DOCSLIB.ORG

MUSIC in TIME John Kennedy, Director and Host

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MUSIC in TIME John Kennedy, Director and Host 92 American Express Woolfe Street Series MUSIC IN TIME John Kennedy, Director and Host Woolfe Street May 28, May 30, and June 4 Playhouse An Elemental Thing May 28, 5:00pm An Elemental Thing (2017) Liza Lim (b 1966) Rainice Lai, woodblock unbreakable line. hinged waist. (2002) Jennifer Walshe (b 1974) Members of the Spoleto Festival USA Orchestra Strange Matter (2011) Zosha diCastri (b 1985) Members of the Spoleto Festival USA Orchestra Jeffrey Means, conductor Illumine (2016, US premiere) Anna Thorvaldsdottir (b 1977) Members of the Spoleto Festival USA Orchestra Jeffrey Means, conductor Water and Memory (2017, US premiere) Annea Lockwood (b 1939) Members of the Spoleto Festival USA Orchestra Brilliant Nights May 30, 9:00pm Tre Notturni Brillianti (“Three Brilliant Nights,” 1975) Salvatore Sciarrino (b 1947) I. Di volo (“Flight”) II. Scorrevole e animato (“Sliding and animated”) III. Prestissimo precipitamo (“Very fast rushing”) Alfonso Noriega, viola Este branco silêncio (“This White Silence,” 2010) Andreia Pinto Correia (b 1971) Members of the Spoleto Festival USA Orchestra Jeffrey Means, conductor The Heart’s Ear (1997) Liza Lim (b 1966) Members of the Spoleto Festival USA Orchestra Jeffrey Means, conductor Air (2005) Jörg Widmann (b 1973) Ryan Little, horn Akrostichon-Wortspiel (“Acrostic Wordplay,” 1991 – 93) Unsuk Chin (b 1961) I. Hide and Seek II. The Puzzle of the Three Magic Gates III. The Rules of the Game – sdrawkcab emiT IV. Four Seasons in Five Verses V. Domifare S VI. The Game of Chance VII. From the Old Time Marisol Montalvo, soprano Members of the Spoleto Festival USA Orchestra Jeffrey Means,conductor Sponsored by American Express. These performances are made possible in part through funds from the Spoleto Festival USA Endowment, generously supported by BlueCross BlueShield of South Carolina, Wells Fargo, and Bank of America. Music in Time 93 Departure Duo June 4, 5:00pm All Are Welcome Here (2017, World Premiere) David Smooke (b 1969) Plain Truths from Timothy Dexter (2011) + John Liberatore (b 1984) I. If you can bare the trouth II. we come into the world III. Day and Night IV. Regoising V. Let the Devil goue into Darknes VI. just fineishing his sermon VII. to be A king VIII. the shaking quickers IX. good-bye Deus ex Machina (2016) + Talia Amar (b 1989) Declining (2018, World Premiere) John Kennedy (b 1959) Lotófagos (2006) + Beat Furrer (b 1954) yes I said yes I will Yes (2012) Amy Beth Kirsten (b 1972) Phrase (2017) + Katherine Balch (b 1991) I. le haut étang fume II. quand le mond III. j’ai tendu des cordes IV. il sonne une cloche Departure Duo: Nina Guo, soprano; Edward Kass, double bass + Please find song texts in an appendix beginning on page 127. About the Artists JOHN KENNEDY (director and host), is the composer of more than 90 works, including opera, Spoleto Festival USA Resident Conductor orchestral, chamber, and experimental works that have been and Director of Orchestral Activities, performed throughout the world. His operas Trinity and The has led acclaimed performances and Language of Birds are both receiving new productions this year premieres worldwide of opera, orchestral, by Santa Fe Opera as their spring and fall presentations. ballet, and new music. Kennedy has had a long association with Spoleto DEPARTURE DUO is a Boston-based Festival USA, and in recent seasons soprano/double bass duo comprised of has conducted the Festival’s American Nina Guo and Edward Kass. Committed premiere productions of operas including Émilie by Kaija to expanding the repertoire for this Saariaho (2011), Kepler by Philip Glass (2012), Matsukaze by “high-low” combination, Departure Duo Toshio Hosokawa (2013), Facing Goya by Michael Nyman commissions