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September 2019 Catalogue Issue 41 Prices Valid Until Friday 25 October 2019 Unless Stated Otherwise
September 2019 Catalogue Issue 41 Prices valid until Friday 25 October 2019 unless stated otherwise ‘The lover with the rose in his hand’ from Le Roman de la 0115 982 7500 Rose (French School, c.1480), used as the cover for The Orlando Consort’s new recording of music by Machaut, entitled ‘The single rose’ (Hyperion CDA 68277). [email protected] Your Account Number: {MM:Account Number} {MM:Postcode} {MM:Address5} {MM:Address4} {MM:Address3} {MM:Address2} {MM:Address1} {MM:Name} 1 Welcome! Dear Customer, As summer gives way to autumn (for those of us in the northern hemisphere at least), the record labels start rolling out their big guns in the run-up to the festive season. This year is no exception, with some notable high-profile issues: the complete Tchaikovsky Project from the Czech Philharmonic under Semyon Bychkov, and Richard Strauss tone poems from Chailly in Lucerne (both on Decca); the Beethoven Piano Concertos from Jan Lisiecki, and Mozart Piano Trios from Barenboim (both on DG). The independent labels, too, have some particularly strong releases this month, with Chandos discs including Bartók's Bluebeard’s Castle from Edward Gardner in Bergen, and the keenly awaited second volume of British tone poems under Rumon Gamba. Meanwhile Hyperion bring out another volume (no.79!) of their Romantic Piano Concerto series, more Machaut from the wonderful Orlando Consort (see our cover picture), and Brahms songs from soprano Harriet Burns. Another Hyperion Brahms release features as our 'Disc of the Month': the Violin Sonatas in a superb new recording from star team Alina Ibragimova and Cédric Tiberghien (see below). -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2021). New Music: Performance Institutions and Practices. In: McPherson, G and Davidson, J (Eds.), The Oxford Handbook of Music Performance. Oxford, UK: Oxford University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/25924/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] New Music: Performance Institutions and Practices Ian Pace For publication in Gary McPherson and Jane Davidson (eds.), The Oxford Handbook of Music Performance (New York: Oxford University Press, 2021), chapter 17. Introduction At the beginning of the twentieth century concert programming had transitioned away from the mid-eighteenth century norm of varied repertoire by (mostly) living composers to become weighted more heavily towards a historical and canonical repertoire of (mostly) dead composers (Weber, 2008). -
Liner Notes, Visit Our Web Site
“Music of Our Time” When I worked at Columbia Records during the second half of the 1960s, the company was run in an enlightened way by its imaginative president, Goddard Lieberson. Himself a composer and a friend to many writers, artists, and musicians, Lieberson believed that a major record company should devote some of its resources to projects that had cultural value even if they didn’t bring in big profits from the marketplace. During those years American society was in crisis and the Vietnam War was raging; musical tastes were changing fast. It was clear to executives who ran record companies that new “hits” appealing to young people were liable to break out from unknown sources—but no one knew in advance what they would be or where they would come from. Columbia, successful and prosperous, was making plenty of money thanks to its Broadway musical and popular music albums. Classical music sold pretty well also. The company could afford to take chances. In that environment, thanks to Lieberson and Masterworks chief John McClure, I was allowed to produce a few recordings of new works that were off the beaten track. John McClure and I came up with the phrase, “Music of Our Time.” The budgets had to be kept small, but that was not a great obstacle because the artists whom I knew and whose work I wanted to produce were used to operating with little money. We wanted to produce the best and most strongly innovative new work that we could find out about. Innovation in those days had partly to do with creative uses of electronics, which had recently begun changing music in ways that would have been unimaginable earlier, and partly with a questioning of basic assumptions. -
Download Program Notes
