DOCSLIB.ORG

Composition Prize 2013

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Composition Prize 2013 Concours de Genève Prix international d’ interprétation & de composition Press Kit Composition Prize 2013 Partenaire principal Concours de Genève Prix international d’ interprétation & de composition Table of contents Introduction Page 2 Presentation and regulation Page 3 The Finalists and their works Page 4 Members of the Jury Page 12 Young Audience Prize Page 15 The Ensemble Contrechamps Page 16 Musical Director of Contrechamps Page 17 Partners Page 18 Organisation Page 19 Contact Page 20 Partenaire principal 1 Concours de Genève INTRODUCTION Prix international d’ interprétation & de composition A new discipline The Geneva International Music Competition is traditionally a competition of musical performance. Since 1939, nearly all disciplines have been represented, from orchestra instruments to chamber music, piano and voice. The only exception was composition, a discipline essential to performers but often ill regarded by the public. Now however, the two worlds cohabit in Geneva. By offering a Composition Prize, for which the award winning work will be compulsory for performers the following year, the Geneva Competition hopes to contribute to the emergence of a true musical modernity, whereby the creative act of the composer will be regarded with the same standards of respect and admiration as the re-creative act of the performer. The Geneva Competition’s Composition Prize follows the tradition started with the Prix Reine Marie José, which was awarded between 1958 and 2008 to more than 20 composers for works ranging from quartet to concertos, symphonies to pieces for solo and electronic instruments. With the support of the Fondation Reine Marie José, our audience now has the possibility of watching these works performed as Word Premiere, of awarding the Audience Prize to the piece of its choice and seeing the award-winning work performed again the following year as one of the competition rounds. For its part, the Jury, whose members are universally recognized composers, brings the prize-winner both prestige and international recognition. Composition Prize 2013 This year, the subject of the Composition Prize was a work for flute solo and small group of five musicians. Candidates had to select the five instruments from a restricted list inspired by Schoenberg’s Pierrot in the Moonlight, a classic piece for 20th century music ensembles: wind instruments (clarinet, oboe, bassoon), strings (violin, alto, cello), a piano and a percussionist. The different intrument groups did not necessarily have to be represented, but an instrument could only be used once. Our five finalists thus presented works with similar groups of instruments, although marked by subtle variations. In its selection, the Jury favoured works which enhanced the solo instrument, presented formal perfection, as well as remarkable artistry. The Jury selected five pieces by Italian, Korean and Japanese composers within the 35 compositions received from a dozen different countries. Through their aesthetic choices, marked by their origin and culture, the five young composers offer music representative of our contemporary world, which is more international and colourful than ever. These works will be presented as world Premiere at the public Final by the Ensemble Contrechamps, under the direction of Gregory Charette. The two soloists of the evening, talented performers and ardent promoters of the music of their time, are both well-known on the Geneva music scene: Felix Renggli for having been lead flutist for the Ensemble Contrechamps and Silvia Careddu for having started her career in Geneva where she won First Prize for flute in 2001. 2 Concours de Genève COMPOSITION PRIZE 2013 Prix international d’ interprétation & de composition Members of the Jury Ivan Fedele, Italy, President Toshio Hosokawa, Japan Magnus Lindberg, Finland Philippe Manoury, France Isabel Mundry, Germany Finalists selected Eunho Chang, South Korea Kwang Ho Cho, South Korea Gabriele Cosmi, Italy Andriano Gaglianello, Italy Chikako Yamanaka, Japan Subject Work for flute solo and small ensemble of five instruments. Choice amongst the following groups: Strings: violin, viola, cello / Winds: oboe, clarinet, bassoon (secondary instruments are allowed) / Piano/ Percussions: free choice of instruments. All groups must not necessarily be represented, but each instrument must be represented only once. The piece must not exceed 15 minutes. Calendar 31 March 2013 : registration deadline 29 April – 1 May 2013 : selection of the Finalists by the official Jury 1 December 2013 : Public Final with Contrechamps The Laureate’s work will be imposed for the semi-final of the Flute Competition 2014. Prizes attributed OFFICIAL PRIZE CHF 15’000.