new works and breathes (2014), the world premiere production of Huang Ruo’s Paradise life into existing pieces. The duo’s long- Interrupted (2015), The Little Match Girl by Helmut term goal, “30x’30,” is to have 30 hours Lachenmann (2016), and Quartett by Luca Francesconi (2017). of soprano/double bass repertoire Especially noted for his interpretations of contemporary music, written by 2030. Named semi-finalists in the 2016 Concert Kennedy has worked with many of the leading composers of Artist Guild Competition, Departure Duo has performed in our time in over 300 premieres and numerous recordings. He Boston, Los Angeles, Montreal, New York, San Francisco, and has designed and led many orchestral concerts integrating more. Highlights include performances at Omaha Under the classic works with the new, and recently led a multimedia Radar (2017), Columbia University (2017), and a residency at production of Stravinsky’s Pulcinella directed by Seon Yim in University of Georgia (2018). In the 2018 – 19 season, Departure South Korea. Kennedy has recently guest conducted at West Duo will complete an artist residency with Yellow Barn in Edge Opera, Daejeon Philharmonic Orchestra, Orchestra 21, Putney, Vermont. Guo and Kass hold degrees from New Singapore International Festival of the Arts, the Crested Butte England Conservatory, where each was awarded the John Cage Music Festival, and with many organizations including the Award for Outstanding Contributions to Contemporary Music Lincoln Center Festival, Other Minds Festival, sfSound, Talea Performance. Ensemble, Santa Fe Opera, and New York City Ballet. Kennedy 94 American Express Woolfe Street Series RAINICE LAI (percussion) is a Means has led include the Talea Ensemble, Da Capo Chamber percussionist who is active in both Players, Mimesis Ensemble, Dinosaur Annex, the East Coast contemporary and orchestral arenas. Contemporary Ensemble, and many others. Means was one of She has performed across the United two conductors selected to study with Pierre Boulez in 2009 States and Asia, with such professional at the Lucerne Festival Academy. He is currently professor of ensembles as Hong Kong Philharmonic conducting at Berklee College of Music. His recordings can be Orchestra, Hong Kong Sinfonietta, heard on Albany, Mode, Naxos, and Tzadik records. Macau Orchestra, Guangzhou Symphony Orchestra, New World Symphony, and MARISOL MONTALVO (soprano) has Boston Philharmonic Orchestra. As a chamber musician, she has performed this season with the Royal appeared with renowned percussionists including Emmanuel Stockholm Philharmonic Orchestra Séjourné, Frederic Macarez, Nancy Zeltsman, and Christopher and Orquestra Nacionales de Espana, Deviney, and has performed contemporary works with the under the baton of Maestro Christoph Callithumpian Consort and Summer Institute of Contemporary Eschenbach. Recently, she sang Barber’s Performance Practice under music director Stephen Drury in Knoxville: Summer of 1915 and Mozart’s 2016. She had worked personally with Russian composer Sofia “L’amero saro costante” with Ray Chen Gubaidulina and performed her chamber music at the Boston (Ravinia Festival/Chicago Symphony Symphony Orchestra Prelude Concert series in 2017. She Orchestra); Widmann’s opera Babylon and Scriabin’s studies with Dan Bauch and Tim Genis from Boston Symphony Mysterium (Radio Filharmonisch Orkest); Boulez’s Pli selon Orchestra. This season is Lai’s third summer in the Spoleto pli (Wien Modern, Ensemble Intercontemporain); Haas’s Festival USA Orchestra; in the past two seasons, she performed Wie stille brannte das Licht (Klangforum Wien); Pintscher’s in Helmut Lachenmann’s The Little Match Girl and Luca Hérodiade-Fragmente (Vienna Philharmonic Orchestra); Francesconi’s Quartett. Mahler’s Symphony no. 4 (London Philharmonic Orchestra); and Mahler’s Symphony no. 8 (Orchestre De