Other Minds 13 Program

Total Page:16

File Type:pdf, Size:1020Kb

Other Minds 13 Program Other Minds Festival of New Music March 6–8, 2008 Jewish Community Center of San Francisco Guest Composers Michael Bach Dan Becker Elena Kats-Chernin Keeril Makan Åke Parmerud Dieter Schnebel Ishmael Wadada Leo Smith Morton Subotnick Frances-Marie Uitti Charles Amirkhanian, Artistic Director 34 12 16 B 7 19 15 A 2 36 1 Other Minds, in association with the Djerassi Resident Artists Program and the Eugene and Elinor Friend Center for the Arts at the Jewish Community Center of San Francisco, presents Other Minds 13 Charles Amirkhanian, Artistic Director Jewish Community Center of San Francisco March 6-7-8, 2008 Table of Contents 3 Message from the Artistic Director 4 Exhibition & Silent Auction 6 Concert 1 7 Concert 1 Program Notes 10 Concert 2 11 Concert 2 Program Notes 14 Concert 3 15 Concert 3 Program Notes 20 Other Minds 13 Composers 24 About Other Minds Other Minds 13 Festival Staff 25 Other Minds 13 Performers 28 Festival Supporters A Gathering of Other Minds Program Design by Leigh Okies. Layout and editing by Adam Fong. © 2008 Other Minds. All Rights Reserved. The Djerassi Resident Artists Program is a proud co-sponsor of Other Minds Festival XIII The mission of the Djerassi Resident Artists Program is to support and enhance the creativity of artists by providing uninterrupted time for work, reflection, and collegial interaction in a setting of great natural beauty, and to preserve the land upon which the Program is situated. The Djerassi Program annually welcomes the Other Minds Festival composers for a five-day residency for collegial interaction and preparation prior to their concert performances in San Francisco. Over three decades, the Djerassi Program has hosted 1700 artists of every discipline worldwide. Small, diverse groups of artists convene for one-month residencies at our rural ranch where studio space, housing, meals and staff support are provided free of charge. Information and application materials may be obtained at www.djerassi.org The Djerassi Program is a non-profit 501 (C) (3) organization that relies on contributions from individuals and philanthropic organizations for its operations. We welcome your support! Tori by Bruce Johnson, 1984 Djerassi Resident Artists Program 2325 Bear Gulch Road Woodside, CA 94062 (650) 747-1250 www.djerassi.org Impromptu Sunset Serenade, Other Minds XII Retreat 2006 Donate Online! (L-R) Tara Bouman, Frode Haltli, Joëlle Léandre and Markus Stockhausen Welcome to Other Minds 13 photo: Mark Estes It’s always heartwarm- bring to San Francisco works with electronic sic, having won every ing to hear that the the most original think- sound. Kathy Supové, imaginable prize for his Other Minds Festival is ers in new music, most the brilliant pianist, will mind-bending sound- something special to of whom wouldn’t have close our festival with, scapes based on the composers who par- appeared here other- appropriately, The Other manipulation of acoustic ticipate in it. Our unusual wise. And the results of Piano, an epic work by environmental sounds. format, combining four our festival continue to Subotnick for piano and Elena Kats-Chernin, born days in residence for resound elsewhere. electronics. in Tashkent, Uzbekistan, nine composers in the but living since the age Returning this year is the We’re also pleased to isolated scenic beauty of 9 in Sydney, Australia, Del Sol String Quartet welcome another senior of the famed Djerassi makes her first San Fran- whose premiere per- composer, Germany’s Resident Artists Program cisco appearance. She formance last year with Dieter Schnebel, preceding these public is a prolific and buoyant didjeridu player Stephen whose work traverses performances at the celebrity Down Under Kent in Peter Sculthor- an enormous range. Jewish Community Cen- whose keyboard music pe’s Anyone who’s heard ter, provides a welcome String Quartet No. 16 will be performed by her- was a tremendous hit. his “re-visioning” of opportunity to commune self and fellow-Australian Last October the group the first movement of in depth with colleagues pianist Lisa Moore of the made a triumphant ap- Beethoven’s Fifth Sym- and recharge creative Bang on a Can All-Stars. pearance at the Library phony will be curious to juices. of Congress playing hear his experimental Two younger American During his visit to San Pacific Rim compos- vocal works as well as composers, Dan Becker Francisco last month, ers on the Stradivarius his music for the brilliant and Keeril Makan, will composer and reed play- collection there, and this cellist Michael Bach have Other Minds-com- er Don Byron recalled work with Mr. Kent was and his curved bow, an missioned premieres that his experience at repeated to a standing invention 15 years in the this