FINAL 2019 Program
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Viola Concerto) and 23 January 2009 (Symphony No
Recorded in Studio 1, BBC Maida Vale, London, on 24–25 January 2013 (Viola Concerto) and 23 January 2009 (Symphony No. 2) Recording engineer: Neil Pemberton Producer: Ann McKay Music published by Peters Edition The composer would like to thank the following for their generous financial support of this CD: Keith and Margaret Stanley, Gerry Wakelin, The John S. Cohen Foundation and The RVW Trust. Booklet notes: Giles Easterbrook and Matthew Taylor Design and layout: Paul Brooks, Design and Print, Oxford Executive producer: Martin Anderson TOCC 0175 © BBC/Toccata Classics 2013. The copyright in the recording is jointly owned by the BBC and Toccata Classics. The BBC, BBC Radio 3 and BBC Symphony Orchestra word marks and logos are trade-marks of the British Broadcasting Corporation and used under licence. BBC logo © BBC 2013 P 2013, Toccata Classics, London Britten’s The Turn of the Screw and Raskatov’s A Dog’s Heart for English National Opera, Cimarosa’s The Secret Marriage for Scottish Opera, Mozart’s La Clemenza di Tito at the Royal Northern College of Music and MATTHEW TAYLOR: A BIOGRAPHICAL OUTLINE Poulenc’s La Voix Humaine at the Linbury Studio Theatre at the Royal Opera House, Covent Garden. Outside the UK he as conducted Curlew River for Lyon Opera and a new production by Calixto Bieito of Hosakawa’s by Giles Easterbook Hanjo at the Ruhr Triennale. Future plans include appearances with the Adelaide Symphony, a return visit to the Auckland Matthew Taylor’s music combines traditional forms with a contemporary language which speaks to a wide Philharmonic, Pacific Symphony Orchestra, Dortmund Philharmoniker, Musikkollegium Winterthur, BBC range of listeners, taking its part in the symphonic narrative that blossomed with the ‘first Viennese school’ of National Orchestra of Wales and the BBC Scottish Orchestra. -
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Lydia Kakabadse : CONCERTATO The Coachman’s Terror (18:07) for violin, viola, cello, double bass 1 I Snow Storms Gather 2:55 2 II Stranded amidst Swirling Snows 2:34 3 III Evil Spirits Gather Round 4:29 4 IV A Landscape so Desolate 3:37 5 V Straying into the Unknown 4:30 Dance Sketches (10:03) for violin, viola, cello, double bass 6 I Arabian Folk Dance 3:39 7 II Stately Court Dance 4:05 8 III Dance of the Clockwork Toys 2:17 Concertato (11:32) for cello & double bass 9 I Andante espressione 2:46 10 II Andante legato 2:31 11 III Andante con brio 2:49 12 IV Andante energico 3:23 Two Chamber Songs (5:41) for mezzo-soprano, violin, viola, cello, double bass 13 Spellbound 2:21 14 Eldorado 3:19 Cantus Planus (12:08) for violin, viola, cello, double bass 15 I Matins3:56 16 II Lauds 3:45 17 III Vespers 4:25 Recitativo Arioso + Variations (11:10) for violin, viola, cello, double bass 18 I Recitativo Arioso 4:32 19 II First Variation 2:22 20 III Second Variation 4:14 total duration 68:43 CONCERTATO notes by the composer Originating from the Latin concertare meaning “to fight” or “contend with”, the term concertato was sometimes used in early Baroque music, involving “rivalry” or “contrast” between groups of singers/players. In the string quartets and especially the duet for cello and double bass in this album, each instrument contrasts and vies with the other(s). THE COACHMAN’S TERROR When I first came across the poem Devils by Alexander Pushkin (1799 – 1837), I was instantly inspired to set this powerfully atmospheric poem to music. -
Daniel Broncano , Clarinet
Daniel Broncano, clarinet www.danielbroncano.com [email protected] 0611422226 Rijn en Schiekade 19 Leiden 2311 AK EDUCATION Royal College of Music London Artist Diploma with Distinction – 2011-12 – Full Scholarship (Wilkins Mackerras Award / Ibercaja Award) studying with Janet Hilton, Timothy Lines and Richard Hosford Trinity College of Music London MMus (2009 - 11) Leverhulme Orchestral Mentorship scholarship, Comunidad de Madrid & AIE scholarships, studying with Joan Lluna and Michael Whight. École Nationale de Musique “Edgar Varese” de Gennevilliers, Paris 2008 – 09 studying with Nicolas Baldeyrou Royal Conservatoire of Music of Madrid Bachelor in Music with Distinction (2004-08) Masterclasses and private lessons with Martin Frost, Andreas Sunden, Olivier Patey, Julien Hervé, Antony Pay, Michael Collins, Yehuda Gilad, Emma Johnson, Arno Piters, Robert Plane, David Etheridge TEACHING AND OUTREACH Teaching Vivaldi Music Lessons, 2016 Clarinet Tutor, Leiden Leiden Klarinet Studio, 2016 Private practice, 3 students currently Royal College of Music Junior Department, 2014 to 2016 Deputy Clarinet Teacher Northwood College, 2013 to 2016 Independent school - Clarinet and saxophone teacher - Clarinet ensemble director St Augustine´s Priory, 2014 to 2016 Independent school - Clarinet and saxophone teacher - Clarinet ensemble director City Academy Hackne, 2012 to 2016 OFSTED “Outstanding school” - Clarinet, saxophone and flute teacher West London Free School, 2015 Clarinet, saxophone and piano teacher London Clarinet Studio, -
2019 Artist Residency Report