- (with the support of the Fondation Reine Marie José) A Breguet Watch will also be given to the Laureate. SPECIAL PRIZES Audience Prize CHF 1’500.- is awarded by the audience at the Final on December 1st Young Audience Prize CHF 1’000.- is given by Médecins Sans Frontières, charity partner of the Geneva Competition and awarded by members of the Young Audience Prize « Air France KLM » Prize The special prize «Air France KLM» consists in a return ticket towards one of the 230 destinations of the AIR FRANCE KLM worldwide network. 4 Concours de Genève PUBLIC FINAL Prix international d’ interprétation & de composition Sunday December 1st 2013, 5 pm, Studio Ernest-Ansermet PUBLIC FINAL OF THE COMPOSITION PRIZE Eunho Chang, South Korea, 30 years Gohok for flute solo and ensemble (clarinette, viola, cello, percussion and piano) Flute : Felix Renggli Adriano Gaglianello, Italy, 30 years Shrew ! for flute solo and ensemble (clarinette, bassoon, viola, cello, percussion) Flute : Silvia Careddu (1st Prize 2001) Chikako Yamanaka, Japan, 30 years Uminari for flute solo and ensemble (oboe, clarinette, cello, percussion and piano) Flute : Silvia Careddu (1st Prize 2001) Gabriele Cosmi, Italy, 25 years Geghard II for flute solo and ensemble (violin, viola, cello, percussion and piano) Flute : Felix Renggli Kwang Ho Cho, South Korea, 26 years Pneuma for flute solo and ensemble (clarinette, violin, cello, percussion and piano) Flûte : Felix Renggli With the support of the Fondation Reine Marie José In partnership with the Ensemble Contrechamps Direct broadcast on Espace 2 & video broadcast on www.rts.ch/dossiers/concours-de-geneve AROUND THE COMPETITION : Monday 2 December, 6 pm, Conservatory of Geneva CONCERT-PORTRAIT IVAN FEDELE Performance of pieces by Ivan Fedele, President of Composition Jury 2014 By students of the HEM - Geneva Tuesday 3 December, Conservatory of Geneva MASTER CLASS BY IVAN FEDELE Reserved for students of the HEM, closed to the public In partnership with the HEM-Geneva 5 Concours de Genève FINALISTS & THEIR WORK Prix international d’ interprétation & de composition Eunho Chang, South Korea, 30 years Born in 1983 in Daegu, Korea, Eunho Chang studied composition at the Kyongbook High School of Art, then at the Academy Chopin-Keimyung. He then continued his studies in Warsaw where he obtained a Doctorate in Philosophy with prof. Marcin Blazewicz at the Academy Fryderyk Chopin. He has won many composition prizes, both in Corea and internationally, including a 1st Prize at the Dong- A Music Compeition (2009), a 1st Prize at the Paderewski Competition (2008), a 1st Prize as well as special prizes at the Concours de composition pour ensemble de percussions VP 11 in France (2011), a 1st Prize at the George Enescu International Competition for composition Symphony section (2011) and recently, the Queen Sofia’s Prize for Music Composition (2013) in Barcelona. His works have been performed by prestigious musicians, such as the Arditi Quartet (UK), the Tactus Percussion Ensemble (FR), the Klagforum Wien, presented in Korea as well as in Europe (Poland, France, Great Britain, Czech Republic, Austria, Germany) and the USA. Gohok for flute solo and ensemble (clarinette, viola, cello, percussion and piano) Gohok means «fascination». The solo flute is indeed fascinatingly beautiful. The solitary melodic line amid the accompanying instruments exudes an entrancingly seductive aura. This piece is divided into three parts. The first begins with the solo flute which then, by blending with other instruments, becomes a member of the ensemble. The second might appear to be but a simple development of the first, but the ensemble is now focused on the flute. Stereo elements are played by certain instruments to maintain the unity of the piece. The third part consists of distinct elements such as glissandi by the strings or piano pizzicati. Generally