year. Mr. Becker has Other Minds 2 in 1995 ovation. The Quartet also making and now ready composed Keeping Time changed his life. “I was garnered last month the for prime time. Mr. Bach for the Adorno Ensemble on the cusp, still invest- Chamber Music Ameri- co-composed a work and Mr. Makan Resonance ing my time mostly as a ca/ASCAP First Prize for with John Cage which Alloy for percussionist player. But talking with Adventurous Program- will receive its American David Shively, with instru- Terry Riley, Lou Harrison, ming (for the second premiere, alongside one ments of the composers Tan Dun, Alvin Singleton, time in three years), of Bach’s own composi- own invention. Muhal Richard Abrams and we’re pleased to tions. We welcome you to the and others at the ranch have them premiering a Another cellist who has unique excitement of and listening to their new work by the distin- reinvented the instru- Other Minds’ revelation- work while sharing mine, guished composer Ish- ment is Frances-Marie ary new music and thank I made a commitment to mael Wadada Leo Smith Uitti, an Italian-American you for your interest and become more active as a on our opening night. born in Chicago but support which makes composer. It was the big We’re pleased also to living for decades in Am- our event possible. turning point for me—one bring home Morton sterdam, where she has of the most important Subotnick whose early pioneered a technique experiences I’ve had as experiments with the San of playing her instrument an artist.” Francisco Tape Music with two bows simultane- Hearing this 13 years Center in the 1960s led ously. later brings me to the to a stellar career as one Charles Amirkhanian Åke Parmerud from subject of Other Minds of our leading American Artistic Director Sweden is a much- 13. Throughout these composers and perhaps lauded practitioner of years we’ve continued to the most famous who electroacoustic mu- 3 Other Minds 13 Exhibition & Silent Auction Scores by Other Minds composers are on view in the lobby throughout Other Minds 13 and will be sold by silent auction to the highest bidder. Bidding forms are available in the exhibition area and at the sales table. Bids will be accepted through intermission at our Saturday evening concert, and winners will be announced at the end of that evening. Elena Kats-Chernin Purple Prelude (2007). Red and black ink on paper, 8.25” x 11.75”. Minimum Bid: $200 Michael Bach: 18-7-92 (Aufzeichnungen zu “Ryoanji” 1992, Version Seefeld 2004). Color com- puter schematic with green ink on paper, 11.75” x 8.25”. Minimum Bid: $300 Russian Rag for string quartet (2007). Black ink on paper, 8.25” x 11.75”. Minimum Bid: $200 Eliza Aria for piano (2007). Dan Becker: Keeping Time (2007). Black, green, Black ink on Star manu- red and blue ink on manuscript paper, 8.5” x 11”. script paper, 10.5” x 13.5”. Minimum Bid: $200 Minimum Bid: $250 Urban Village 1 for piano (2007). Black ink on Star manuscript paper, 10.5” x 13.5”. Minimum Bid: $300 Dan Becker: sketch from Revolution (2004). Pencil and red, yellow and orange ink on paper, 8.5” x 11”. Minimum Bid: $100 4 Keeril Makan: sketches for Resonance Alloy Ishmael Wadada Leo Smith: Taif: Prayer (2007). Pencil and black ink on Archives manuscript In the Garden of The Hijaz for String Quartet and paper, 15.5” x 12”. Duo Unit; Sonic Forms (2007). Black ink on Archives Minimum Bid: $250 manuscript paper, 9.5” x 12.25”. Minimum Bid: $350 Dieter Schnebel: Rufe, Horn und Violoncello (Viola) (2006). Pencil on lined paper, 10.5” x 13.5”. Minimum Bid: $400 Åke Parmerud: Alias (Inwedning). Black ink on textured paper, 26” x 19”, 1990, recopied 2007 for Other Minds. Minimum Bid: $250 Framing of this exhibition was made possible by the support of Crown Point Press and Peter Kirkeby Associates. Morton Subotnick: Spring (from Until Spring, Other Minds gratefully acknowledges their invaluable help 1975; signed 2008). Pencil and blue, red and green with this project. crayon on vellum, 17” x 14”. Note: Score by Frances-Marie Uitti not pictured. Minimum Bid: $500 5 Other Minds 13 Concert 1 Thursday, March 6, 2008 7pm Panel Discussion 8pm Concert Dieter Schnebel Mit diesen Händen (excerpts) (1992) Michael Bach, voice and cello with BACH.bow NOTE: Schnebel has prepared a special, shortened version of Mit diesen Händen for the Other Minds Festival. Åke Parmerud La Vie Mécanique (2004) pre-recorded media Elena Kats-Chernin Purple Prelude (1996) Tast-En (1991) Lisa Moore, piano INTERMISSION Frances-Marie Uitti Rap’t (2007) Uitti, cello with two bows and electronics U. S. Premiere Ishmael Wadada Leo Smith Taif: Prayer in the Garden of The Hijaz (2007) Smith, trumpet; Anthony Brown, percussion; Del Sol String Quartet World Premiere, commissioned by Other Minds 6 Concert 1 Program Notes Mit Diesen Händen ploring or indicating.
