Phantom Thread Tyrone, Riveting Attention Here As She Has Just Done, to Oscar-Nominated Effect, in Phantom Thread.” with Live Score

Total Page:16

File Type:pdf, Size:1020Kb

Phantom Thread Tyrone, Riveting Attention Here As She Has Just Done, to Oscar-Nominated Effect, in Phantom Thread.” with Live Score Adam E. Max, Chairman of the Board Katy Clark, President William I. Campbell, Vice Chairman of the Board Joseph V. Melillo, Executive Producer BAM and Wordless Music present Paul Thomas Anderson’s “… searing emotional intensity is supplied by Lesley Manville as Mary Phantom Thread Tyrone, riveting attention here as she has just done, to Oscar-nominated effect, in Phantom Thread.” with Live Score —THE TELEGRAPH (UK) Feb 24, 2018 at 8pm; Feb 25 at 3:30pm | BAM Howard Gilman Opera House “[Jeremy Irons gives] a masterly performance, from incandescent Original music by Jonny Greenwood anger to final forlorn despair … ” London Contemporary Orchestra —THE SUNDAY TIMES (UK) Robert Ames, conductor Galya Bisengalieva, concertmaster/solo violin Katherine Tinker, piano MAY 8—27 Jonathan Green, sound engineer Wordless Music Orchestra LONG DAY’S JOURNEY Photo: Lesley Manville and Jeremy Irons, by Hugo Glendinning INTO NIGHT BY EUGENE O’NEILL BRISTOL OLD VIC Major Sponsor of Music Programming at BAM: TICKETS START AT $35 / 718.636.4100 Season Sponsor: Major support for Long Day’s Journey Into Night provided Support for the Signature Artist Series provided by: BAM.org by the Richenthal Foundation. Leadership support for BAM Cinema programs provided by The Thompson Family Foundation. Wordless Music Orchestra Who’s Who VIOLIN VIOLA CLARINET outdoor audience of 7,000 at Prospect Park in array of musicians, artists, creative figures, platforms, Tom Chiu Jarvis Benson Patricia Billings Brooklyn; with the legendary Kranky ambient duo Stars and venues such as Radiohead, Frank Ocean, Jed Daniel Constant Caleb Burhans Eileen Mack of the Lid; and with John Cale as part of the BAM Next Kurzel, Jonny Greenwood, Steve Reich, Justice, Terry Monica Davis Isabel Hagen Wave Festival. Riley, Thom Yorke, Mica Levi, Actress, Beck, William Fung Chern Hwei Karen Waltuch BASSOON Basinski, Richard Reid Parry, Goldfrapp, James Molly Germer Kenny Wang Nanci Belmont In 2014, WMO performed with Jonny Greenwood at Lavelle, Secret Cinema, Vivienne Westwood, Nike, Bill Conrad Harris Erin Wight the Big Ears festival in Knoxville, and in the US live Morrison, Conrad Shawcross, Ron Arad, Hannah Perry, Pauline Kim Harris PIANO score premiere of Paul Thomas Anderson’s There Will NTS, Boiler Room, DAZED, Resident Advisor, Meltdown Patti Kilroy CELLO Timo Andres Be Blood. Also in 2014, WMO made its Australian Festival, The Barbican, Southbank Centre, The Laura Lutzke Felix Fan debut with Max Richter at the Sydney Opera House Roundhouse, Printworks, Tate Modern, BBC Proms, Gillian Rivers Clarice Jensen HARP and Melbourne Recital Centre. In 2015, the orchestra and others. Ben Russell Clara Kennedy Jacqui Kerrod made its Los Angeles debut with composer/conductor Andie Springer Rubin Kodheli Mica Levi in the US live premiere of Under the LCO has a strong recording and performance record Mary Jo Stilp Lauren Radnofsky PRODUCTION Skin; performed the US premiere of Pablo Berger’s for film, television, and music, having recorded Richie Clarke Blancanieves; and reprised its collaboration with soundtracks such as The Master, Alien: Covenant, BASS Benh Zeitlin and Dan Romer for an encore of Beasts Macbeth, Phantom Thread, Assassins’ Creed, You Logan Coale PRODUCER of the Southern Wild in New Orleans. WMO has Were Never Really Here, McMafia, Suspiria, American Patrick Duff Ronen Givony previously appeared at BAM in John Cale: The Velvet Animals, has performed live Moonlight, There Will Be Chris Johnson Underground & Nico (2017), and screenings of Punch- Blood, and Under the Skin, and its strings and choir Drunk Love and The Tree of Life (both 2016). featured heavily on Radiohead’s 2016 A Moon Shaped Pool. Who’s Who In 2017—18, Wordless Music Orchestra performs world premiere live scores for Barry Jenkins’ Moonlight Upcoming projects include: A world tour of Phantom WORDLESS MUSIC ORCHESTRA is the house band recorded with Tyondai Braxton for Central Market, the in London and LA; Terrence Malick’s Voyage of Time at Thread performed live, a development collaboration of New York’s Wordless Music series, which was composer’s solo debut on Warp Records, and went on the Melbourne Festival; Stanley Kubrick’s Barry Lyndon with Erased Tapes label, a new organ concerto with founded by non-musician Ronen Givony in 2006, tour to Lincoln Center, the Library of Congress, and and Ava DuVernay’s Selma in New York; and Paul Philip Glass, a studio album with Actress, a new and has since presented concerts around the world, Walker Art Center. In 2010, WMO performed alongside Thomas Anderson’s Phantom Thread in New York and collaboration with Hannah Perry and Mica Levi, and pairing artists from the sound worlds of so-called the Hilliard Ensemble and Latvian National Choir as LA. a new live show of Become Ocean developed with classical, electronic, and rock music. Comprising part of Lincoln Center’s inaugural White Light Festival, Universal Assembly Unit. New York’s most omnivorous young musicians, and in music by Kjartan Sveinsson and Jónsi Birgisson of Wordless Music is represented exclusively by David members of groups such as Alarm Will Sound, ACME, Sigur Rós with Alex Somers; and at the Guggenheim Lieberman Artists. The LCO is a winner of the RPS “best ensemble” and Ensemble Signal, the orchestra presented its Museum rotunda in a collaboration with visual artist award, the UK’s highest accolade for an orchestral first concerts over two sold-out nights in 2008 under Dominique Gonzalez-Foerster for Gavin Bryars’ Sinking LONDON CONTEMPORARY ORCHESTRA is a group. conductor Brad Lubman, with the US premiere of of the Titanic. leading, global, orchestral group focused on playing, Jonny Greenwood’s Popcorn Superhet Receiver, on a commissioning, and developing new music and program with music of Gavin Bryars and John Adams. On September 11, 2011, WMO performed a memorial artistic output. Alongside working with well-known THANK YOU: Paul Thomas Anderson, Jonny concert for the 10th anniversary of the September 11 artists, LCO focus on developing a diverse next Greenwood, Erica Frauman, Bryce Edge, JoAnne In 2009, Arvo Pärt’s Symphony No. 4 had its New attacks in the Temple of Dendur at the Metropolitan generation of players, conductors, and composers by Sellar, Lisa Bunnell, Robert Ames, Finbar Mostyn- York premiere in two concerts at which WMO also Museum of Art, with the world premiere orchestration creating opportunities for them to work at the highest Williams, Simon Hendry. played with the Japanese instrumental noise-rock band of William Basinski’s Disintegration Loop 1.1. In 2013, professional level. MONO. These shows were recorded and released by the orchestra performed the world premiere live score Temporary Residence as