DOCSLIB.ORG

Rohan De Saram W

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rohan De Saram W 20th Century British Works for Solo Cello works for solo cello DRAKEFORD • DILLON • D. MATTHEWS • MAYER • PAREDES Rohan de Saram w Richard DRAKEFORD (1936–2009) David MATTHEWS (1943–) Suite No. 2 for Solo Cello (1957–1959) [8:26] Songs and Dances of Mourning [27:48] 1 I. Prelude: Lento ma non troppo – Vivace [1:56] (1976, rev. 1979, 1998) 2 II. Fugato: Allegro moderato [2:14] 7 [0:00] Andante – Inquieto – Presto – 3 III. Sarabande: Andante [1:38] [6:01] Fast blues – Presto – 4 IV. Badinerie: Allegro molto [1:27] [9:10] Slow blues – Presto – 5 V. Coda: Lento ma non troppo [1:11] [17:23] Grave: tempo di ciacona Hilda PAREDES (1957–) James DILLON (1950–) 6 Zuhuy Kak (1997) [12:58] 8 Eos (1998) [12:46] John MAYER (1929–2004) Sannyasin (late 1990s) [7:40] 9 I. Moderato assai [2:19] A II. [3:09] B III. Senza misura [0:50] C IV. Allegro [1:22] Total Timing: [70:03] Rohan de Saram cello ℗ & © 2019 The copyright in these sound recordings is owned by First Hand Records Ltd DILLON • DRAKEFORD • D. MATTHEWS • MAYER • PAREDES 20th Century British Works for Solo Cello The present collection follows on from an earlier release 1957–1959 for Rohan de Saram. Its five brief and purposefully [FHR49] and is devoted to works that were written for and contrasted movements almost inevitably call to mind Bach, but were premièred by Rohan de Saram, his championing of new the presence of contemporary figures such as Shostakovich and unfamiliar music having been a hallmark of a career which and Rawsthorne can also be detected. The Prelude unfolds, now stretches back across six decades. A repertoire that is from a vivace section, in a mood of sombre contemplation, as extensive as it is varied in overall range, encompassing with the melodic lines punctuated by pizzicato gestures prior as this does many of those stylistic traits that have emerged to a suddenly incisive close. Proceeding at a slightly faster during the post-war era and which here eschew the mutual tempo, the Fugato is more animated and impulsive – qualities exclusiveness that has too often proved an obstacle to the which, in the lyrical Sarabande, are much less evident. The reception of contemporary music. A vindication, if such were Badinerie is audibly the scherzo of this sequence as it unfolds necessary, of Rohan de Saram’s advocacy. with no mean impetus towards its emotionally heightened ending, whereas the Coda reverts to something like the Richard Drakeford (1936–2009) was a composition pupil mood at the start – its eloquent strains providing a thoughtful of Herbert Howells and Edmund Rubbra. He studied at conclusion. Worcester College, Oxford where he was Organ Scholar during 1955–1958. In 1961 he co-founded the Little Missenden Festival David Matthews (1943–) was born in London and acted as its music advisor until his death. He was also active and studied Classics at Nottingham University. as a music teacher and critic, writing for several publications The earliest pieces he acknowledges only emerged in his including The Musical Times. He taught at Harrow School during cello mid-20s, yet he has since amassed a catalogue of more than Rohan de Saram 1961–1985, and also served as its Director of Music from 1976. 150 compositions including nine symphonies and 13 string Chamber and vocal music are to the fore in his output. quartets. The first of each of these unfolds within a single movement, as too does Songs and Dances of Mourning. ℗ & © 2019 The copyright in these sound recordings is owned by First Hand Records Ltd Drakeford’s Second Sonata for Solo Cello was composed during Composed in 1976, and dedicated to the memory of the ̶ 5 ̶ ̶ 3 ̶ composer’s father, it was premièred by Rohan de Saram on 9 agitated. A sequence of downward thrusting and repeated- March in Nottingham then revised in 1979 and 1998. note gestures comes to the fore, from where the discourse accelerates then disperses into a ‘slow blues’ as alternates The work commences with an Andante in the cello’s lowest between plaintive cantilena and strummed pizzicatos. At register, here with an element of pizzicato to offset the length the music takes on renewed impetus for some of the prevailing inwardness, and this ‘lamenting pastoral’ becomes work’s most vehement writing – this ‘fast blues’ soon reaching a refrain between several types of dance. The ruminative an emotional apex which duly winds down into a passage of discourse transfers eventually to the upper register, from contemplative calm. For a while it continues this course, while where a dance-like character becomes more pronounced, taking in sustained notes at either end of the instrument’s then the music takes on an ominous and often menacing compass, before settling in the lower register for a lengthy character as the writing consequently becomes