Recommended publications
  • Vanderhoef Studio Theatre, Mondavi Center
    Mika Pelo and kurt rohde, co-directors Vanderhoef Studio Theatre, Mondavi Center Vanderhoef Studio Theatre, Mondavi Center The DeparTmenT of music presenTs The Empyrean Ensemble Mika Pelo and Kurt Rohde, Co-directors Americans in Rome Pre-concert talk: 6pm, moderated by Kurt Rohde Program Mu for Solo Violin (2007) Keeril Makan (b. 1972) Piano Etude No. 5 from 7 Piano Etudes (2008–09) Don Byron (b. 1957) Bird as Prophet for Violin and Piano (1999) Martin Bresnick (b. 1946) Piano Etude No. 2 from 7 Piano Etudes (2008–09) Don Byron Song for Andrew for Piano Quartet (2008) Laura Schwendinger (b. 1962) Intermission Three Phantasy Pieces for Viola and Percussion (2005) Claude Baker I. J.B. (b. 1948) II. R.S. III. H.B. Piano Etude No. 3 (a la Suzanne Vega) from 7 Piano Etudes (2008–09) Don Byron Dusk from The Book of Hours for Piano Trio (2000) Martin Brody (b. 1949) Piano Etude No. 6 from 7 Piano Etudes (2008–09) Don Byron Mu for Solo Violin (2007) Keeril Makan Hrabba Atladottir, violin; Ellen Ruth Rose, viola; Michael Graham, cello; Chris Froh, percussion; Michael Seth Orland, piano Sunday, January 23, 2011 • 7:00 pm Vanderhoef Studio Theatre, Mondavi Center 3 NOTES Mu (2007) for prepared violin: some meanings of Mu (according to Wikipedia): · Micro- the prefix signifying one millionth. · In Zen Buddhism, a word that can mean neither yes nor no. · The twelfth letter of the Greek alphabet, which was derived from the Egyptian hieroglyphic symbol for water. · The name of a hypothetical continent that allegedly existed in one of Earth’s oceans but disappeared at the dawn of human history.
    [Show full text]
  • Network Notebook
    Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more.
    [Show full text]
  • Sòouünd Póetry the Wages of Syntax
    SòouÜnd Póetry The Wages of Syntax Monday April 9 - Saturday April 14, 2018 ODC Theater · 3153 17th St. San Francisco, CA WELCOME TO HOTEL BELLEVUE SAN LORENZO Hotel Spa Bellevue San Lorenzo, directly on Lago di Garda in the Northern Italian Alps, is the ideal four-star lodging from which to explore the art of Futurism. The grounds are filled with cypress, laurel and myrtle trees appreciated by Lawrence and Goethe. Visit the Mart Museum in nearby Rovareto, designed by Mario Botta, housing the rich archive of sound poet and painter Fortunato Depero plus innumerable works by other leaders of that influential movement. And don’t miss the nearby palatial home of eccentric writer Gabriele d’Annunzio. The hotel is filled with contemporary art and houses a large library https://www.bellevue-sanlorenzo.it/ of contemporary art publications. Enjoy full spa facilities and elegant meals overlooking picturesque Lake Garda, on private grounds brimming with contemporary sculpture. WElcome to A FESTIVAL OF UNEXPECTED NEW MUSIC The 23rd Other Minds Festival is presented by Other Minds in 2 Message from the Artistic Director association with ODC Theater, 7 What is Sound Poetry? San Francisco. 8 Gala Opening All Festival concerts take place at April 9, Monday ODC Theater, 3153 17th St., San Francisco, CA at Shotwell St. and 12 No Poets Don’t Own Words begin at 7:30 PM, with the exception April 10, Tuesday of the lecture and workshop on 14 The History Channel Tuesday. Other Minds thanks the April 11, Wednesday team at ODC for their help and hard work on our behalf.