speaking, the piece is more constructed around repeated elements rather than on thematic modifications. In order to understand it, one must first and foremost consider the sounds and the sound resonance, both horizontal and vertical. Rather than focusing attention on the linear discourse (development, opposition, modulation), one should consider the piece as an ambiguous, constantly changing whole, with a vague, complex structure, based on the perception of the moment, somewhat in the same way as with an impressionist work of art. Eunho Chang 6 Concours de Genève FINALISTS & THEIR WORK Prix international d’ interprétation & de composition Kwang Ho Cho, South Korea, 26 years Born in 1987 in Pyeong Taek, in Korea, Kwang Ho Cho started violin studies in 1993. In 2007, he entered the Music Faculty of the University of Yonsei, in Seoul, where he obtained his degrees in harmony, counterpoint and orchestration. In 2008, he founded a group of composers called
Load more

Recommended publications
  • Magnus Lindberg Al Largo • Cello Concerto No
    MAGNUS LINDBERG AL LARGO • CELLO CONCERTO NO. 2 • ERA ANSSI KARTTUNEN FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU MAGNUS LINDBERG (1958) 1 Al largo (2009–10) 24:53 Cello Concerto No. 2 (2013) 20:58 2 I 9:50 3 II 6:09 4 III 4:59 5 Era (2012) 20:19 ANSSI KARTTUNEN, cello (2–4) FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU, conductor 2 MAGNUS LINDBERG 3 “Though my creative personality and early works were formed from the music of Zimmermann and Xenakis, and a certain anarchy related to rock music of that period, I eventually realised that everything goes back to the foundations of Schoenberg and Stravinsky – how could music ever have taken another road? I see my music now as a synthesis of these elements, combined with what I learned from Grisey and the spectralists, and I detect from Kraft to my latest pieces the same underlying tastes and sense of drama.” – Magnus Lindberg The shift in musical thinking that Magnus Lindberg thus described in December 2012, a few weeks before the premiere of Era, was utter and profound. Lindberg’s composer profile has evolved from his early edgy modernism, “carved in stone” to use his own words, to the softer and more sonorous idiom that he has embraced recently, suggesting a spiritual kinship with late Romanticism and the great masters of the early 20th century. On the other hand, in the same comment Lindberg also mentioned features that have remained constant in his music, including his penchant for drama going back to the early defiantly modernistKraft (1985).
    [Show full text]
  • Em Residência 2010 040 Maestros Titulares 047 Orquestra Nacional Do Porto
    APOIO INSTITUCIONAL MECENAS PRINCIPAL DA CASA DA MÚSICA 2 MECENAS DA CASA DA MÚSICA 4 6 Índice 011 Introdução 017 Calendário Programação 032 Ano Áustria 2010 037 Compositores em Residência 2010 040 Maestros Titulares 047 Orquestra Nacional do Porto 054 À Sexta SÉRIE CLÁSSICA 074 Ao Sábado SÉRIE DESCOBERTA 088 Ao Domingo 100 Fora de Série 123 Remix Ensemble 143 Coro Casa da Música 161 Orquestra Barroca Casa da Música 173 Agrupamentos Associados 177 Ciclo Piano EDP e mais piano 195 Ciclo Jazz Galp 217 Domingo Ao Meio Dia 221 Terça Fim de Tarde 230 Festivais 248 Serviço Educativo Público Geral 256 Cursos, Seminários, Masterclasses, Workshops, Conferências/Debate 262 Edições Casa da Música 264 Fora de Casa A Casa da Música é membro de 272 Assinaturas 2010 8 Sob o signo de Janus Se tivesse de escolher hoje um símbolo para a Casa dade das propostas, mas sobretudo a sua articu- da Música ele seria com certeza Janus, essa extra- lação e coerência (sem dúvida uma das marcas ordinária gura da mitologia Romana: o deus mais importantes do legado de Pedro Burmester) bifronte, a quem foi concedido o dom de olhar têm, por seu lado, ganho legibilidade e gravidade simultaneamente em duas direcções opostas; o em circunstâncias que, encarecidas por uma certa deus que perscruta o passado e o futuro e que, excepcionalidade, só podem, a nal, ser classi - para os Antigos, representa a passagem ritual entre cadas como de normalidade institucional. Uma uma condição e outra – e, num dia sem névoa, a excepcional normalidade que é o que no fundo clarividência do presente, porque Janus, convém permite que as tensões inerentes ao acto de tomar lembrar, não é um deus da adivinhação.