strenuous and and solemn chaconne such as only slowly gains in animation ̶ 4 ̶ when it heads into a passage of plangent trilling on the ascent. What proves to be the work’s culmination now comes into focus as the music forcefully restates its underlying motivic ideas; following which, it makes its final descent into the lower register to recall the mood as this was originally expounded, then concluding with three quietly resigned chords. One of the leading Mexican composers, Hilda Paredes (1957–) has resided in London since 1979. A participant at Dartington Summer School, she studied with Peter Maxwell Davies, Harrison Birtwistle and Richard Rodney Bennett. Graduating from the Guildhall School of Music, she obtained her MA at City University, London and her PhD at Manchester University. Her music has been acclaimed by the critics for the refinement of her craft, marked by the intensity of the relationship between time, dramatic force and poetic approach. Its Mayan title meaning ‘new fire’, Zuhuy Kak was written in 1997 and premièred by Rohan de Saram on 5 October at the Salle l’Aubette in Strasbourg. As the composer explains, ‘It refers to launched with a trenchant four-note pizzicato gesture and those fires that were lit by the Toltecas during their religious soon contrasted with sustained chords, to which elements of ceremonies to prevent the end of the world and to mark the crescendo and glissando are included. Encompassing many new time cycle every fifty-two years. In the context of this work, of those techniques which came into their own during the it refers to an innovative approach of rhythmic material taken post-war era, the music still retains its formal and expressive from the Kandyan drumming of Sri Lanka, where its dedicatee focus throughout – not least through conveying the sense of has his roots.’ Unfolding in four well-defined sections, it is an evolving discourse in even its more combative passages. At ̶ 5 ̶ length this assumes an almost martial aura on the approach to new impetus as it heads towards an ending where speculation a resolute close, but this proceeds to vanish into nothingness. and resolve are held in unlikely accord. James Dillon (1950–) studied design, linguistics, piano, Born in Calcutta, John Mayer (1929–2004) studied with acoustics, Indian rhythm, computer music and mathematics, Phillipe Sandre and Melhi Mehta in Bombay. In 1952 he won though is self-taught as a composer. Honours include first a scholarship to the Royal Academy of Music in London. prize at the Huddersfield Contemporary Music Festival in He was active as a violinist with the London Philharmonic 1978, the Kranichsteiner music prize at Darmstadt in 1982 Orchestra (1953–1958) and the Royal Philharmonic Orchestra and four Royal Philharmonic Society awards for composition. (1958–1965), while composing fusions of Hindustani classical He taught at Darmstadt during 1982–1992 and has been a and Western classical forms with jazz elements. From 1967 his guest lecturer/composer at various institutions. He taught at Indo-Jazz Fusions combined a jazz quintet with five Indian the University of Minnesota School of Music in Minneapolis musicians. A new incarnation emerged during the 1990s and during 2007–2014. continued to play live until Mayer’s death. Written during 1998 then premièred by Rohan de Saram on 3 Written for Rohan de Saram in the late 1990s, Sannyasin refers April at the Bachfest 1999 in Cologne, Eos is the Greek goddess in Hinduism to religious ascetics who renounce the world by of dawn who – according to Homer – drives her chariot across performing their own funeral and, by doing so, abandon all the sky each evening. From this a process of ritual and renewal claims to social or family standing. Mayer reflects this process is enacted in the music. The piece begins with a succession of through a sequence of four brief pieces. The first piece centres fragmented and sometimes intangible gestures, though these upon rapidly unfolding and rhythmically abrupt phrases – can increasingly be perceived as merging into longer and more replete with a determinedly rhetorical quality, whereas the sustained phrases, even paragraphs, of activity as the music second piece opens with speculative pizzicato gestures then pursues its eventful yet speculative course. Towards mid-point proceeds in a ruminative manner which is both eloquent this appears to freeze into a succession of near-immobile and atmospheric in its content. The next two pieces are gestures, but activity increases with vehement and heavily both relatively brief, with the third a little more than a single chorded passagework, out of which the music emerges with unfolding phrase of mounting decisiveness, while the final ̶ 6 ̶ These five works were chosen by FHR to represent some of the solo cello works written for me over the years from the 1960s to the early 21st century.