    [Show full text]
  • Expanding Horizons: the International Avant-Garde, 1962-75
    452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary.
    [Show full text]
  • ANNIE GOSFIELD, Whom the BBC Called “A One Woman Hadron
    ANNIE GOSFIELD, whom the BBC called “A one woman Hadron collider,” lives in New York City and works on the boundaries between notated and improvised music, electronic and acoustic sounds, refined timbres and noise. Her music is often inspired by the inherent beauty of found sounds, noise, and machinery. She was dubbed “a master of musical feedback” by The New York Times, who wrote “Ms. Gosfield’s choice of sounds — which on this occasion included radio static, the signals transmitted by the Soviet satellite Sputnik I, and recordings of Hurricane Sandy — are never a mere gimmick. Her extraordinary command of texture and timbre means that whether she is working with a solo cello or with the ensemble she calls her “21st-century avant noisy dream band,” she is able to conjure up a palette of saturated and heady hues.” In 2017 Gosfield collaborated with Yuval Sharon and the Los Angeles Philharmonic on the multi-site opera “War of the Worlds.” This large-scale, citywide collaborative performance was a powerful engagement with public life, bringing opera out of the concert hall and into the streets. Three defunct air raid sirens located in downtown Los Angeles were re-purposed into public speakers to broadcast a free, live performance from Walt Disney Concert Hall. The sirens also served as remote sites for singers and musicians to report back to the concert hall from the street. The notorious 1938 radio drama created by Orson Welles came to new life, directed by The Industry’s Yuval Sharon, conducted by Christopher Rountree and narrated by Sigourney Weaver.
    [Show full text]
  • Myra Melford & Snowy Egret Language of Dreams
    Saturday, November 19, 2016, 8pm Zellerbach Hall Myra Melford & Snowy Egret Language of Dreams Conceived and composed by Myra Melford Myra Melford’s Snowy Egret Myra Melford, piano, melodica, and sampler Ron Miles, cornet Liberty Ellman, guitar Stomu Takeishi, acoustic bass guitar Tyshawn Sorey, drums David Szlasa, video artist and lighting design Oguri, dancer and choreography Sofia Rei, narrator/spoken text Hans Wendl, artistic direction and production Texts excerpted from Eduardo Galeano’s Memory of Fire (Memoria del Fuego ) trilogy: Genesis (1982) Faces and Masks (1984) Century of the Wind (1986) Copyright 1982, 1984, 1986 respectively by Eduardo Galeano. Translation copyright 1985, 1987, 1988 by Cedric Belfrage. Published in Spanish by Siglo XXI Editores, México, and in English by Nation Books. By permission of Susan Bergholz Literary Services, New York, NY and Lamy, NM. All rights reserved. e creation and presentation of Language of Dreams was made possible by Yerba Buena Center for the Arts, a Guggenheim Fellowship, the Doris Duke Performing Artist Award, and a University of California Faculty Research Grant. Jazz residency and education activities generously underwritten by the Thatcher-Meyerson Family. n e s i o B s e l y M Myra Melford (far right) with Snowy Egret Language of Dreams I Prelude e Promised Land Snow e Kitchen II e Virgin of Guadalupe A Musical Evening For Love of Fruit/Ching Ching III Language IV Times of Sleep and Fate Little Pockets/Everybody Pays Taxes Market e First Protest V Night of Sorrow Day of the Dead e Strawberry VI Reprise – e Virgin of Guadalupe This performance will last approximately 75 minutes and will be performed without intermission.