    [Show full text]
  • Prog14 29 Maggio Canto
    Mercoledì 29 maggio 2019 Milano, Palazzina Liberty Dario Fo e Franca Rame CONCERTO ORE 19 Raffaele Sargenti, Liquid preludes* per voce sola (2018) Elisa Bonazzi, soprano Alessandro Solbiati, Tre Lieder su George (2006) per voce e pianoforte Valentina Piovano, soprano Gerardo De Pasquale, Silenzi irregolari* (2018) per due voci femminili Giulia Zaniboni e Felicita Brusoni, soprani Daniele Bravi, Lettere dal manicomio. Il lamento del Tasso (2009) per voce e pianoforte - Giulia Zaniboni, soprano Stefano Gervasoni, Tre canzoni popolari (2011/14) per voce, pianoforte e assistente - Maria Eleonora Caminada, soprano; Federica Passoni, assistente Yuko Ito, pianoforte CONCERTO ORE 21 Maurizio Azzan, Aria(e). Tre studi sull’aura* (2018) per voce, percussioni e dispositivo elettroacustico - Anna Piroli, soprano Pasquale Corrado, Lahmer (2011) per voce e percussioni Felicita Brusoni, soprano Federico Gardella, An die Nacht ( 2010) per voce femminile e un percussionista - Elisa Bonazzi, soprano Antonio Magnatta, percussioni Mauricio Kagel, Der Turm zu BaBel, Melodien für eine Solostimme** (2002) Elisa Bonazzi, Felicita Brusoni, Maria Eleonora Caminada, Anahita Malakooti, Valeria Matrosova, Gaia Mattiuzzi, Federica Passoni, Valentina Piovano, Anna Piroli, Giulia Zaniboni, Ilaria Zuccaro, soprani * prima esecuzione assoluta ** prima esecuzione italiana I due concerti di questa sera concludono il Call for Young Perfermers di canto che si è svolto nell’ambito di IDEA-International Divertimento EnsemBle Academy sotto la guida del soprano Alda Caiello. CONCERTO DELLE ORE 19 Raffaele Sargenti, Liquid preludes per voce sola (2018) I Liquid Preludes sono una momentanea “cristallizzazione vocale” in forma concertistica dei contenuti espressivi di #liquidOpera, organismo artistico ibrido e in continuo divenire (per info vedere: https://gruppo222.wixsite.com/liquidopera).
    [Show full text]
  • An Analytical and Educational Survey of Kenneth Hesketh's Vranjanka
    Columbus State University CSU ePress Theses and Dissertations Student Publications 5-2008 An Analytical and Educational Survey of Kenneth Hesketh's Vranjanka Alisha Marie Wooley Columbus State University Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Education Commons Recommended Citation Wooley, Alisha Marie, "An Analytical and Educational Survey of Kenneth Hesketh's Vranjanka" (2008). Theses and Dissertations. 14. https://csuepress.columbusstate.edu/theses_dissertations/14 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. Digitized by the Internet Archive in 2012 with funding from LYRASIS Members and Sloan Foundation http://archive.org/details/analyticaleducatOOwool The undersigned, appointed by the Schwob School of Music at Columbus State University, have examined the Graduate Music Project titled AN ANALYTICAL AND EDUCATIONAL SURVEY OF KENNETH HESKETFLS VRANJANKA presented by Alisha Marie Wooley a candidate for the degree of Master of Music in Music Education and hereby certify that in their opinion it is worthy of acceptance. Columbus State University AN ANALYTICAL AND EDUCATIONAL SURVEY OF KENNETH HESKETH'S VRANJANKA By Alisha Marie Wooley A MASTERS THESIS Submitted to the Faculty of Columbus State University in partial fulfillment of the requirements for the degree of Master of Music Education Columbus, Georgia
    [Show full text]
  • MIGUEL FARÍAS — up and Down