Load more

Recommended publications
  • Rohan De Saram Arnold BAX (1883–1953) 1 Rhapsodic Ballad [14:27]
    BAX • CASSADÓ DALLAPICCOLA LIGETI works for solo cello Rohan de Saram Arnold BAX (1883–1953) 1 Rhapsodic Ballad [14:27] György LIGETI (1923–2006) Sonata for Solo Cello [8:41] 2 I. Dialogo [4:38] 3 II. Capriccio [3:59] Luigi DALLAPICCOLA (1904–1975) Ciaccona, Intermezzo e Adagio [18:35] 4 I. Ciaccona: Con larghezza [8:28] 5 II. Intermezzo: Allegro, con espressione drastica [2:38] 6 III. Adagio [7:25] Gaspar CASSADÓ (1897–1966) Suite for Solo Cello [16:21] 7 I. Preludio – Fantasia [6:06] 8 II. Sardana (Danza) [3:58] 9 III. Intermezzo e Danza finale [6:14] Total Timing: [58:11] ̶ 2 ̶ BAX • CASSADÓ • DALLAPICCOLA • LIGETI BAX • CASSADÓ works for solo cello The present album features four works which have come to gave the world premiere near Cork in May 1966. Technically the forefront of repertoire for solo cello from the modern era. its demands are considerable, while the range of emotions It may be significant that only one of the pieces was written encountered frequently puts one in mind of Bax’s symphonic by a composer who was also a practising cellist, though this is works from the 1930s. Formally, too, this piece ranks among not to imply any lack of technical expertise or musical insight the composer’s most individual, integrating its contrasted on the part of the other three. On the contrary, each of Bax, sections into an unbroken continuity. Ligeti and Dallapiccola enjoyed close contact with a leading exponent in their respective countries (England, Hungary and The work begins with a rhetorical gesture that denotes the Italy), which no doubt encouraged them to push the technical serious nature of what is to follow, though this strenuous limits of the instrument into new and hitherto unexplored manner is soon tempered with more speculative and equivocal regions.
    [Show full text]
  • FHR13 Booklet
    HANS PFITZNER Cello Concerto in G major JOHN MAYER Prabhanda • Ragamalas ROHAN DE SARAM cello Druvi de Saram piano John Mayer tanpura Netherlands Radio Orchestra Bohumil Gregor Hans PFITZNER: Cello Concerto in G major John MAYER: Prabhanda • Ragamalas This disc centres on the musicianship of Rohan de Hans PFITZNER (1869-1949) Saram – the British-born Sri Lankan cellist renowned for his involvement in and advocacy of It was for de Saram’s teacher Gaspar Cassadó both classical and contemporary music, as well as that Hans Pfitzner wrote the second of his three that of his native Sri Lanka. He is also a direct link cello concertos in 1935 (the other two being in between the two seemingly removed composers A minor and sharing certain material despite whose music is featured here. being composed 55 years apart). Pfitzner was born in Moscow in 1869, where his father played Born to Ceylonese parents in Sheffield, de Saram violin in a theatre orchestra, though the family studied with Gaspar Cassadó in Siena and returned to his father’s native Frankfurt in 1872. Florence. In 1955 (when only 16) he was the first In 1884 he wrote his first songs and, during recipient of the Guilhermina Suggia Award, 1886-90, studied composition at the Hoch which enabled him to study in Britain with Conservatory in Frankfurt, although his Barbirolli and in Puerto Rico with Casals. He professional breakthrough only came when he made his Carnegie Hall début in 1960 with was appointed director of the opera and also the New York Philharmonic, performing head of the conservatory at Strasbourg in 1908.