New York Philharmonic Presents Notes on the Program by Nadia Sirota, The Marie-Josée Kravis Creative Partner When it comes to expression, music age 30, she became the youngest recipient occupies a weird, slippery space; it’s of the Pulitzer Prize for Music for her Partita not exactly a language, but it is commu- for Eight Voices, a piece composed for the nicative. Much of music is abstract, it Grammy-winning vocal ensemble, Roomful points toward emotions without naming of Teeth, of which she is a member. Soon them, transmits thoughts obliquely, and afterward she began working with rapper sketches circles around concepts other- Kanye West on some recordings, and joined wise inexpressible. But when music is him as a performer and writer for his Life of deployed programmatically, in response Pablo album and tour in 2016. Vaulted into to something specific, it has the ability the spotlight by these events, Shaw has re- to pull the listener into a super-verbal tained a clear, honest, and musician-friendly realm, a place where the object of a approach to writing and performing. Of First work can be illustrated in many glitter- Essay: Nimrod, she writes: ing dimensions at once. It began as a simple exercise in translating Today we’ll hear from five composers who the lilt and rhythm of one of my favorite au- have used music to reframe social, politi- thors, Marilynne Robinson, into music. She cal, and personal events. As this New York writes beautifully and bravely on notions Philharmonic season culminates with Mu- of the human soul, weaving delicately in sic of Conscience, “three weeks of unfor- and out various subjects (politics, religion, gettable music created in response to his- science) in each of her rich, methodical es- torical events, political unrest, and societal says. -
2015/16 Season Preview and Appeal
2015/16 SEASON PREVIEW AND APPEAL SEASON PREVIEW 2015/16 01 THANK YOU WELCOME THE WIGMORE HALL TRUST WOULD LIKE TO ACKNOWLEDGE AND THANK THE FOLLOWING INDIVIDUALS AND ORGANISATIONS FOR THEIR GENEROUS SUPPORT THROUGHOUT THE 2014/15 SEASON: HONORARY PATRONS DONORS AND SPONSORS Audiences and artists have been coming together at Wigmore Hall for Aubrey Adams Mr Eric Abraham* Charles Green Rothschild André and Rosalie Hoffmann Neville and Nicola Abraham Barbara and Michael Gwinnell Ruth Rothbarth* nearly 115 years. In its intimate and welcoming environment, enthralling Sir Ralph Kohn FRS and Lady Kohn Elaine Adair Mr and Mrs Rex Harbour* The Rubinstein Circle performances of supreme musical works are experienced with a unique Mr and Mrs Paul Morgan Tony and Marion Allen* Haringey Music Service The Sainer Charity The Andor Charitable Trust Havering Music School The Sampimon Trust immediacy. As we look forward to the 2015/16 Season, the Hall is SEASON PATRONS David and Jacqueline Ansell* The Headley Trust Louise Scheuer Aubrey Adams* Arts Council England The Henry C Hoare Charitable Trust Julia Schottlander* delighted to present some of the greatest artists in the world today, as well American Friends of Wigmore Hall Anthony Austin Nicholas Hodgson Richard Sennett and Saskia Sassen* Karl Otto Bonnier* The Austin & Hope Pilkington Trust André and Rosalie Hoffmann The Shoresh Charitable Trust as talented emerging artists who explore repertoire with skill, curiosity and Cockayne‡ Ben Baglio and Richard Wilson Peter and Carol Honey* Sir Martin and -
Run Time Error Simon Steen-Andersen JACK Quartet
Miller Theatre at Columbia University 2015-16 | 27th Season Opening Night Run Time Error Simon Steen-Andersen JACK Quartet Thursday, September 17, 8:00 p.m. From the Executive Director This September we begin Miller Theatre’s 2015-16 season with three incredible collaborations. Tonight you’ll see Danish composer and performer Simon Steen- Andersen join with one of our favorite ensembles, the JACK Quartet, on a very special project. Run Time Error, the video work that opens and closes this evening, invites us to broaden our sense of both sonic and spatial musical possibility, and it does so in a very personal way: by turning the theatre itself into an instrument. Throughout this new season, Miller Theatre will present performances that bring contemporary classical music out of the formal settings of a concert hall, and Steen-Andersen’s work makes for an exhilarating kick-off. Run Time Error is one of several new works created start-to-finish at Miller this month. As part of an annual collaboration with Deborah Cullen, director and chief curator of Columbia’s Miriam and Ira D. Wallach Art Gallery, this is our third time co- commissioning a visual artist to use our lobby as their canvas. This season, Scherezade Garcia has transformed the space with an amazing new work, inviting anyone who steps inside our doors to activate their imagination. Our largest artistic residency is just about to begin: Morningside Lights! A week of free arts workshops for participants of all ages begins this Saturday, and culminates in a magnificent illuminated procession through Morningside Park on September 26. -