Holy Ground: NYC Live with to the film Beasts of the Southern Wild with director Formed in 2008 by co-artistic directors Robert Ames the Wordless Music Orchestra. Also in 2009, WMO and composer Benh Zeitlin and Dan Romer, for an and Hugh Brunt, the LCO has collaborated with a wide Wordless Music Orchestra Who’s Who VIOLIN VIOLA CLARINET outdoor audience of 7,000 at Prospect Park in array of musicians, artists, creative figures, platforms, Tom Chiu Jarvis Benson Patricia Billings Brooklyn; with the legendary Kranky ambient duo Stars and venues such as Radiohead, Frank Ocean, Jed Daniel Constant Caleb Burhans Eileen Mack of the Lid; and with John Cale as part of the BAM Next Kurzel, Jonny Greenwood, Steve Reich, Justice, Terry Monica Davis Isabel Hagen Wave Festival. Riley, Thom Yorke, Mica Levi, Actress, Beck, William Fung Chern Hwei Karen Waltuch BASSOON Basinski, Richard Reid Parry, Goldfrapp, James Molly Germer Kenny Wang Nanci Belmont In 2014, WMO performed with Jonny Greenwood at Lavelle, Secret Cinema, Vivienne Westwood, Nike, Bill Conrad Harris Erin Wight the Big Ears festival in Knoxville, and in the US live Morrison, Conrad Shawcross, Ron Arad, Hannah Perry, Pauline Kim Harris PIANO score premiere of Paul Thomas Anderson’s There Will NTS, Boiler Room, DAZED, Resident Advisor, Meltdown Patti Kilroy CELLO Timo Andres Be Blood. Also in 2014, WMO made its Australian Festival, The Barbican, Southbank Centre, The Laura Lutzke Felix Fan debut with Max Richter at the Sydney Opera House Roundhouse, Printworks, Tate Modern, BBC Proms, Gillian Rivers Clarice Jensen HARP and Melbourne Recital Centre. In 2015, the orchestra and others. Ben Russell Clara Kennedy Jacqui Kerrod made its Los Angeles debut with composer/conductor Andie Springer Rubin Kodheli Mica Levi in the US live premiere of Under the LCO has a strong recording and performance record Mary Jo Stilp Lauren Radnofsky PRODUCTION Skin; performed the US premiere of Pablo Berger’s for film, television, and music, having recorded Richie Clarke Blancanieves; and reprised its collaboration with soundtracks such as The Master, Alien: Covenant, BASS Benh Zeitlin and Dan Romer for an encore of Beasts Macbeth, Phantom Thread, Assassins’ Creed, You Logan Coale PRODUCER of the Southern Wild in New Orleans. WMO has Were Never Really Here, McMafia, Suspiria, American Patrick Duff Ronen Givony previously appeared at BAM in John Cale: The Velvet Animals, has performed live Moonlight, There Will Be Chris Johnson Underground & Nico (2017), and screenings of Punch- Blood, and Under the Skin, and its strings and choir Drunk Love and The Tree of Life (both 2016). featured heavily on Radiohead’s 2016 A Moon Shaped Pool. Who’s Who In 2017—18, Wordless Music Orchestra performs world premiere live scores for Barry Jenkins’ Moonlight Upcoming projects include: A world tour of Phantom WORDLESS MUSIC ORCHESTRA is the house band recorded with Tyondai Braxton for Central Market, the in London and LA; Terrence Malick’s Voyage of Time at Thread performed live, a development collaboration of New York’s Wordless Music series, which was composer’s solo debut on Warp Records, and went on the Melbourne Festival; Stanley Kubrick’s Barry Lyndon with Erased Tapes label, a new organ concerto with founded by non-musician Ronen Givony in 2006, tour to Lincoln Center, the Library of Congress, and and Ava DuVernay’s Selma in New York; and Paul Philip Glass, a studio album with Actress, a new and has since presented concerts around the world, Walker Art Center.