    [Show full text]
  • Programme De Salle
    PORTRAIT IRVINE ARDITTI & QUATUOR ARDITTI Concert 1 Irvine Arditti, violon Radio France/Studio 104 – 7 octobre 2017 – 18h Ashot Sarkissjan, violon Brian Ferneyhough : Ralf Ehlers, alto Unsichtbare Farben , pour violon ; Terrain , pour violon et ensemble Lucas Fels, violoncelle entracte Umbrations d’après Christopher Tye (c.1505-c.1572) : Dès octobre 1984, le Quatuor Arditti est invité à jouer au Festival d’Automne des œuvres de Iannis Xenakis cycle constitué de In Nomine a 3 , pour flûte piccolo, hautbois et clarinette ; Dum transisset I : Reliquary, Dum transisset II : Totentanz, et de György Ligeti. Depuis, Irvine Arditti et les membres de son quatuor auront joué pour le Festival les pour quatuor à cordes ; Lawdes Deo , pour piano et percussion ; In Nomine , pour violoncelle solo ; O Lux , pour dix instruments ; œuvres de Luigi Nono, Helmut Lachenmann, Brian Ferneyhough à plusieurs reprises, mais aussi celles de Christus Resurgens , pour contrebasse et quatuor à cordes ; In Nomine a 5 , pour ensemble ; Dum transisset III : Shadows, Dum Luciano Berio, Pascal Dusapin, Toshio Hosokawa, Brice Pauset, Emmanuel Nunes, Harrison Birtwistle et bien transisset IV : Contrafacta , pour quatuor à cordes ; In Nomine a 12, pour ensemble d’autres. Ce Portrait en trois concerts, qui pour la première fois n’est pas consacré à un compositeur, est (création en France – commande de Westdeutscher Rundfunk, Ensemble Modern, Festival d’Automne à Paris avec le concours de la Fondation conçu dans des configurations différentes comme un bouquet d’œuvres nouvelles ; en témoignage de notre Ernst von Siemens pour la musique, Huddersfield Contemporary Music Festival & Wien Modern) admiration et de notre reconnaissance pour l’engagement et le talent des quatre musiciens dont le répertoire Irvine Arditti , violon solo ; Lucas Fels , violoncelle solo ; Quatuor Arditti ; Paul Cannon , contrebasse solo raconte l’histoire de la musique d’aujourd’hui.
    [Show full text]
  • Cellists' Corner Brief Career Details of Important
    Cellists’ Corner Brief Career Details of Important Cellists prepared by David Johnstone from public information Any image linked here is claimed to be used under fair use as: # the photo or image is only being used solely for informational purposes If any copyright holder is not agreed such an image could be removed at short notice FEATURE on ROHAN DE SARAM Rohan de Saram was born to Ceylonese parents in Sheffield, Yorkshire, England. His father was Robert de Saram and his mother was Miriam Pieris Deraniyagala. His paternal grandfather was Colonel Fredrick de Saram, OBE and his maternal grandfather was Sir Paul Pieris. At age eleven he studied with Gaspar Cassadó in Siena and Florence. In 1955 at the age of 16 he was the first winner of the Guilhermina Suggia Award, enabling him to study in the UK with Sir John Barbirolli and in Puerto Rico with Pablo Casals. Casals said of him "There are few of his generation that have such gifts". In the following year he won a Harriet Cohen International Music Award. At the invitation of Dimitri Mitropoulos, who described him in 1957 as "a rare genius...a born musician... an amazing...cellist", Rohan was invited to give his Carnegie Hall debut in 1960 with the New York Philharmonic, playing Khachaturian's Cello Concerto under the baton of Stanisław Skrowaczewski. Gregor Piatigorsky presented him with a special bow. He has lived in London since 1972, first and foremost as a performer, although he has also taught at Trinity College of Music, London. From 1979 to 2005 de Saram was a member of the Arditti Quartet but now works with other artists to pursue his own artistic vision.