    [Show full text]
  • Liner Notes, Visit Our Web Site: Broadcasts by WNYC-FM (New York City) and KPFA-FM (Berkeley), 1991
    CMYK 80811- 2 80817-2 [2 CDs] CHARLES AMIRKHANIAN (b. 1945) LOUDSPEAKERS CHARLES AMIRKHANIAN LOUDSPEAKERS DISC 1 [TT: 70:03] DISC 2 [TT: 61:30] Pianola (Pas de mains) (1997–2000) 39:51 1. Son of Metropolis 1. Corale Cattedrale 3:57 San Francisco (1997) 26:38 2. Pet Hop Solo 2:28 Loudspeakers 3. Valzer Provarollio 5:27 (for Morton Feldman) (1988–90) 34:32 4. Tochastic Music 2:18 2. Meyerbeer 4:35 5. Passaggio di Coltivadori 1:07 3. The Piece 5:26 6. Antheil Swoon 2:14 4. Voice Leading 6:51 7. Chaos of the Moderns (Presto) 4:24 5. Took Some Time 7:34 8. To a Nanka Rose 2:16 6. Such a Surface 3:33 9. A Rimsky Business 4:43 7. Pretty Pretty Macabre 3:08 10. Kiki Keys 10:39 8. Loudspeakers 3:24 11. Im Frühling (1989–90) 30:06 Im Frühling 1990, Son of Metropolis San Francisco ൿ 1997, Pianola ൿ 2000 A Westdeutscher Rundfunk Köln Production New World Records, 20 Jay Street, Suite 1001, Brooklyn, NY 11201 Tel (212) 290-1680 Fax (646) 224-9638 [email protected] www.newworldrecords.org This compilation ൿ & © 2019 Anthology of Recorded Music, Inc. All rights reserved. Made in U.S.A. 21907.booklet.16 10/29/19 1:12 PM Page 2 HARLES AMIRKHANIAN (b. 1945) can be regarded as a central figure repetitive elements, but are more poetic, intuitive in their form and often in American music, and on several fronts. As a composer, he’s been impressionistic in their effect.
    [Show full text]
  • Oceans Eat Cities
    NEIL ROLNICK Credits Oceans Eat Cities Erik Peterson, recording engineer Sheldon Steiger, post-production and mastering engineer Deal With The Devil was recorded Nov 20, 2018 at Metropolitan State University, Denver, CO. Oceans Eat Cities and Mirages were recorded July 14 & 17, 2019 at Western Colorado University, Gunnison, CO. Cover image: Luke DuBois and Emilio Hernandez Cortes Photo credit: Chloe Bland All works are published by Neilnick Music (BMI) WWW.ALBANYRECORDS.COM TROY1857 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 Jennifer Choi, violin | Kathleen Supové, piano | VOXARE String Quartet TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2021 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. The Composer Rolnick was sidelined for most of 2018, caring for his wife of 45 years who Composer Neil Rolnick pioneered the use of computers in passed away that summer. In early 2019 he commemorated her memory with musical performance, beginning in the late 1970s. Based in a solo laptop piece, Messages, which repurposes her phone messages from New York City since 2002, his music has been performed before and during her illness. worldwide, including recent performances in Cuba, China, Between 2014 and 2018 Rolnick completed Declaration, Deal With The Korea, Mexico and across the US and Europe. His music Devil, Mirages, Oceans Eat Cities, Cello Ex Machina, Silicon Breath, Dynamic has appeared on 21 LPs, CDs and digital releases. His RAM & Concert Grand, and two solo laptop performance pieces, O Brother! string quartet Oceans Eat Cities was performed at the UN and WakeUp.
