music Project 2010 Grant Recipients American Composers Forum, Philadelphia Chapter Grant Awarded: $45,000 The Philadelphia chapter of the American Composers Forum provides local composers at various stages of their careers with resources for professional and artistic development, cultivating public interest in new music and enriching the musical life of the community. This grant will support “SoundExchange,” a three-day residency with Pulitzer Prize and Grammy Award winner Steve Reich. The residency will include a workshop and composition lessons for local composers and culminate in an open rehearsal and concert by New York City’s Argento Chamber Ensemble, which will perform Reich’s 2009 Pulitzer prize-winning composition Double Sextet, and the Philadelphia premiere of Daniel Variations, dedicated to the late journalist Daniel Pearl, who was murdered by militant terrorists in 2002. Ars Nova Workshop Grant Awarded: $45,000 Ars Nova Workshop presents performances of jazz, and experimental and improvisational music in a way that encourages a dialogue between musicians and audiences. PMP will support a six-concert series that celebrates the Chicago-based Association for the Advancement of Creative Musicians (AACM), a nonprofit collective that has supported the creation and advancement of diverse music since 1965 and provides music education to inner-city youths. The series will feature music by composers and multi-instrumentalists Henry Threadgill and Roscoe Mitchell, champions of avant-garde jazz and early members of AACM. Bowerbird Grant Awarded: $25,000* Bowerbird is a young organization that has presented over 200 events in Philadelphia. It provides performance opportunities to experimental musicians and sound artists whose music is often overlooked by traditional presenters.
    [Show full text]
  • Steve Reich Pakistan in 2002
    relating to the American reporter Daniel Pearl, kidnapped and murdered in Steve Reich Pakistan in 2002. Its tolling metallophones and four pianos take their departure point from yet further harmonic and timbral advances charted by Reich in the 21st century and raise them to new heights of lyrical intensity and rich darkness. _Double Sextet_ (2007), meanwhile, develops fresh perspectives to Reich's familiar interlocking patterns with pairs of identical instruments. And _2x5_ (2009) sees him returning again to his early output as the inspiration behind his first piece for an entirely rock instrumentation. Reich's output of the last three decades has found an increasingly welcome place in the Western classical concert hall, confirmed by the award of the Pulitzer Prize for Music in 2009. The ambient DJ crowd, from Brian Eno Steve Reich photo © Peter Hundert onwards, has embraced, in particular, the early, hard-edged scores, not least for their radical take on the experience of time. Yet one important message of __An introduction to the works of Steve Reich__ _by Keith Potter_ Those who Reich's entire output as a composer is that such cultural boundaries, where first encounter the music of Steve Reich through his early _It's Gonna Rain_ they still exist today, are there to be crossed. _Keith Potter, 2009_ (1965), _Piano Phase_ (1967) or _Drumming_ (1970-71) will probably connect this vividly contrapuntal music, incessantly relocating simple patterns before our ears and brains, with the term minimalism. It's not an unreasonable link to make. Yet "minimalism" scarcely does justice to this composer’s output of the last three decades and more.
    [Show full text]
  • Ensemble Signal Brad Lubman, Conductor Paul Coleman, Sound Director
    Sunday, January 29, 2017, 7pm Hertz Hall Ensemble Signal Brad Lubman, conductor Paul Coleman, sound director PROGRAM Steve REICH ( b. 1936) Clapping Music (1972) Steve Reich and Brad Lubman Quartet (2013) Bill Solomon and Doug Perkins, vibraphone David Friend and Oliver Hagen, piano Runner (2016, United States Premiere) (co-commissioned by Cal Performances *) Kelli Kathman and Jessica Schmitz, flute Adrían Sandí and Ken Thomson, clarinet Jackie LeClair and Christa Robinsion, oboe Doug Perkins and Bill Solomon, vibraphone Oliver Hagen and David Friend, piano Courtney Orlando, Yuki Numata, Ari Streisfeld, and Will Knuth, violin Caleb Burhans and Isabel Hagen, viola Lauren Radnofsky and Kevin McFarland, cello Greg Chudzik, double bass INTERMISSION Radio Rewrite (2012) Kelli Kathman, flute Adrían Sandí, clarinet Bill Solomon and Doug Perkins, vibraphone David Friend and Oliver Hagen, piano Courtney Orlando and Yuki Numata, violin Isabel Hagen, viola Lauren Radnofsky, cello Greg Chudzik, electric bass PROGRAM NOTES Double Sextet (2007) Sextet 1 Kelli Kathman, flute Adrían Sandí, clarinet Bill Solomon, vibraphone David Friend, piano Courtney Orlando, violin Lauren Radnofsky, cello Sextet 2 Jessica Schmitz, flute Ken Thomson, clarinet Doug Perkins, vibraphone Oliver Hagen, piano Ari Streisfeld, violin Kevin McFarland, cello * Steve Reich’s Runner was commissioned by the Royal Opera House Covent Garden; Ensemble Signal, through New Music USA’s Commissioning Music/USA program, made possible by generous support from the Mary Flagler Cary Charitable Trust, the Ford Foun dation, the Francis Goelet Charitable Lead Trusts, New York City Department of Cultural Affairs, New York State Council on the Arts, the William and Flora Hewlett Foundation, and the Helen F.