    [Show full text]
  • Gknox Thesis.Pdf
    Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Knox, Garth (2019) Stretching the string: embedding pedagogical strategies in extended techniques compositions for strings. PhD thesis, Middlesex University. [Thesis] Final accepted version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/26519/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated.
    [Show full text]
  • A Successful Pairing in the Solo Cello Sonatas of Ligeti
    TRADITIONAL FORMAL STRUCTURES AND 20TH CENTURY SONORITIES: A SUCCESSFUL PAIRING IN THE SOLO CELLO SONATAS OF LIGETI, CRUMB, AND STEVENS by MARTIN GUEORGUIEV (Under the Direction of David Starkweather) ABSTRACT The solo cello sonata setting represents a unique musical intersection of creative ideas between György Ligeti, George Crumb, and Halsey Stevens – composers with distinctly different backgrounds whose careers took them on three diverse musical paths. Their sonatas, completed between 1953 and 1958, exemplify the composers’ desires to establish a new model of musical expression – one that combines 20th century Neo-classicism with the emerging ideas of 1960’s Modernism. This study highlights different approaches adopted by each composer in the treatment and realization of traditional forms as supporting vehicles for a highly chromatic musical language, sometimes devoid of tonal center or tonal organization. The study provides an overview of how pitch class sets, motivic cells, and 20th century musical elements such as octatonic, hexatonic, and whole-tone collections are employed, and their role within the overall form of each composition. INDEX WORDS: György Ligeti, George Crumb, Halsey Stevens, solo cello sonata, formal structures TRADITIONAL FORMAL STRUCTURES AND 20TH CENTURY SONORITIES: A SUCCESSFUL PAIRING IN THE SOLO CELLO SONATAS OF LIGETI, CRUMB, AND STEVENS by MARTIN GUEORGUIEV B.M., Lynn University, 2002 M.M., University of Southern California, 2004 A Dissertation Submitted to the Graduate Faculty of The University of Georgia
    [Show full text]
  • Encounters with the Avant-Garde: Four Case Studies in the Reception History of Contemporary Flute Works (1971 to Present)
    Graduate Theses, Dissertations, and Problem Reports 2016 Encounters with the Avant-Garde: Four Case Studies in the Reception History of Contemporary Flute Works (1971 to present) Amanda Cook Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Cook, Amanda, "Encounters with the Avant-Garde: Four Case Studies in the Reception History of Contemporary Flute Works (1971 to present)" (2016). Graduate Theses, Dissertations, and Problem Reports. 5393. https://researchrepository.wvu.edu/etd/5393 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Encounters with the Avant-Garde: Four Case Studies in the Reception History of Contemporary Flute Works (1971 to present) Amanda Cook DMA Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements
    [Show full text]
  • The Music and Literature of Alistair Hinton
    THE MUSIC AND LITERATURE OF ALISTAIR HINTON CONTENTS GENERAL INFORMATION 02 CATALOGUE OF MUSIC AND LITERATURE 03 DISCOGRAPHY 06 GENERAL INFORMATION Alistair Hinton was born in Scotland. Hearing John Ogdon playing Chopin’s 4th Ballade on the radio at the age of 11 gave rise to the altogether understandable wish to become a composer; (“I just wanted to know how music was made – and to make some of my own”). His first Sonata for piano appeared shortly afterwards; it displays some facility in its assimilation of fleetingly encountered influences. He continued his musical studies simply by studying music, passionately (“one learns composition by composing, as one learns wine-tasting by tasting wine”). His early work attracted the interest of Benjamin Britten, with whose help he attended Royal College of Music, London for lessons with Humphrey Searle and Stephen Savage. His works date from 1962 but he destroyed much of his pre-1985 output. A significant encouragement of his compositional development was provided by the music, literature and friendship of Parsi composer Sorabji, which played an important rôle in exposing him to crucial formative influences, including Szymanowski, Busoni, van Dieren, Medtner, Godowsky and Stevenson; these, together with a deepening admiration for Chopin, were to enhance his love of the piano and preoccupation with the challenge of writing for it. Having persuaded Sorabji in 1976 of the wisdom of relaxing the long-standing embargo on public performance of his music, he took an active part in fostering international interest in it. This led to his founding The Sorabji Music Archive, of which he is curator.