    MIGUEL FARÍAS Up and down Laurent Bruttin Ensemble Contrechamps . Michael Wendeberg Ensemble Zero PHACE . Simeon Pironkoff Ensemble Vortex 1999 20 YEARS 2019 © Max Sotomayor MIGUEL FARÍAS (*1983) 1 Up & down: Lecturas Críticas (2016) 22:56 for bass / contrabass clarinet and ensemble 2 Estelas (2010) 11:59 for clarinet, percussion, piano and violoncello 3 CBR (2013) 12:01 for flute, percussion, piano and violoncello 4 Palettes (2013) 09:03 for baritone sax, percussion, piano and violoncello 5 Une voix liquide (2018) 13:28 for ensemble and electronics TT 69:38 3 1 Laurent Bruttin, clarinet 4 PHACE: Ensemble Contrechamps Lars Mlekusch, saxophone Michael Wendeberg, conductor Mathilde Hoursiangou, piano Berndt Thurner, percussion 2 Ensemble Contrechamps: Roland Schueler, cello Laurent Bruttin, clarinet Simeon Pironkoff, conductor François Volpé, percussion Benjamin Kopp, piano 5 Ensemble Vortex: Oliviert Marron, violoncello Anne Gillot, bass clarinet Max Dazas, percussion 3 Ensemble Zero: Jocelyne Rudasiwa, cembalo Guillermo Lavado, flute Mauricio Carrasco, guitar Luis Alberto Latorre, piano Hannah Walter, violin Gerardo Salazar, percussion Benoît Morel, viola Celso López, violoncello Aurélien Ferrete, cello Arturo Corrales, electronics 4 28 32 7 121 respirations ad libitum 137 œ #œ œ œ œ œ œ œ œ #œ œ œ œ #œ œ œ œ 8 Fl. ° Fl. ° & bw ˙ ˙ bw & ≈ ‰ ‰ ‰ p mp f f f mp Htb. œ #œ œ œ œ œ œ œ œ & ∑ ∑ ∑ Htb. & œ #œ œ œ ≈ ‰ ‰ ‰ œ #œ œ œ f f f mp œ #œ œ œ œ #œ œ œ Bson. ? ∑ ∑ ∑ Bson. ? ≈ ‰ ‰ ‰ ¢ ¢ œ #œ œ œ œ œ œ œ œ mp f f f Sourdine Wah ¯ Tptte.
    [Show full text]
  • Accademia Nazionale Di Santa Cecilia
    Santa Cecilia di Nazionale Accademia Accademia Nazionale di Santa Cecilia Bilancio di missione / Bilancio di esercizio Annuario 2015 Bilancio 2015 Accademia Nazionale di Santa Cecilia Bilancio di missione / Bilancio di esercizio Annuario 2015 Volume a cura di Federico Ribechi Fotografie diMusacchio & Ianniello tranne quelle alle pp. 161 e 162 Progetto grafico e impaginazioneVenti caratteruzzi ©2016 Accademia Nazionale di Santa Cecilia - Fondazione Tutti i diritti riservati Indice 9 Michele dall’Ongaro 74 Evoluzione prevedibile della gestione 11 Antonio Pappano 75 Fatti di rilievo avvenuti dopo la chiusura dell’esercizio 13 Ciro Visco 75 Altre informazioni 76 Il bilancio dell’esercizio al 31/12/2015 14 Una scelta di valore 76 Stato patrimoniale attivo 78 Stato patrimoniale passivo 18 Identità sociale dell’Accademia 79 Conto economico 19 Una storia lunga quattro secoli 81 Conto consuntivo 2015 in termini di cassa 19 Le origini 81 Nota integrativa 20 L’evoluzione normativa 120 Relazione del Collegio dei Revisori 22 L’Accademia Nazionale di Santa Cecilia oggi 134 Relazione della società di revisione 24 L’Auditorium Parco della Musica 136 Il valore aggiunto della Fondazione 26 La missione 26 La diffusione dell’arte musicale 140 Il valore sociale 27 La valorizzazione del proprio patrimonio storico 140 Il valore prodotto in numeri e la catena del valore 27 L’educazione musicale della collettività 146 La diffusione dell’arte musicale 27 La formazione professionale dei quadri artistici 146 La stagione sinfonica 27 La valorizzazione dei propri complessi
    [Show full text]
  • Mise En Page 1