In Harmony Caroline Shaw in Conversation and Performance
Photo: Caroline Shaw In Harmony Caroline Shaw In Conversation and Performance Thursday, November 1, 2018 Paul Hall • 6pm The Juilliard School presents In Harmony Caroline Shaw In Conversation and Performance Hosted by Caroline Shaw and Damian Woetzel CAROLINE SHAW Entr’acte (2011) Amelia Dietrich, Violin 1 Emma Frucht, Violin 2 Emily Liu, Viola Clare Bradford, Cello Gustave Le Gray (2012) Johanna Elisabeth Bufler, Piano Thousandth Orange (2018) Johanna Elisabeth Bufler, Piano Alice Ivy-Pemberton, Violin Jordan Bak, Viola Philip Sheegog, Cello By & By (2010) Stars in my Crown Angel Band I’ll Fly Away Caroline Shaw, Voice Manami Mizumoto, Violin 1 Amelia Dietrich, Violin 2 Lauren Siess, Viola Thapelo Masita, Cello A Bird Made of Birds (2018) Written by Sarah Kay Sarah Kay Caroline Shaw To read about tonight's performers, visit juilliard.edu/carolineshaw. Juilliard’s creative enterprise programming, including the Creative Associates program, is generously supported by Jody and John Arnhold. Please turn off all electronic devices. Taking photographs and using recording equipment are not permitted. Large Print programs are available for select Juilliard performances. Please ask an usher of a house manager for assistance. Meet the Hosts Caroline Shaw Juilliard Creative Associate Caroline Shaw is a New York-based vocalist, violinist, composer, and producer who performs in solo and collaborative projects. In 2013 she became the youngest recipient of the Pulitzer Prize for music for Partita for 8 Voices, written for the Grammy-winning Roomful of Teeth, of which she is a member. Recent commissions include works for Renée Fleming with Inon Barnatan, Dawn Upshaw with So- Percussion and Gil Kalish, Orchestra of St. -
RELATED ACTIVITIES for PROJECT 19 19 Commissions by Women to Celebrate the Centennial of the 19Th Amendment
FOR IMMEDIATE RELEASE UPDATED February 4, 2020 January 9, 2020 RELATED ACTIVITIES FOR PROJECT 19 19 Commissions by Women To Celebrate the Centennial of the 19th Amendment FREE WEBINAR with CATALYST Strategies for Career Advancement: The Importance of Sponsorship, January 15 Virgil Thomson’s THE MOTHER OF US ALL New, Site-Specific Staging Co-Presented with THE METROPOLITAN MUSEUM OF ART and THE JUILLIARD SCHOOL February 8, 11–12, and 14 ACADEMY OF AMERICAN POETS Co-Commissions of 19 New Works by Women Poets LEAGUE OF WOMEN VOTERS OF THE CITY OF NEW YORK To Host Voter Registration at Project 19 Performances MULTIMEDIA ARCHIVAL INSTALLATION: The Special Case of Steffy Goldner, February 5–22 Project 19 Composers Mentoring Female Students in the NEW YORK PHILHARMONIC VERY YOUNG COMPOSERS PROGRAM Students at KAUFMAN MUSIC CENTER’S SPECIAL MUSIC SCHOOL HIGH SCHOOL (M. 859) Studying Music of the Project 19 Composers and History of the 19th Amendment VIDEO PROFILES BY WOMEN FILMMAKERS The New York Philharmonic will present and co-present related activities for Project 19, the Philharmonic’s multi-season initiative to celebrate the centennial of the ratification of the 19th Amendment by commissioning and premiering new works by 19 women composers. To extend the reach of Project 19 and further conversations about representation in classical music and beyond, the Philharmonic is partnering with the Academy of American Poets, Catalyst, The Juilliard School, Kaufman Music Center’s Special Music School High School (M. 859), League of Women Voters of the City of New York, The Metropolitan Museum of Art, and New-York Historical Society. -
2016/17 Season Preview and Appeal
2016/17 SEASON PREVIEW AND APPEAL The Wigmore Hall Trust would like to acknowledge and thank the following individuals and organisations for their generous support throughout the THANK YOU 2015/16 Season. HONORARY PATRONS David and Frances Waters* Kate Dugdale A bequest from the late John Lunn Aubrey Adams David Evan Williams In memory of Robert Easton David Lyons* André and Rosalie Hoffmann Douglas and Janette Eden Sir Jack Lyons Charitable Trust Simon Majaro MBE and Pamela Majaro MBE Sir Ralph Kohn FRS and Lady Kohn CORPORATE SUPPORTERS Mr Martin R Edwards Mr and Mrs Paul Morgan Capital Group The Eldering/Goecke Family Mayfield Valley Arts Trust Annette Ellis* Michael and Lynne McGowan* (corporate matched giving) L SEASON PATRONS Clifford Chance LLP The Elton Family George Meyer Dr C A Endersby and Prof D Cowan Alison and Antony Milford L Aubrey Adams* Complete Coffee Ltd L American Friends of Wigmore Hall Duncan Lawrie Private Banking The Ernest Cook Trust Milton Damerel Trust Art Mentor Foundation Lucerne‡ Martin Randall Travel Ltd Caroline Erskine The Monument Trust Karl Otto Bonnier* Rosenblatt Solicitors Felicity Fairbairn L Amyas and Louise Morse* Henry and Suzanne Davis Rothschild Mrs Susan Feakin Mr and Mrs M J Munz-Jones Peter and Sonia Field L A C and F A Myer Dunard Fund† L The Hargreaves and Ball Trust BACK OF HOUSE Deborah Finkler and Allan Murray-Jones Valerie O’Connor Pauline and Ian Howat REFURBISHMENT SUMMER 2015 Neil and Deborah Franks* The Nicholas Boas Charitable Trust The Monument Trust Arts Council England John and Amy Ford P Parkinson Valerie O’Connor The Foyle Foundation S E Franklin Charitable Trust No. -