    [Show full text]
  • Taking Reich's Pulse: Putting New Music Into Context Anja Mileusnic-Plecas
    TAKING REICH’S PULSE: PUTTING NEW MUSIC INTO CONTEXT ANJA MILEUSNIC-PLECAS Thesis submitted to the University of Ottawa in partial Fulfillment of the requirements for the Master of Arts (MA) School of Music Faculty of Arts University of Ottawa © Anja Mileusnic-Plecas, Ottawa, Canada, 2018 ii Table of Contents Abstract ......................................................................................................................................................... 0 Taking Reich’s Pulse: Putting New Music into Context .............................................................................. 1 Chapter 1: Style Separation .......................................................................................................................... 3 Style and Influence ................................................................................................................................... 5 First Period-Phasing and Early Style ........................................................................................................ 9 Phasing, Gradual Processes, and Simple Instrumentation (1965-1973) ............................................... 9 Beginnings of Texture, Expanded Instrumentation, and Harmony (1973-1979) ................................ 13 Second Period-Development of Melody, Motives, Harmonic Structure, and Canons ........................... 16 Vocals, Speech Melodies, and Video (1981-2006) ............................................................................. 16 Counterpoint Series (1982-2003) .......................................................................................................
    [Show full text]
  • LISTENING for MEANING in STEVE REICH's the DESERT MUSIC By
    "The Mind is Listening": Listening for Meaning in Steve Reich's 'The Desert Music' Item Type text; Electronic Thesis Authors Fisher, Sarah Lynn Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 29/09/2021 22:58:13 Link to Item http://hdl.handle.net/10150/193300 “THE MIND IS LISTENING” LISTENING FOR MEANING IN STEVE REICH’S THE DESERT MUSIC by Sarah Lynn Fisher A Thesis Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2007 2 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author.
    [Show full text]
  • London's Symphony Orchestra
    London Symphony Orchestra Living Music Sunday 6 November 2016 7pm Barbican Hall STEVE REICH AT 80 London’s Symphony Orchestra Steve Reich Daniel Variations Steve Reich You Are (Variations) INTERVAL Steve Reich The Desert Music Kristjan Järvi conductor Synergy Vocals Concert finishes approx 9.35pm 2 Welcome 6 November 2016 Welcome Living Music Kathryn McDowell In Brief Welcome to tonight’s LSO concert at the Barbican. STEVE REICH ON LSO LIVE We are delighted to be marking the 80th birthday of one of today’s most celebrated composers, Steve Recorded live at LSO St Luke’s last year, the LSO Reich, as part of the Barbican’s wider series, The Percussion Ensemble’s recording of Steve Reich’s Sounds That Changed America. Steve Reich’s music Clapping Music, Music for Pieces of Wood and has exerted a wide influence over the past 50 years, Sextet Is available to stream on Apple Music and his relationship with the LSO goes back to 1988, and Spotify, or purchase on SACD Hybrid from when he and his ensemble joined the Orchestra on the LSO Live website: stage during a weekend-long festival devoted to his works. We are glad that he joins us again tonight in lsolive.lso.co.uk the audience, following an LSO Discovery Day earlier today, during which he appeared in conversation. BRITISH COMPOSER AWARDS Our programme consists of three of Reich’s orchestral works. The first and most recent, the The LSO is delighted that eight alumni of its Daniel Variations, is followed by a new orchestration composer schemes have been nominated for of the You Are (Variations) for full orchestra.
    [Show full text]