Paris). She is RYAN LITTLE (horn) was appointed as renowned for her interpretation of Berg’s Lulu, which she has principal horn of the Naples Philharmonic sung with Opéra national de Paris, Deutsche Oper Berlin, Teatro in April 2017, and also serves as assistant de la Maestranza, Opéra de Toulouse, Komische Oper Berlin, principal/utility horn of the Britt Music & Theater Basel, and Theater an der Wien. Some of her future Arts Festival. Little received his bachelor- engagements include Henze’s The Bassarids with Kent Nagano; of-music degree from Northwestern and Mahler’s Symphony no. 2 (Royal Stockholm Philharmonic). University, where he studied with Gail Williams, and received his master’s ALFONSO NORIEGA (viola) is the degree from Rice University, where he violist in the Ulysses, Lucerne Festival, studied with William VerMeulen. As a concert soloist, Little has and Britten Pears ensembles. A former performed as finalist or won prizes at the Aeolus International viola fellow at Ensemble Modern and the Competition (Düsseldorf), International Horn Competition Banff Centre, he also plays with Ensemble of America (Louisville), International Horn Society Intercontemporain, Remix, Divertimento, Premier Soloist Competition (London), and Northwestern MAM, HKNME, and the orchestras of University Concerto Competition. Little has participated as Radio France, City of Birmingham, Hong a fellow in the Castleton Festival, Lucerne Festival Academy, Kong, and Malaysia. He has worked National Orchestral Institute and Festival, l’Orchestre de with Boulez, Holliger, Rihm, Lachenmann, Furrer, Knussen, la Francophonie, Spoleto Festival USA, Tanglewood Music and Hosokawa, and with conductors Colin Davies, Rattle, Center, and YOA Orchestra of the Americas. Little performs on Nelsons, Robertson, Dudamel, and Maazel. Noriega holds an instrument made in 2012 by Karl Hill of Rockford, Michigan. master degrees from the Guildhall School of Music and Drama and the Hochschule in Frankfurt,
Load more

Recommended publications
  • Media Release Wolfgang Rihm Is the LUCERNE
    Media Release Wolfgang Rihm Is the LUCERNE FESTIVAL ACADEMY’s New Artistic Director Matthias Pintscher Named Principal Conductor Lucerne, 04 September 2015 . Starting in the summer of 2016, the German composer Wolfgang Rihm will assume overall artistic directorship of the LUCERNE FESTIVAL ACADEMY. The conductor and composer Matthias Pintscher will support him as Principal Conductor and will be responsible each summer for a central Academy program; he will additionally focus on developing the Academy Orchestra. Both contracts are for a period of five years. The founder of the LUCERNE FESTIVAL ACADEMY, Pierre Boulez, will continue to remain in close dialogue with Wolfgang Rihm, Matthias Pintscher, and the Festival team as Honorary President of the Academy. For twelve years the LUCERNE FESTIVAL ACADEMY has been regarded as a unique international educational campus in the field of contemporary classical music of the 20th and 21st centuries. It offers continuing training not only for some 120 instrumentalists between 18 and 32 years of age but also for young directors and composers. “I am extremely delighted that in the person of Wolfgang Rihm a leading figure of contemporary music will be taking over artistic leadership of the LUCERNE FESTIVAL ACADEMY,” remarks Michael Haefliger, LUCERNE FESTIVAL’s Executive and Artistic Director. “On the strength of his experience and his knowledge in connection with the Academy, Wolfgang Rihm will be in a position to establish new directions for linking creativity with effective ways of working together for young instrumentalists, conductors, and composers. This summer Matthias Pintscher has returned for a third time as a teacher and conductor to help shape the Academy’s work in marvelous ways, as seen for example in the recent “Day for Pierre Boulez”.