    ENSEMBLE ALTERNANCE 2012/2013 ENSEMBLE ALTERNANCE : Frédéric Baldassare : cello, Jean-Marie Cottet : piano, Dirk Descheemaeker : clarinet, Jacques Ghestem : violin, Jean-Luc Menet : artistic manager & flute, Claire Merlet : viola, Dimitri Vassilakis : piano Mark Andre, Pierre Boulez, Raphaël Cendo, Geoffroy Drouin, Helmut Lachenmann, Philipp Maintz, Hans Thomalla, Luca Antignani, Alireza Farhang, Federico Gardella,Gérard Grisey, Olga Neuwirth, Gérard Pesson, Alessandro Solbiati, Nicolas Tzortzis 2012/2013 INSECURITY... Under the influence of the current events and the media hiccup, the meaning of some words is often reduced to a limited field. Replaced in the context of our concern, the word insecurity takes another meaning and reveals all its positive value. Because the matter is here about a fertile insecurity which replaces human in his dignity and his capacity in the knowledge from which he draws means to act. "The mistakes and the wandering are inevitable when we advance on what is unusual " says Heidegger, an unusual of which the insecurity becomes then an integrated element. If we had to search for a common point between the composers scheduled during the 2012-2013 season, we could find this one : the insecurity, as a fertile compost of the imagination and convenient to the emergence of an authentic and new musical thought: a novelty about which Pierre Boulez will say « it is the unpredictable which becomes required ", and which the expression reveals a real thought educating others by a curiosity in front of all which seems to be obvious. But there is also a necessity of another nature: that the reflection in a musical thought and then the act of writing are imperative upon these composers with sometimes almost an urgency and such an acuteness as this neccesity may be considered as a strength of life.
    [Show full text]
  • Ciclo Internacional De Música “Laberintos Sonoros” - Música En México
    Ciclo internacional de música “Laberintos sonoros” - Música en México http://musicaenmexico.com.mx/ciclo-internacional-musica-laberintos-... (http://musicaenmexico.com.mx) MENÚ Julio 14, 2016 4:25 pm (http://musicaenmexico.com.mx/ciclo-internacional-musica-laberintos-sonoros/) Comparte (https://www.facebook.com/sharer/sharer.php?l=http://musicaenmexico.com.mx/ciclo- internacional-musica-laberintos-sonoros/) (https://twitter.com/intent/tweet?text=Ciclo internacional de música “Laberintos sonoros”&url=http://musicaenmexico.com.mx/ciclo-internacional-musica- laberintos-sonoros/) (https://plus.google.com/share?url=http://musicaenmexico.com.mx/ciclo- internacional-musica-laberintos-sonoros/) 1 of 8 23/05/17, 15:38 Ciclo internacional de música “Laberintos sonoros” - Música en México http://musicaenmexico.com.mx/ciclo-internacional-musica-laberintos-... El CENART e Ibermúsicas presentan el Ciclo internacional de música “Laberintos sonoros” una serie de conferencias, cursos y conciertos coordinados por Javier Torres Maldonado, compositor en residencia en el CENART. En el encuentro también participarán dos conjuntos instrumentales en residencia en el CENART: Dynamis Ensemble (Milán, Italia) y Ensamble Taller Sonoro (Sevilla, España), además de los compositores invitados: Iñaki Estrada (España) y Gabriele Manca (Italia) “Laberintos sonoros” tendrá lugar en diferentes espacios del Centro Nacional delas Artes del 25 al 30 de julio de 2016. La entrada libre y el cupo limitado. Programa de actividades Lunes 25 de julio Salón de usos múltiples de la Biblioteca de las Artes 13:00 h A 450 años de la muerte de Carlo Gesualdo: proyección de la película O dolorosa gioia. Carlo Gesualdo, Príncipe di Venosa (1566-1613) (¡Oh dolorosa alegría! Carlo Gesualdo, Príncipe de Venosa) Director: Francesco Leprino.