    [Show full text]
  • Download CD Booklet (Includes Artist's
    “Cherish, Conserve, Consider, Create” - Lou Harrison A Harrison House Release WWW.LOUHARRISONHOUSE.ORG Producer Eva Soltes Recording Engineer Robbi Robb Mastering Mark Fuller Music notes © Rohan de Saram Photo with Zoltan Kodaly © Rohan de Saram, www.rohandesaram.co.uk Front cover photo: Eva Soltes / Back cover photo: Martín Mancha ℗ and © 2019 Harrison House Music, Arts & Ecology All rights reserved. Unauthorized duplication is a violation of all applicable laws. “I was very fortunate to have Rohan de Saram was born in Sheffield, UK, and spent the first ten years of had the opportunity to play his life in Sri Lanka. He began studying the cello at age 9, and by age 16 was Kodaly’s Sonata for solo cello for awarded the Suggia Award, allowing him to study with Sir John Barbirolli him on one of his visits to Oxford in London and with the great Pablo Casals in Puerto Rico. Casals later said in 1960. It was a monumental of his pupil, “There are few of his generation that have such gifts.” experience because I consider this to be one of the greatest De Saram made his debut at Carnegie Hall in 1960 with the New works written for solo cello York Philharmonic, at the invitation of Dimitri Mitropoulos, playing since Bach wrote his cello Suites Khatchaturian’s Cello Concerto conducted by Stanislaw Skrowaczewski. approximately two hundred Throughout his career, de Saram has performed as a soloist with major years earlier.” – Rohan de Saram orchestras in Europe, Asia, and North America under many of the world’s leading conductors, including Sir John Barbirolli, Sir Adrian Boult, Sir Colin Davis, Jean Martinon, Zubin Mehta, Seiji Ozawa, and Sir Malcolm L.
    [Show full text]
  • The Drone” 7.30Pm, Wednesday 15 May 2013
    DARBAR NIGHT SERIES 3 : “The Drone” 7.30pm, Wednesday 15 May 2013 Conservatorium Theatre The Drone, the bedrock of Indian and Western music, beginning with the Australian didgeridoo, the oldest instrument known to man, segueing into the Indian drone instrument the tampura and an early evening raga on sitar. This introduces a celebration of string playing, with that prince of cellists, Rohan de Saram, presiding over a veritable palace of cellists. An Indian first half showcases music especially written for Rohan, balanced by an Australian second half. The raw energy of Richard Vella is calmed by the erotic meditations of Peter Schaefer. Our massed cellos create the sumptuous carpet-drone over which our musical cultures meet, while Ross Edwards cools the spirit in preparation for a gentle night ahead. The Drone in Entrance Troy Allen, didgeridoo Huib Schippers, sitar Jae-Lin Schippers, tanpura 2. John MAYER (1930-2004)....................................Ragamala VI (1983) - first performance in Australia - Rohan de Saram, cello Yuki Flindell, tanpura Six Ragamalas for cello and tanpura were commissioned by and written for Rohan de Saram with funds provided by the Arts Council of Great Britain. Each has a pictorial description. Ragamala VI uses the notes of raga Marva. The rasa or mood of this raga is quiet, contemplative, uncomfortable, uneasy and sometimes war-like with its passionate emotions. It is a description of the sunset in India, where night approaches much faster than in northern countries. This creates a feeling of anxiety and solemn expectation. “Marva stands beneath a mango tree near to Shiva, the three-eyed lord of sleep.