    [Show full text]
  • Programme 5 Overview 6 Schedule First Word 12 Greeting Andreas
    Index Programme Expo 5 Overview 44 Umbrella Stands A – Z 6 Schedule 47 Exhibitor Presentation/Expo Map 84 Exhibitors A – Z First Word 12 Greeting Andreas Mailath-Pokorny, Conference Executive City Councillor for Cultural Affairs 90 Conference Sessions and Science, City of Vienna 100 Mentoring 13 Greeting Rainer Kahleyss and Werner 102 Network Meetings and Presentations Dabringhaus, CLASS Association of Classical 104 Biographies A – Z Independents in Germany 14 Greeting Mario Rossori, Heinrich Schläfer, Film Screenings Frank Stahmer, Classical Partners Vienna 1 11 Film Screenings 15 Greeting Jennifer Dautermann, Director Classical:NEXT Showcases 115 Opening and Closing Network 116 Live Showcases A – Z 18 Advisory Board 130 Video Showcases A – Z 20 The Jury 136 off C:N Showcases A – Z 22 Partners 26 Photographer Delegates 27 Advertisers A – Z 142 Companies A – Z 177 Individuals A – Z Classical:NEXT A – Z 30 From ”Badges" to ”Who is Coming“ Credits 190 Imprint Destination Vienna 191 Team 37 Getting Around 37 Places to Eat 39 Shopping: Food, Music and Instruments Front Flap Inside Plant Layout MAK 41 Things to See Back Flap Inside Directions to Venues 42 Service NEW YEAR. NEW STORIES. PROGRAMME NEW CLASSICAL MUSIC. First Word Network C:N A – Z Destination Vienna Expo FROM Conference £4.95 A Film Screenings MONTH Showcases Delegates Credits The all-new Classical Music: Register online » Comprehensive website with news, features, reviews and opinion for FREE access » Daily e-mail bulletin with news from national and international press to classical
    [Show full text]
  • Klsp2018iema Broschuere.Indd
    KLANGSPUREN SCHWAZ INTERNATIONAL ENSEMBLE MODERN ACADEMY IN TIROL. REBECCA SAUNDERS COMPOSER IN RESIDENCE. 15TH EDITION 29.08. – 09.09.2018 KLANGSPUREN INTERNATIONAL ENSEMBLE MODERN ACADEMY 2018 KLANGSPUREN SCHWAZ is celebrating its 25th anniversary in 2018. The annual Tyrolean festival of contemporary music provides a stage for performances, encounters, and for the exploration and exchange of new musical ideas. With a different thematic focus each year, KLANGSPUREN aims to present a survey of the fascinating, diverse panorama that the music of our time boasts. KLANGSPUREN values open discourse, participation, and partnership and actively seeks encounters with locals as well as visitors from abroad. The entire beautiful region of Tyrol unfolds as the festival’s playground, where the most cutting-edge and modern forms of music as well as many young composers and musicians are presented. On the occasion of its own milestone anniversary – among other anniversaries that KLANGSPUREN SCHWAZ 2018 will be celebrating this year – the 25th edition of the festival has chosen the motto „Festivities. Places.“ (in German: „Feste. Orte.“). The program emphasizes projects and works that focus on aspects of celebrations, festivities, rituals, and events and have a specific reference to place and situation. KLANGSPUREN INTERNATIONAL ENSEMBLE MODERN ACADEMY is celebrating its 15th anniversary. The Academy is an offshoot of the renowned International Ensemble Modern Academy (IEMA) in Frankfurt and was founded in the same year as IEMA, in 2003. The Academy is central to KLANGSPUREN and has developed into one of the most successful projects of the Tyrolean festival for new music. The high standards of the Academy are vouched for by prominent figures who have acted as Composers in Residence: György Kurtág, Helmut Lachenmann, Steve Reich, Benedict Mason, Michael Gielen, Wolfgang Rihm, Martin Matalon, Johannes Maria Staud, Heinz Holliger, George Benjamin, Unsuk Chin, Hans Zender, Hans Abrahamsen, Wolfgang Mitterer, Beat Furrer, Enno Poppe, and most recently in 2017, Sofia Gubaidulina.
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Pace, I. (2017). Michael Finnissy - The Piano Music (10 and 11) - Brochure from Conference 'Bright Futures, Dark Pasts'. This is the other 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/17523/ 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] BRIGHT FUTURES, DARK PASTS Michael Finnissy at 70 Conference at City, University of London January 19th-20th 2017 Bright Futures, Dark Pasts Michael Finnissy at 70 After over twenty-five years sustained engagement with the music of Michael Finnissy, it is my great pleasure finally to be able to convene a conference on his work. This event should help to stimulate active dialogue between composers, performers and musicologists with an interest in Finnissy’s work, all from distinct perspectives. It is almost twenty years since the publication of Uncommon Ground: The Music of Michael Finnissy (Aldershot: Ashgate, 1998).