Recommended publications
  • LCO Jonny Greenwood Feb FINAL HB
    For immediate release Jonny Greenwood and the London Contemporary Orchestra Soloists in concert Sunday 23 February 2014 Wapping Hydraulic Power Station, E1W PerFormance at 7:30pm Tickets: £28 (incl. booking fee) www.lcorchestra.co.uk Guitarist and acclaimed composer Jonny Greenwood is once again joining forces with the London Contemporary Orchestra (LCO) to present a special one-off performance featuring music from his catalogue of film scores as well as a showcase of new material by Greenwood, at the Wapping Hydraulic Power Station in East London, Sunday 23 February 2014. Greenwood will appear alongside the LCO Soloists playing guitar, electronics and the Ondes Martenot. In addition to music by Greenwood, which includes cues from his scores for the Oscar and BAFTA-nominated films There Will Be Blood and The Master, and Japanese film Norwegian Wood based on the book by Haruki Murakami, the concert features works by J.S. Bach, Henry Purcell and contemporary British composer Edmund Finnis. This performance will mark a continued creative relationship between the London Contemporary Orchestra and Jonny Greenwood. The LCO has been performing Greenwood’s orchestral works since 2008 and this concert, curated by Greenwood and the LCO’s Artistic Directors Hugh Brunt and Robert Ames, will be the second major collaboration between the composer and orchestra since the LCO performed and recorded the score for the lauded 2012 film The Master, directed by Paul Thomas Anderson and starring Philip Seymour Hoffman and Joaquin Phoenix. Since 2003 Greenwood has become well known for his work as a film composer, and has scored five major films, including Bodysong, There Will Be Blood, We Need To Talk About Kevin, Norwegian Wood and The Master.
    [Show full text]
  • Vivid Sydney Media Coverage 1 April-24 May
    Vivid Sydney media coverage 1 April-24 May 24/05/2009 Festival sets the city aglow Clip Ref: 00051767088 Sunday Telegraph, 24/05/09, General News, Page 2 391 words By: None Type: News Item Photo: Yes A SPECTACLE of light, sound and creativity is about to showcase Sydney to the world. Vivid Sydney, developed by Events NSW and City of Sydney Council, starts on Tuesday when the city comes alive with the biggest international music and light extravaganza in the southern hemisphere. Keywords: Brian(1), Circular Quay(1), creative(3), Eno(2), festival(3), Fire Water(1), House(4), Light Walk(3), Luminous(2), Observatory Hill(1), Opera(4), Smart Light(1), Sydney(15), Vivid(6), vividsydney(1) Looking on the bright side Clip Ref: 00051771227 Sunday Herald Sun, 24/05/09, Escape, Page 31 419 words By: Nicky Park Type: Feature Photo: Yes As I sip on a sparkling Lindauer Bitt from New Zealand, my eyes are drawn to her cleavage. I m up on the 32nd floor of the Intercontinental in Sydney enjoying the harbour views, dominated by the sails of the Opera House. Keywords: 77 Million Paintings(1), Brian(1), Eno(5), Festival(8), House(5), Opera(5), Smart Light(1), sydney(10), Vivid(6), vividsydney(1) Glow with the flow Clip Ref: 00051766352 Sun Herald, 24/05/09, S-Diary, Page 11 54 words By: None Type: News Item Photo: Yes How many festivals does it take to change a coloured light bulb? On Tuesday night Brian Eno turns on the pretty lights for the three-week Vivic Festival.
    [Show full text]
  • Originally Adaptated from French and Flemish Chansons, the Canzon Is a Type of Instrumental Music That Was Popularized in the 16Th and 17Th Centuries
    Originally adaptated from French and Flemish chansons, the canzon is a type of instrumental music that was popularized in the 16th and 17th centuries. Most often characterized with the opening dactylic rhythm (long, short, short), the canzon da sonar (chanson to be played) became independent of earlier vocal models in the 1570s, and by 1600 had become the most important form of instrumental music in Italy. Ensemble canzoni were composed by all sorts of musicians—from the master composer/organist Giovanni Gabrieli with his multi- choired works for the ceremonies at San Marco in Venice, to lesser-known Northern European composers like Erasmus Widmann, who spent most of his career working as court musician in the region of Germany near Nuremberg. Widmann’s canzoni, included in his Gantz Neue Cantzon, Intraden, Balletten und Couranten (Nuremberg, 1618) were considered his finest instrumental works. Strikingly similar to the Venetian canzoni of earlier decades, these canzoni were described by composer Michael Praetorius—the greatest musical academic of the day—as “fresh, joyful, and fast.” While most of the Venetian canzoni of the period are written in four parts, Widmann composed his instrumental music in five parts much like the music of his contemporaries Brade and Simpson. This scoring, with two equal soprano parts, makes Widmann’s canzoni particularly well suited to adaptation by the modern brass quintet. Charles Whittenberg's Little Fantasy on Bach's Advent-Chorale: “Nun komm, der heiden Heiland” (Cantata #62) had its premiere performance at Philharmonic Hall, Lincoln Center on December 31, 1968. After a statement of the Chorale theme, Whittenberg develops the material in a brilliant fashion.