    [Show full text]
  • New Music Festival November 5-9, 2018
    University of Louisville School of Music Presents the Annual New Music Festival November 5-9, 2018 FEATURED GUEST COMPOSER Amy Williams GUEST ARTISTS Sam Pluta Elysian Trombone Consort A/Tonal Ensemble New Music Festival November 5-9, 2018 Amy Williams featured composer Table of Contents Greetings From Dr. Christopher Doane, Dean of the School of Music 3 Biography Amy Williams, Featured Composer 5 Sunday, November 4 Morton Feldman: His Life & Works Program 6 Monday, November 5 Faculty Chamber Music Program 10 Tuesday, November 6 Electronic Music Program 18 Wednesday, November 7 University Symphony Orchestra Program 22 Personnel 25 Thursday, November 8 Collegiate Chorale & Cardinal Singers Program 26 Personnel 32 Friday, November 9 New Music Ensemble & Wind Ensemble Program 34 Personnel 40 Guest Artist Biographies 41 Composer Biographies 43 1 Media partnership provided by Louisville Public Media 502-852-6907 louisville.edu/music facebook.com/uoflmusic Additional 2018 New Music Festival Events: Monday, November 5, 2018 Music Building Room LL28 Computer Music Composition Seminar with Sam Pluta Wednesday, November 7, 2018 Music Building Room 125 Composition Seminar with Amy Williams Thursday, November 8, 2018 Bird Recital Hall Convocation Lecture with Amy Williams To access the New Music Festival program: For Apple users, please scan the accompanying QR code. For Android users, please visit www.qrstuff.com/scan and allow the website to access your device’s camera. The New Music Festival Organizing Committee Dr. John Ritz, chair Dr. Kent Hatteberg Professor Kimcherie Lloyd Dr. Frederick Speck Dr. Krzysztof Wołek 2 The School of Music at the University of Louisville is strongly identified with the performance of contemporary music and the creation of new music.
    [Show full text]
  • Accroche Note
    ACCROCHE NOTE Mardi 12 juin, 20h Église Saint-Merri Ensemble Accroche Note Françoise Kubler soprano Anne-Cécile Cuniot flûte Armand Angster clarinette Nathanaëlle Marie violon Christophe Beau violoncelle Maxime Springer piano Emmanuel Séjourné percussion Luca Francesconi Time, real and imaginary Philippe Manoury Ultima Franco Donatoni ACCROCHE NOTE Cinis Philippe Manoury Hypothèses du sextuor Durée : 1h15 Production Accroche Note. En collaboration avec l’Église Saint-Merri et l’Ircam-Centre Pompidou. Mardi 12 juin, 20h Mardi Saint-Merri Église C’est à Armand Angster que je dois de m’avoir C’est un grand plaisir pour l’Ensemble Accroche poussé vers la musique de chambre. Sans lui, je Note de pouvoir présenter, en première audition à n’aurais certainement pas écrit la moitié de ce que Paris, les œuvres de compositeurs avec lesquels il j’ai écrit, tout simplement parce que je n’ai pas une a entretenu des rapports très étroits : Franco grande appétence pour ça. Les titres de mes pièces Donatoni, dont la rencontre en 1984 a induit de en témoignent, du reste. En 1996, je lui ai écrit nombreuses et flamboyantes partitions ; Philippe Ultima – avec l’idée que ce serait la dernière. Et Manoury, dont l’Ensemble veut fêter les soixante puis il est revenu à la charge, et je lui ai écrit Last ans et dont il a d’ailleurs réalisé un disque l’année suivante… Comme si ma dernière incursion monographique ; Luca Francesconi, enfin, au dans la musique de chambre était toujours travers de l’une de ses dernières œuvres dont il a repoussée ! Grâce à Armand.