    [Show full text]
  • BEAT FURRER Phaos (2006) Für Orchester 15'
    NEUE MUSIK MUSIK DER ZEIT [3] ALLE GEGEN EINE WDR SINFONIEORCHESTER MICHAEL WENDEBERG SAMSTAG, 11. JANUAR, 20 UHR FUNKHAUS WALLRAFPLATZ, KÖLN MUSIK DER ZEIT [3] ALLE GEGEN EINE SA. 11. JANUAR 2020 19:00 EINFÜHRUNG MIT MARTÓN ILLÉS 20:00 KONZERT FUNKHAUS WALLRAFPLATZ, KÖLN PATRICIA KOPATCHINSKAJA / Violine WDR SINFONIEORCHESTER MICHAEL WENDEBERG / Leitung KORNELIA BITTMANN / Moderation SENDUNG WDR 3 live in stereo und 5.1. surround, ZUM NACHHÖREN IM Video-Livestream WDR 3 KONZERTPLAYER PROGRAMM 3 BEAT FURRER Phaos (2006) für Orchester 15' MÁRTON ILLÉS Vont-tér für Violine und Orchester (2019) Kompositionsauftrag des WDR und des Münchener Kammerorchesters Uraufführung 20' Pause BRUNO MADERNA Stele per Diotima (1966) für Kammerorchester 20' 4 MUSIK DER ZEIT [3] Einer gegen alle. Ein Vogel und ein Vogelschwarm. ALLE GEGEN EINE 5 INDIVIDUUM TRIFFT MASSE Konfrontation oder Konsens? Weiterdenken oder Mitdenken? Aufrütteln oder Einlenken? Sobald sich die Frage nach dem Ver- hältnis des Einzelnen zur Gesellschaft stellt, wird es spannend, dramatisch, vielleicht auch versöhnlich. Manchmal entsteht auch etwas völlig Neues – zum Beispiel, wenn in Beat Furrers »Phaos« Solomotive zu üppigen Klangkomplexen werden, die quirlig und vielfältig, unterbrochen von Pausen, sich in wellenartiges Pulsieren verwandeln, das sich in Wiederholun- gen zu einer gleißenden Woge steigert. Phaos kommt aus dem Griechischen und steht für Licht – in Beat Furrers Lesart wird daraus eine Klangstudie über phosphoreszierende Lichtpartikel und eine Metapher für drohende Katastrophen. Márton Illés lädt die Ausnahmegeigerin Patricia Kopatchinskaja in »Vont-tér« zu einem komplexen Dialog mit dem WDR Sinfonie- orchester und einer gemeinsamen Suche nach neuen instrumen- talen Klängen, Spieltechniken und Ausdrucksmöglichkeiten ein. Im Wechselspiel mit dem Orchester agiert die Sologeige im offe- nen Klangraum, entfernt sich von spieltechnischen Konventionen und findet eigene Spielmöglichkeiten in Márton Illés’ originärer Musiksprache.
    [Show full text]
  • Diana Soh Composer
    Diana Soh Composer Described as “a composer to follow” (France Musique), Diana Soh is one of today’s most exciting young artists. A multi- disciplinary Singaporean composer based in Paris, she has written for a wide range of instrumentation from chamber music, to orchestra, dance, film, choral and vocal music, and multi-media site-specific works. Diana’s musical interest is directed at exploring performance interactivity as well as obtaining specific sound colours from the intimate collaboration with performers. Known for integrating the use of technology and interested in theatre, she often surprises her audiences and finds ways to address social issues of our times in her work and “composes the impossible” (Concert Classic). Notable highlights include A is for Aiyah with soprano Elise Chauvin as the soloist, which was premiered in Singapore by the Singapore Symphony Orchestra (2018) as well as her string quartet sssh by the Mettis Quartet at the Aix en Provence Festival (2018). Her upcoming seasons see her venturing into the music theatre world with 2 operas: Façon Tragique de Tuer une Femme which will be premiered in 2023, and The Carmen Case the season after. Her adventure in vocal writing continues with a mono-drama for Opera de Lyon and a commission from the Maîtrise de Radio France, Parisce and a solo voice piece titled La Ville-Zizi. In addition, of smaller things will be presented in Austria by Schallfeld Ensemble in 2021 and Of the spaces between by Ensemble Æquilibrium in Singapore in 2022. Since establishing herself in Paris, Diana was Composer-in-Residence for 2 years (2012 / 2013) at the National Centre for Creation - La Muse en Circuit, concluded with a one-hour monographic concert of her works during the 2013 Festival Extension.