    [Show full text]
  • CELEBRATING FORTY YEARS of FILMS WORTH TALKING ABOUT 39 Years, 2 Months, and Counting…
    5 JAN 18 1 FEB 18 1 | 5 JAN 18 - 1 FEB 18 88 LOTHIAN ROAD | FILMHOUSECinema.COM CELEBRATING FORTY YEARS OF FILMS WORTH TALKING ABOUT 39 Years, 2 Months, and counting… As you’ll spot deep within this programme (and hinted at on the front cover) January 2018 sees the start of a series of films that lead up to celebrations in October marking the 40th birthday of Filmhouse as a public cinema on Lothian Road. We’ve chosen to screen a film from every year we’ve been bringing the very best cinema to the good people of Edinburgh, and while it is tremendous fun looking back through the history of what has shown here, it was quite an undertaking going through all the old programmes and choosing what to show, and a bit of a personal journey for me as one who started coming here as a customer in the mid-80s (I know, I must have started very young...). At that time, I’d no idea that Filmhouse had only been in existence for less than 10 years – it seemed like such an established, essential institution and impossible to imagine it not existing in a city such as Edinburgh. My only hope is that the cinema is as important today as I felt it was then, and that the giants on whose shoulders we currently stand feel we’re worthy of their legacy. I hope you can join us for at least some of the screenings on this trip down memory lane... And now, back to the now.
    [Show full text]
  • London Contemporary Orchestra: Other Worlds Wednesday 31 October 2018 8Pm, Hall
    London Contemporary Orchestra: Other Worlds Wednesday 31 October 2018 8pm, Hall Giacinto Scelsi Uaxuctum: The Legend of the Maya City, destroyed by the Maya people themselves for religious reasons UK premiere interval 20 minutes John Luther Adams Become Ocean London Contemporary Orchestra and Choir Robert Ames conductor Universal Assembly Unit art direction Artrendex artificial intelligence London Contemporary Orchestra and Universal Assembly Unit are grateful to Arts Council England for their support for the visual elements of this concert Part of Barbican Presents 2018–19 Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. Please remember that to use our induction loop you should switch your hearing aid to T setting on entering the hall. If your hearing aid is not correctly set to T it may cause high-pitched feedback which can spoil the enjoyment of your fellow audience members. We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it with a handkerchief. The City of London If anything limits your enjoyment please let us know Corporation is the founder and during your visit. Additional feedback can be given principal funder of online, as well as via feedback forms or the pods the Barbican Centre located around the foyers.
    [Show full text]
  • Tourism's Final Frontier
    Perspectıve THE BREWIN DOLPHIN MAGAZINE SPRING 2018 China’s century How China will shape the next 100 years A richer later life Why people are choosing to reject retirement Grand designs The restoration of Wentworth Woodhouse Tourism’s THE BREWIN DOLPHIN MAGAZINE final frontier Is space tourism just around the corner? SPRING 2018 COMPETITION BRAIN FOOD Complete our latest crossword to win an amazing National Geographic Newtonian telescope to help you see the solar system. It’s the perfect mirror telescope for beginners and amateur astronomers, and comes with a tripod and numerous lenses. Simply solve the crossword and rearrange the letters in the yellow squares to find a space-related word. Email the mystery word to us and we’ll pick the winner at random. Across Down 1. Extraordinary natural wonder 2. Deep, inarticulate sound in 1 2 3 4 56 situated on the border between response to pain or despair (5) 7 8 Brazil and Argentina (6,5) 3. Bow and arrow sport (7) 9. Small Italian dumplings (7) 4. Football soap opera, which 9 10 10. In Cajun cooking, a spicy appeared on BBC between chicken soup thickened with 1965 and 1967 (6) okra or rice (5) 5. Simple, non-flowering plants 11 12 11. In weight, one-sixteenth of a of a large group, which pound (5) includes seaweeds (5) 12. Mountain scaled by Hillary and 6. Scot who replaced Mark 13 14 15 16 Tenzing in 1953 (7) Hughes as Stoke City 13. Allison Janney has won many manager (7) 17 awards for her performance 7.