    [Show full text]
  • Mardi 3 Octobre Ensemble Intercontemporain Ensemble Inte
    Jean-Philippe Billarant, Président du Conseil d’administration Laurent Bayle, Directeur général Mardi 3 octobre Ensemble intercontemporain Dans le cadre du cycle Londres Du mercredi 20 septembre au jeudi 5 octobre 2006 di 3 octobre Mar Vous avez la possibilité de consulter les notes de programme en ligne, 2 jours avant chaque concert, à l’adresse suivante : www.cite-musique.fr Ensemble intercontemporain Ensemble Cycle Londres DU MERCREDI 20 SEPTEMBRE AU JEUDI 5 OCTOBRE Londres : la ville de Purcell, de Haydn, de Britten, mais aussi l’un des berceaux MERCREDI 20 SEPTEMBRE, 20h de la pop, des Beatles à Marianne Faithfull et au-delà. Autour de l’intégrale des douze symphonies dites londoniennes de Haydn, Intégrale des Symphonies un instantané musical de la capitale anglaise, entre humour et solennité, londoniennes I tradition et modernité… Joseph Haydn Nombre de symphonies de Haydn portent des titres imagés, donnés après coup Symphonie no 103 par les chroniqueurs en référence à un motif de l’œuvre ou à un événement Symphonie no 102 qui en a marqué l’exécution. Les symphonies londoniennes ne font pas exception. Symphonie no 104 Toutefois, au-delà des anecdotes qu’elles ont pu susciter, c’est au sein de la grande histoire des formes musicales que ces pages ont laissé leur empreinte. Orchestra of the Age C’est de Londres, où il séjourna de 1791 à 1795, que Haydn rapporta un livret of Enlightenment qui avait d’abord été destiné à Haendel. Ce livret deviendra celui de La Création, Frans Brüggen, direction sans doute son œuvre la plus célèbre.
    [Show full text]
  • Atti Parlamentari
    Senato della Repubblica – 337 – Camera dei deputati XVII LEGISLATURA — DISEGNI DI LEGGE E RELAZIONI — DOCUMENTI — DOC. XV N. 562 VOL. I ~ THO é I~~UNAl ,E ..,: ~ di 801,0CNA ~ lon d "z i o r, f' dello spettacolo con significative riduzioni sul prezzo del biglietto. Per il pubblico scolastico ed universitario sono state inoltre previste: Opere: le prove generali di Un ballo in maschera il 10 gennaio, Madama Butterfly il 12 febbraio, Don Pasquale il 17 febbraio, Macbeth il 3 ottobre, L’elisir d’amore il 12 dicembre. Posto unico 7,00 Euro. Balletto: le prove generali di La Sagra della primavera in data 10 e 11 marzo. Posto unico 5,00 Euro. Prove d’Orchestra: gli studenti delle Scuole Medie, degli Istituiti Superiori e dell’Università hanno assistito presso il Teatro Manzoni ai seguenti Concerti della Stagione Sinfonica 2015: • il 30 gennaio, concerto diretto da Juraj Val• uha; • il 28 marzo, concerto diretto da Michele Mariotti; • il 30 aprile, concerto diretto da Juraj Val• uha; • il 7 maggio, concerto diretto da Roberto Abbado; • il 19 giugno, concerto diretto da Nicolaj Znaider; • il 5 novembre, concerto diretto da Michele Mariotti; • il 26 novembre, concerto diretto da Lothar Zagrosek; • il 1 dicembre, concerto diretto da Omer Mer Wellber; • il 4 dicembre, concerto diretto da Dmitri Liss. Posto unico 2,00 Euro Concerti: Lezione Concerto con i Filarmonici del Teatro Comunale di Bologna, il 23 febbraio, commentata da Fabrizio Festa e realizzata con il contributo della cooperativa Ansaloni. Le lezioni concerto sono offerte agli studenti perché imparino a conoscere i segreti degli strumenti e alcuni tra i più rappresentativi compositori del panorama musicale internazionale.
    [Show full text]