Prototype: Opera/Theatre/Now 2019 Lineup
Sarah Baird Knight | 646.907.8062 | [email protected] PROTOTYPE: OPERA/THEATRE/NOW 2019 LINEUP ~ FOR IMMEDIATE RELEASE SEPTEMBER 7, 2018 “The best news in opera in New York these days is the PROTOTYPE Festival…” – The Washington Post “The festival is one of the great things about being in New York City in January.” – Opera News PROTOTYPE: Opera/Theatre/Now has announced full programming for the seventh annual festival of fresh opera-theatre & music-theatre, running January 5-13, 2019 and featuring ten presentations that “shift the whole paradigm of what opera is and can be” (New York Observer). Founded by co-directors Kristin Marting (of HERE), Beth Morrison (of Beth Morrison Projects) and Kim Whitener (of HERE), and led by them along with co-director Jecca Barry (of Beth Morrison Projects), the PROTOTYPE Festival emphasizes the bold and prolific work coming from today’s creative talents across the spectrum of gender, age, sexual orientation, and ethnic background. Since its launch in 2013, PROTOTYPE has presented a phenomenal 39 new works in six seasons, propelling the industry forward as an industry disruptor and international influencer, while bringing to the fore the work of 26 female- identifying lead artists. The 2019 Festival spotlights the imaginative and dramatic work of 31 lead artists, 16 of whom are women, exploring ideas of mental health, ethnicity, and motherhood, as well as concerns around the public justice system and immigration, via four world premieres, a U.S. premiere, two New York premieres, a one-night- only presentation, and two works-in-progress. Ellen Reid's p r i s m is the culmination of a breakout year for the composer whose had major works performed at LA Chamber Orchestra (LACO), LA Philharmonic, and LA Master Chorale (a commission also featured in this year’s PROTOTYPE Festival) in just one year’s time. -
PROJECT 19 19 Commissions by Women to Celebrate the Centennial of the 19Th Amendment
FOR IMMEDIATE RELEASE November 5, 2019 PROJECT 19 19 Commissions by Women To Celebrate the Centennial of the 19th Amendment Launching in February 2020 World Premieres by NINA C. YOUNG, TANIA LEÓN, and ELLEN REID Conducted by Music Director JAAP VAN ZWEDEN Sound ON: “Leading Voices” Featuring World Premieres by JOAN LA BARBARA, NICOLE LIZÉE, and PAOLA PRESTINI Virgil Thomson’s THE MOTHER OF US ALL New, Site-Specific Staging Co-Presented with The Metropolitan Museum of Art’s MetLiveArts and The Juilliard School ACADEMY OF AMERICAN POETS Co-Commissions of 19 New Works by Women Poets MULTIMEDIA ARCHIVAL INSTALLATION The Case of the New York Philharmonic’s First Woman: Steffy Goldner’s Untold Story LEAGUE OF WOMEN VOTERS OF THE CITY OF NEW YORK To Host Voter Registration at Project 19 Performances Jaap van Zweden and the New York Philharmonic will mark the centennial of the ratification of the 19th Amendment, which granted equal voting rights to women, by commissioning and premiering works by 19 women composers. The multi-season initiative — the single largest women-only commissioning initiative in history — will launch in February 2020 with the first six World Premieres. Two more World Premieres will follow in May–June 2020. The eleven remaining commissions will be premiered in future seasons. The commissioned composers are Unsuk Chin, Mary Kouyoumdjian, Joan La Barbara, Tania León, Nicole Lizée, Caroline Mallonee, Jessie Montgomery, Angélica Negrón, Olga Neuwirth, Paola Prestini, Ellen Reid, Maria Schneider, Caroline Shaw, Sarah Kirkland Snider, Anna Thorvaldsdottir, Joan Tower, Melinda Wagner, Nina C. Young, and Du Yun. Music Director Jaap van Zweden said: “As one of the leading orchestras in America, it is the New York Philharmonic’s responsibility, and our joy, to celebrate the 100th anniversary of American women’s right to vote with this vast commissioning project.” President and CEO Deborah Borda said: “Project 19 was born of our conviction that an orchestra can — and must — participate in conversations about social imperatives and even change the status quo. -
Roomful of Teeth ������������� Friday, March 20, 2015, 7:30 P.M
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