    [Show full text]
  • Ojai North Music Festival
    CAL PERFORMANCES PRESENTS Thursday–Saturday, June 19–21, 2014 Hertz Hall Ojai North Music Festival Jeremy Denk Music Director, 2014 Ojai Music Festival Thomas W. Morris Artistic Director, Ojai Music Festival Matías Tarnopolsky Executive and Artistic Director, Cal Performances Robert Spano, conductor Storm Large, vocalist Timo Andres, piano Aubrey Allicock, bass-baritone Kim Josephson, baritone Dominic Armstrong, tenor Ashraf Sewailam, bass-baritone Rachel Calloway, mezzo-soprano Peabody Southwell, mezzo-soprano Keith Jameson, tenor Jennifer Zetlan, soprano The Knights Eric Jacobsen, conductor Brooklyn Rider Uri Caine Ensemble Hudson Shad Ojai Festival Singers Kevin Fox, conductor Ojai North is a co-production of the Ojai Music Festival and Cal Performances. Ojai North is made possible, in part, by Patron Sponsors Liz and Greg Lutz. Cal Performances’ – season is sponsored by Wells Fargo. CAL PERFORMANCES 13 FESTIVAL SCHEDULE Thursday–Saturday, June 19–21, 2014 Hertz Hall Ojai North Music Festival FESTIVAL SCHEDULE Thursday, June <D, =;<?, Cpm Welcome : Cal Performances Executive and Artistic Director Matías Tarnopolsky Concert: Bay Area première of The Classical Style: An Opera (of Sorts) plus Brooklyn Rider plays Haydn Brooklyn Rider Johnny Gandelsman, violin Colin Jacobsen, violin Nicholas Cords, viola Eric Jacobsen, cello The Knights Aubrey Allicock, bass-baritone Dominic Armstrong, tenor Rachel Calloway, mezzo-soprano Keith Jameson, tenor Kim Josephson, baritone Ashraf Sewailam, bass-baritone Peabody Southwell, mezzo-soprano Jennifer Zetlan, soprano Mary Birnbaum, director Robert Spano, conductor Friday, June =;, =;<?, A:>;pm Talk: The creative team of The Classical Style: An Opera (of Sorts) —Jeremy Denk, Steven Stucky, and Mary Birnbaum—in a conversation moderated by Matías Tarnopolsky PLAYBILL FESTIVAL SCHEDULE Cpm Concert: Second Bay Area performance of The Classical Style: An Opera (of Sorts) plus Brooklyn Rider plays Haydn Same performers as on Thursday evening.
    [Show full text]
  • THIRD COAST PERCUSSION with Notre Dame Vocale, Carmen-Helena Téllez, Director PRESENTING SERIES TEDDY EBERSOL PERFORMANCE SERIES SUN, JAN 26 at 2 P.M
    THIRD COAST PERCUSSION with Notre Dame Vocale, Carmen-Helena Téllez, director PRESENTING SERIES TEDDY EBERSOL PERFORMANCE SERIES SUN, JAN 26 AT 2 P.M. LEIGHTON CONCERT HALL DeBartolo Performing Arts Center University of Notre Dame Notre Dame, Indiana AUSTERITY MEASURES Concert Program Mark Applebaum (b. 1967) Wristwatch: Geology (2005) (5’) Marc Mellits (b. 1966) Gravity (2012) (11’) Thierry De Mey (b. 1956) Musique de Tables (1987) (8’) Steve Reich (b. 1936) Proverb (1995) (14’) INTERMISSION Timo Andres (b. 1985) Austerity Measures (2014) (25’) Austerity Measures was commissioned by the University of Notre Dame’s DeBartolo Performing Arts Center and Sidney K. Robinson. This commission made possible by the Teddy Ebersol Endowment for Excellence in the Performing Arts. This engagement is supported by the Arts Midwest Touring Fund, a program of Arts Midwest, which is generously supported by the National Endowment for the Arts with additional contributions from the Indiana Arts Commission. PERFORMINGARTS.ND.EDU Find us on PROGRAM NOTES: Mark Applebaum is a composer, performer, improviser, electro-acoustic instrument builder, jazz pianist, and Associate Professor of Composition and Theory at Stanford University. In his TED Talk, “Mark Applebaum, the Mad Scientist of Music,” he describes how his boredom with every familiar aspect of music has driven him to evolve as an artist, re-imagining the act of performing one element at a time, and disregarding the question, “is it music?” in favor of “is it interesting?” Wristwatch: Geology is scored for any number of people striking rocks together. The “musical score” that tells the performs what to play is a watch face with triangles, squares, circles and squiggles.