    [Show full text]
  • Han Chen / Piano
    HAN CHEN / PIANO Hailed by the New York Times as a pianist with "a graceful touch... rhythmic precision... hypnotic charm” and "sure, subtle touch," Han Chen is a distinctive artist whose credentials at a young age already include important prizes in competitions of traditional music as well as increasing respect in the avant- garde. Mr. Chen’s debut CD with Naxos Records, which consists of all-Liszt operatic transcriptions, was released in January 2016 as the first prize winner of the 6th China International Piano Competition. Gramophone complimented Mr. Chen’s “brilliant performance” in the CD as “impressively commanding and authoritative.” The website Classics Today also praised for his “assured, elegant and totally effortless technique” by scoring 10 out of 10 in both artistic quality and sound quality. International Piano magazine (UK) described Mr. Chen’s performance in the competition as “[Chen] displayed extraordinary strength, talent and flair.” His performances in the 15th Van Cliburn International Piano Competition, the 15th Arthur Rubinstein Piano Competition and the 2018 Honens International Piano Competition were also highly acclaimed. As a soloist, Mr. Chen has appeared with many orchestras, including the Hong Kong Philharmonic Orchestra (under Maestro Vladimir Ashkenazy), Calgary Philharmonic Orchestra, Fort Worth Symphony Orchestra, China Symphony Orchestra, Macao Orchestra, Juilliard Orchestra, National Taiwan Symphony Orchestra, Xiamen National Orchestra, Lexington Philharmonic Orchestra, Sendai Philharmonic Orchestra, Aspen Music Festival Brass Ensemble and Shanghai Conservatory Middle School Orchestra. Being an advocate for modern music, Mr. Chen actively performs music from the 20th and the 21st century. As a member of the New York-based contemporary music group Ensemble Échappé, he worked with composers such as Tonia Ko, Kevin Puts, Sean Shepherd and Nina Young.
    [Show full text]
  • PUCCINI International Opera Composition Course Summer
    Summer Seminar 2020 July 6 th to 18 th - Lucca, Italy Come and study how to write opera in Lucca, the city of Giacomo Puccini Cluster – Compositori interpreti del presente in collaboration with: Fondazione Giacomo Puccini Fondazione Cassa di Risparmio di Lucca Fondazione Banca del Monte di Lucca Teatro del Giglio di Lucca EMA Vinci Produzioni discografiche (audio-video), editoriali ed artistiche. Present PUCCINI International Opera Composition Course Summer Seminar 2020 July 6 th to 18 th - Lucca, Italy Come and study how to write opera in Lucca, the city of Giacomo Puccini PROJECT The PUCCINI International Opera Composition Course is addressed to composers (both with or without an academic degree) willing to investigate thoroughly all compositional techniques in use in opera writing today, focusing both on the Italian tradition and on the genre’s contemporary international developments. The course’s aim is to hand down the great opera tradition, having as a target the creation of new operas, bridging the past and the future in a new and enthralling vision. COURSE GOALS Participants will get to a deeper understanding of the various aspects of composing for opera theatre. - At the end of the course, each participant must submit a complete pre-project for a new chamber opera, writing a section or a full score for voice and piano (at least 25 minutes) - The best projects will be selected to be performed as mise-en-scene at the ‘PUCCINI Chamber Opera Festival 2021’ in collaboration with Teatro del Giglio of Lucca - All scores produced will be published and recorded video/audio by EMA Vinci APPLICANTS SELECTION Applicants must submit the following materials for selection: - CV - Project scheme of a chamber opera for max 1 voice and piano - Full score and audio file of an orchestral or chamber composition* - Full score or voice/piano score and audio file of a vocal composition* *midi files can be accepted All materials must be e-mailed to [email protected] Submission deadline April, 30th 2020 Eligible composers will be contacted by May, 15th 2020.