    [Show full text]
  • Iannis Xenakis
    concert n°97 Conservatoire Lundi 18 juillet 2011 11h00 Iannis Xenakis Rohan de Saram / violoncelle Jean-Pierre Robert / contrebasse Lori Freedman / clarinettes Geneviève Renon / alto www.flaneriesreims.com Pour le bon déroulement des concerts et par respect pour les artistes, nous vous prions de bien vouloir éteindre vos téléphones portables et vous rappelons qu’il est interdit de filmer, d’enregistrer et de prendre des photos durant le concert. Nous vous remercions de votre compréhension. programme IaNNIS XeNakIS (1922-2001) Roscobeck (1996) - violoncelle et contrebasse IaNNIS XeNakIS Nomos Alpha (1966) - violoncelle solo IaNNIS XeNakIS Kottos (1977) - violoncelle solo IaNNIS XeNakIS Charisma (1971) - violoncelle et clarinette IaNNIS XeNakIS Embellie (1981) - alto solo IaNNIS XeNakIS Theraps (1975-1976) - contrebasse solo À propos du concert Iannis Xenakis (1922-2001) ne se contenta pas d’être un des compositeurs majeurs de notre temps, il fut l’un des derniers humanistes, alliant la musique et l’art à la spéculation mathématique, scientifique et philosophique. S’il suivit d’abord la voie ouverte par kodaly et Bartók, Xenakis emprunta, vers 1952-1953, un chemin plus aventureux où se mêlaient la force des musiques orales méditerranéennes et la nécessité de concevoir la matière sonore brute. Loin de la théorie sérielle qui, alors, dominait la première génération européenne, il élabora ses propres outils théoriques de composition. Depuis il n’a jamais cessé d’étonner le monde musical, réinventant sans cesse les concepts de temps ou d’espace dans la musique. Les œuvres de Xenakis trouvent leurs modèles structurels dans la nature et ses bruits (le vent, l’orage, la grêle sur une toile de tente…), dans le fracas des bombardements ou dans le chaos des mouvements de foule, autant de phénomènes dont la puissance engloutit l’individu, et dont la structure complexe peut être décrite mathématiquement.
    [Show full text]
  • Download Publication
    Arts Council O ( ;KI,;AT BKITAI N Critical Judgments Thirty-sixth annual report and accounts 1980/81 Thirty-sixth Annual Report and Accounts 198 1 ISSN 0066-813 3 Published by the Arts Council of Great Britai n 105 Piccadilly, London W1V OA U Designed by Duncan Firth Printed by Watmoughs Limited, Idle, Bradford ; and Londo n Cover : Reproduction of the Arts Council 's corporate seal, designed by Reynolds Ston e and engraved by George Friend . Cartoons (on pages 6 and 8) by Ban x from the exhibition The Arts Council-what it does . Contents 4 Chairman 's Introductio n 5 Secretary-General's Report 9 Regional Department 10 Drama 15 Music 18 Visual Arts 20 Dance 22 Literature 23 Housing the Arts 24 Trainin g 25 Educatio n 26 Personnel and Administratio n 27 Scotlan d 31 Wales 35 Membership of Council and Staf f 36 Council, Committees and Panel s 41 Annual Accounts , Funds and Exhibition s The objects for which th e Arts Council of Great Britai n is established are : 1 To develop and improve the knowledge , understanding and practice of the arts ; 2 To increase the accessibility of the arts t o the public throughout Great Britain ; and 3 To co-operate with government departments , local authorities and other bodies to achiev e these objects . Chairman's Introductio n Having now completed would, for a variety of reasons, not be renewed . The four years as Chairman decisions were taken in the knowledge that they of the Arts Council I fee l would be unpopular in many quarters and arous e that this is a convenien t sharp controversy .
    [Show full text]