2019 Artist Residency Report Generously supported by The Francis W Reckitt Arts Trust 2019 A Year in Review….. This report gives an overview of the artists and projects which have been developed in 2019, supported by The Francis W Reckitt Arts Trust and Hawkwood. In the last year, we have worked with individual artists as well as groups of artists who have come together. We have welcomed a broad range of creative people from diverse backgrounds working on extraordinary projects and have partnered with regional and national organisations. 88 artists supported 22 musicians 23 devised theatre practitioners 23 writers 17 poets 3 visual artists 5 community sharing of work at the end of the residencies In addition to the artists mentioned in this report, we also welcomed 6 former Mount Pleasant artists. We delivered the programme by working with excellent organisations known for supporting new work including Strike A Light, Bristol Old Vic, The Royal Court Theatre, The Roundhouse and The London Theatre Consortium. Approximately 70 new works were created with many groups coming together for the first time. Further impact The impact of this programme has also encouraged other organisations such as Complicite Theatre Company, The Lyric Hammersmith and Julie’s Bicycle to join us at Hawkwood on a paid basis as they now value Hawkwood as a place to create work. At the end of some of the residencies we encouraged local audiences to see the works in progress and to offer feedback – this received a good response from artists and audience and is something we’d like to develop further next year. -
Toccata Classics TOCC0175 Notes
P MATTHEW TAYLOR: A BIOGRAPHICAL OUTLINE by Giles Easterbook Matthew Taylor’s music combines traditional forms with a contemporary language which speaks to a wide range of listeners, taking its part in the symphonic narrative that blossomed with the ‘irst Viennese school’ of composers like Haydn and Beethoven, continued to evolve in the twentieth century with composers from the fringes of Europe, not least Sibelius, Nielsen, Holmboe and Simpson, and lows onwards through the work of creative igures like Taylor himself. He was born in London in 1964 and studied composition at Cambridge University with Robin Holloway and later at the Royal Academy of Music with Edward Gregson. Friendship with Robert Simpson proved inspirational, a debt Taylor continues to repay by conducting Simpson’s music in concert and on CD – his account, with the City of London Sinfonia, of Simpson’s Eleventh Symphony (which is dedicated to Taylor) was selected as a ‘Record of the Year’ by BBC Radio 3 in 2004.1 Taylor’s widely performed Symphony No. 1 (1985) led to commissions for orchestral, chamber and solo works, and his scores have been championed by such orchestras as the BBC Symphony and BBC Scottish Symphony Orchestras and the City of London Sinfonia, ensembles including the Dante, Allegri and Delme Quartets, and a panoply of major musicians, among them the clarinettist Emma Johnson, lautist Emily Beynon, cellist Raphael Wallisch, horn-player Richard Watkins, the pianist John McCabe, and conductors who rank Martyn Brabbins, Tom Hammond, George Hurst and Garry Walker among their number. His catalogue includes three symphonies, concertos for piano, clarinet, horn, double bass, viola and violin, seven string quartets,2 two symphonic poems, a piano trio as well as numerous instrumental works and songs. -
TOCC0486DIGIBKLT.Pdf
MATTHEW TAYLOR: A BIOGRAPHICAL OUTLINE by Giles Easterbrook Matthew Taylor’s music combines traditional forms with a contemporary language which speaks to a wide range of listeners, taking its part in the symphonic narrative that blossomed with the ‘frst Viennese school’ of composers like Haydn and Beethoven and continued to evolve in the twentieth century with composers from the fringes of Europe, not least Sibelius, Nielsen, Holmboe and Simpson. It fows onwards through the work of creative fgures like Taylor himself. He was born in London in 1964 and studied composition at Cambridge University with Robin Holloway and later at the Royal Academy of Music with Edward Gregson. Friendship with Robert Simpson proved inspirational, a debt Taylor continues to repay by conducting Simpson’s music in concert and in recordings – his account, with the City of London Sinfonia, of Simpson’s Eleventh Symphony (which is dedicated to Taylor) was selected as a ‘Record of the Year’ by BBC Radio 3 in 2004.1 Taylor’s widely performed Symphony No. 1 (1985) led to commissions for orchestral, chamber and solo works, and his scores have been championed by such orchestras as the BBC Symphony and BBC Scottish Symphony Orchestras and the City of London Sinfonia, ensembles including the Dante, Allegri and Delme Quartets, and a panoply of major musicians, among them the clarinettist Emma Johnson, fautist Emily Beynon, cellist Raphael Wallfsch, horn-player Richard Watkins, the pianist John McCabe, and conductors who count Martyn Brabbins, George Hurst, Tom Hammond and Garry Walker among their number. His catalogue includes four symphonies, concertos for piano, clarinet, horn, double bass, viola, violin and fute, eight string quartets, two symphonic poems, two piano trios and two cello sonatas, as well as numerous other 1 Recorded in December 2003, it was released, with Simpson’s Variations on a Teme of Nielsen, on Hyperion cda67500 in August 2004.