    [Show full text]
  • Franck Bedrossian — Twist . Edges . Epigram
    FRANCK BEDROSSIAN Twist Edges Epigram Duo Links Donatienne Michel-Dansac Klangforum Wien . Emilio Pomàrico SWR Symphonieorchester . Alejo Pérez IRCAM – Centre Pompidou 1999 20 YEARS 2019 © Philippe Gontier FRANCK BEDROSSIAN (*1971) 1 Twist for orchestra and electronics (2016) 10:09 2 Edges for piano and percussion (2010) 10:10 dedicated to Laurent and Rémi Durupt Epigram (2010 – 2018) after texts by Emily Dickinson for soprano and 11 instruments 3 I 13:49 dedicated to Donatienne Michel-Dansac 4 II 08:39 dedicated to Françoise and Jean-Philippe Billarant 5 III 13:05 dedicated to Annie Clair TT 56:08 1 SWR Symphonieorchester 2 Duo Links Alejo Pérez, conductor Laurent Durupt, piano IRCAM – Centre Pompidou Rémi Durupt, percussion Robin Meier, computer music designer Luca Bagnoli, sound engineer 3 4 5 Donatienne Michel-Dansac, soprano Klangforum Wien Emilio Pomàrico, conductor 3 4 Epigram I 288 255 290 I’m nobody! Who are you? To die – takes just a little while – Of Bronze – and Blaze – Are you nobody, too? They say it doesn’t hurt – The North – Tonight – Then there’s a pair of us – don’t tell! It’s only fainter – by degrees – So adequate – it forms – They’d banish us, you know. And then – it’s out of sight – So preceoncerted to itself – So distant – to alarms – How dreary to be somebody! A darker Ribbon – for a Day – And Unconcern so sovereign How public, like a frog A Crape upon the Hat – To Universe, or me To tell your name the livelong day And then the pretty sunshine comes – Infects my simple spirit To an admiring bog! And helps us to
    [Show full text]
  • Soundzz.Z.Zzz...Z – Call for Artists Competition for an Artwork at the Intersection of Music and the Visual Arts
    Soundzz.z.zzz...z – Call for Artists Competition for an Artwork at the Intersection of Music and the Visual Arts 1. Competition For years LUCERNE FESTIVAL and Kunstmuseum Luzern have pursued various formats of partnering to- gether. Both institutions are interested in the connections and varied relationships that exist between the visual arts and music, between visual expression and sound. In 2015, LUCERNE FESTIVAL and Kunstmuse- um Luzern will inaugurate for the third time a project promoting the intersection and interface between both cultural areas, specifically by means of a competition. During the Summer Festival the potential of interdisciplinary projects will be displayed at Kunstmuseum Luzern to musical and visual arts audiences alike. Both institutions are very eager to explore new, unconventional projects that are full of promise and that are equally at home in the domain of the visual arts and of music and that moreover stand out in terms of quality. The competition is directed to young emerging artists (single artists, teams of two or three artists) to develop a project exploring the theme of «Humor» at the intersection of music and the visual arts. The project in question should be ephemeral, performative, actionistic. The project that is selected by a jury will be executed during the course of LUCERNE FESTIVAL in Summer (14 August – 13 September 2015) on the premises of Kunstmuseum Luzern. The project we are looking for should be neither an exhibition nor a concert. The form this project will take is open-ended: it can involve an intervention, an action, a perfor- mance, an event or happening in the sense of a performance, a concept to be developed during the course of the Festival, a series of performances, or another type of event.
    [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]
  • Performance, Subjectivity and Experimentation in Artistic Research an Interdisciplinary Seminar
    Performance, Subjectivity and Experimentation in Artistic Research An Interdisciplinary Seminar ORCiM Seminar 2016 February 24-25, 2016 Orpheus Institute, Ghent (Belgium) Introduction The arts of the twentieth and twenty-first centuries have pushed us relentlessly to question inherited notions of the self, expression and communication: to ask ourselves, again and again, who we think we are and how we can speak meaningfully to one another. Increasing globalisation and the development of recording and photographic technologies, running alongside psychoanalytical critiques of selfhood and the impact of scientific principles of uncertainty, are often theorized as having prompted a crisis of identity, representation and authenticity. The discourse of post-humanism has demanded a reconsideration of the distinctions between human and non-human agency. At the same time, the throwaway playfulness of pop culture and digital manipulation offer endless possibilities for self- reinvention. In many fields of artistic practice and in related theoretical domains there persists an ongoing engagement with questions of subjectivity, but a subjectivity acknowledged as distributed, contingent, embodied and always in flux; often manifested as partial, unstable, provisional even, rather than identified as a singular self. Simultaneously, subjectivity, as an individuated ‘I’, continues to function, not least in musical practice and especially in performance training: here, notions of the authenticity and singularity of the performer’s ‘voice’ -- the uniqueness and distinctiveness of personal expression -- continue to be highly valued, despite the everyday experiencing of the fluidities, uncertainties, and fundamentally performative nature of selfhood. Within arts practice, a ‘performance turn’ has allowed for a stronger focus on the production and experiencing of subjectivity in the context of live events: as ephemeral, dynamic and contingent, resisting conceptualisation into a stabilised notion of an artwork.
    [Show full text]