    [Show full text]
  • 1 Loghaven Artist Residency Launches with Announcement Of
    Loghaven Artist Residency Launches with Announcement of Inaugural Artists and Completion of 90-Acre Campus First Artists in Residence Include Ann Carlson, Amy Lam, Jennifer Wen Ma, Daniel Bernard Roumain, Wendy Red Star, and Many Others Loghaven Facilities Include Purpose-Built Studios, New Equipment, and Artist Housing in Rehabilitated, Historic Log Cabins Open Call for Applications for 2021 Residencies to Begin June 1, 2020 Knoxville, TN – January 22, 2020 – Loghaven Artist Residency, a newly created residency for emerging and established artists in the fields of visual art, dance, music, writing, theater, and interdisciplinary work, announces its first group of artists and the completion of its campus. The launch of Loghaven Artist Residency is the culmination of years of planning, research, design, and input from artists, arts leaders, and the Alliance of Artist Communities. The residency features artist housing in historic, rehabilitated log cabins, as well as a newly constructed Performing Arts Studio and Visual Arts Studio, and a 3,900-square-foot Gateway Building with additional studio space and facilities for artists—all located on 90 acres of woodland, minutes from downtown Knoxville, Tennessee. Loghaven Artist Residency offers: • Facilities for dancers and theater makers—there are limited residencies that offer dancers and theater makers the facilities that are essential for their work. Loghaven has a professionally designed Performing Arts Studio and a Multidisciplinary Studio to support these practitioners. • Spaces for collaborative artist groups—the number of artists working collaboratively has grown significantly, and few residences are designed to accommodate this type of practice. Loghaven’s studio spaces serve the needs of collaborative teams: all are large enough for group work, and three of the artist cabins are suited for an intensive live/work experience for a collaborative team.
    [Show full text]
  • PDF Transition
    ! ! ! ! “FINGERS GLITTERING ABOVE A KEYBOARD:” ! THE KEYBOARD WORKS AND HYBRID CREATIVE PRACTICES OF ! TRISTAN PERICH! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! A Dissertation! Presented to the Faculty of the Graduate School! of Cornell University! in Partial Fulfillment of the Requirements for the Degree of! Doctor of Musical! Arts! ! ! by! David Benjamin Friend! May 2019! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! © 2019 David Benjamin! Friend! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! “FINGERS GLITTERING ABOVE A KEYBOARD:”! THE KEYBOARD WORKS AND HYBRID CREATIVE PRACTICES OF ! TRISTAN! PERICH! ! David Benjamin Friend, D.M.A.! Cornell University,! 2019! ! !This dissertation examines the life and work of Tristan Perich, with a focus on his works for keyboard instruments. Developing an understanding of his creative practices and a familiarity with his aesthetic entails both a review of his personal narrative as well as its intersection with relevant musical, cultural, technological, and generational discourses. This study examines relevant groupings in music, art, and technology articulated to Perich and his body of work including dorkbot and the New Music Community, a term established to describe the generationally-inflected structural shifts! in the field of contemporary music that emerged in New York City in the first several years of the twenty-first century. Perich’s one-bit electronics practice is explored, and its impact on his musical and artistic work is traced across multiple disciplines and a number of aesthetic, theoretical, and technical parameters. This dissertation also substantiates the centrality of the piano to Perich’s compositional process and to his broader aesthetic cosmology. A selection of his works for keyboard instruments are analyzed, and his unique approach to keyboard technique is contextualized in relation to traditional Minimalist piano techniques and his one-bit electronics practice." ! ! BIOGRAPHICAL! SKETCH! ! !! !David Friend (b.
    [Show full text]
  • The Time Is Now Thethe Timetime Isis Nownow Music Has the Power to Inspire, to Change Lives, to Illuminate Perspective, 20/21 SEASON and to Shift Our Vantage Point
    20/21 SEASON The Time Is Now TheThe TimeTime IsIs NowNow Music has the power to inspire, to change lives, to illuminate perspective, 20/21 SEASON and to shift our vantage point. featuring FESTIVAL Your seats are waiting. Voices of Hope: Artists in Times of Oppression An exploration of humankind’s capacity for hope, courage, and resistance in the face of the unimaginable PERSPECTIVES Rhiannon Giddens “… an electrifying artist …” —Smithsonian PERSPECTIVES Yannick Nézet-Séguin “… the greatest generator of energy on the international podium …” —Financial Times PERSPECTIVES Jordi Savall “… a performer of genius but also a conductor, a scholar, a teacher, a concert impresario …” —The New Yorker DEBS COMPOSER’S CHAIR Andrew Norman “… the leading American composer of his generation ...” —Los Angeles Times Left: Youssou NDOUR On the cover: Mirga Gražinytė-Tyla carnegiehall.org/subscribe | 212-247-7800 Photos: NDOUR by Jack Vartoogian, Gražinytė-Tyla by Benjamin Ealovega. Box Office at 57th and Seventh Rafael Pulido Some of the most truly inspiring music CONTENTS you’ll hear this season—or any other season—at Carnegie Hall was written in response to oppressive forces that have 3 ORCHESTRAS ORCHESTRAS darkened the human experience throughout history. Perspectives: Voices of Hope: Artists in Times of Oppression takes audiences Yannick Nézet-Séguin on a journey unique among our festivals for the breadth of music 12 these courageous artists employed—from symphonies to jazz to Debs Composer’s popular songs and more. This music raises the question of why, 13 Chair: Andrew Norman no matter how horrific the circumstances, artists are nonetheless compelled to create art; and how, despite those circumstances, 28 Zankel Hall Center Stage the art they create can be so elevating.
    [Show full text]
  • English Press
    English Press “These sisters have transformed the Piano Duo” THE NEW YORK TIMES “Whether Mozart or Stravinsky, their musical line always sounds as if its being woven for the very first time... But the illusion of improvisation is the genius of their performances. In all their recordings there is a deceptive sprezzatura that is born of throwing the preparation to the winds and hanging onto each each others ears.” THE TIMES “Rarely has the weft and warp of the score been so realized, its question-and-answer dialogue with such perfect (and natural) even-handedness.” GRAMOPHONE “The best piano duet in front of an audience today.” NEW YORK TIMES “The French sisters who over 20 years have revolutionized music for two pianos and four hands.” CLASSICAL CD “Katia and Marielle Labeque have led the field in more than 20 years of classical and jazz piano duo playing.” PIANIST “Labeque sisters, the most visible piano duo on the planet.” NEWSDAY “The most celebrated of piano duos.” CLASSIC FM “If duo pianists are required, who else but the Labeque sisters, Katia and Marielle.” THE NEW YORK SUN “So much glamour and charm surrounds the Labeque sisters, it’s hard not to drown in misty-eyed admiration.” HARPERS & QUEEN “They performance was a knockout! Katia and Marielle Labeque, the mop-maned French sisters who have made a specially of the repertoir for back-to-back pianos, combining familiar fare with a dazzling rarity, delivered it all with a welcome blend of theatricality and affection.” SAN FRANCISCO CHRONICLE “There were sophisticated and mischievcus tributes to Mozart and to Satie.
    [Show full text]