    [Show full text]
  • Ulrich Buch Engl. Ulrich Buch Englisch
    Stockhausen-Stiftung für Musik First edition 2012 Published by Stockhausen-Stiftung für Musik 51515 Kürten, Germany (Fax +49-[0] 2268-1813) www.stockhausen-verlag.com All rights reserved. Copying prohibited by law. O c Copyright Stockhausen-Stiftung für Musik 2012 Translation: Jayne Obst Layout: Kathinka Pasveer ISBN: 978-3-9815317-0-1 STOCKHAUSEN A THEOLOGICAL INTERPRETATION BY THOMAS ULRICH Stockhausen-Stiftung für Musik 2012 TABLE OF CONTENTS Preliminary Remark .................................................................................................. VII Preface: Music and Religion ................................................................................. VII I. Metaphysical Theology of Order ................................................................. 3 1. Historical Situation ....................................................................................... 3 2. What is Music? ............................................................................................. 5 3. The Order of Tones and its Theological Roots ............................................ 7 4. The Artistic Application of Stockhausen’s Metaphysical Theology in Early Serialism .................................................. 14 5. Effects of Metaphysical Theology on the Young Stockhausen ................... 22 a. A Non-Historical Concept of Time ........................................................... 22 b. Domination Thinking ................................................................................ 23 c. Progressive Thinking
    [Show full text]
  • General Guidelines for Guest Editor
    1 Vol 15 Issue 01 – 02 January 2007 The Burkina Electric Project and Some Thoughts About Electronic Music in Africa Lukas Ligeti [email protected] http://www.lukasligeti.com Keywords Burkina Electric Project, electronic music, Africa, electronics and computer technology Abstract This paper is an updated summary of a presentation I gave at the Unyazi Electronic Music Festival in Johannesburg, South Africa in 2005. Burkina Electric, founded in 2004, is an ensemble featuring two musicians (singer Mai Lingani and guitarist Wende K. Blass) and two dancers (Hugues Zoko and Idrissa Kafando) from Burkina Faso; the German pop music pioneer Pyrolator on electronics (both audio and visual); and myself on electronics and drums. Our objective is to create and perform original music combining the traditions of Burkina Faso with the world of DJ/club/dance electronica. In so doing, we build bridges between African and Western cultures, especially in the domains of pop/youth culture and experimental music. Burkina Electric's debut CD, Paspanga, was recently released for the Burkinabè market. By using elements of Burkinabè traditional music, including rhythms not usually heard in contemporary urban music, plus rhythms of our own creation, we aim to enlarge the vocabulary of “grooves” in the club/dance landscape; the dancers help audiences interpret these unusual rhythmic patterns. Sonorities and structural models of West African music are transferred to electronics and reassembled and processed in various ways. Rather than superimposing drum programming on top of an African traditional structures, we compose music that aims to organically confront and combine Africa and Occident, and tradition and experiment, while maintaining the particular sensibilities of both worlds.
    [Show full text]
  • John Zorn Marathon Royce Triple Threat Featuring Abraxas, Secret Chiefs 3 & Bladerunner & the Hermetic Organ
    John Zorn Marathon Royce Triple Threat featuring Abraxas, Secret Chiefs 3 & Bladerunner & The Hermetic Organ Sat, May 2 ROYCE TRIPLE THREAT 8pm – Abraxas: Psychomagia Royce Triple Threat Aram Bajakian Guitar Royce Hall Eyal Maoz Guitar 8pm Kenny Grohowski Drums RUNNING TIME: Shanir Blumenkranz Gimbri Approximately 3 hours; Two intermissions Intermission The Hermetic Organ 9pm – Secret Chiefs 3: Masada Book Two Royce Hall Trey Spruance Guitar Midnight Eyvind Kang Violin Ches Smith Drums RUNNING TIME: Approximately 45 minutes; Jason Schimmel Guitar No intermission Matt Lebofsky Keyboards Toby Driver Bass PRE-SHOW TERRACE EVENT: Round-Robin Duets: Intermission A Musical Improvisation 6:30 pm 10pm – Bladerunner Inspired by John Zorn’s improvisational John Zorn Sax techniques, a group of UCLA student Bill Laswell Bass musicians play a round-robin of s Dave Lombardo Drums pontaneous duets, culminating in a group imrov-jam session. THE HERMETIC ORGAN John Zorn Solo Organ Improvisations CAP UCLA SPONSOR: Supported in part by the Andrew W. Mellon Foundation ABOUT THE PROGRAM Although organ was Zorn’s first instrument (he often credits Lon Chaney MEDIA SPONSOR: in The Phantom of the Opera as a primal influence), in 2011 the saxophone great surprised even his hardcore fans by initiating a new series of solo organ concerts in churches around the world. The music is breathtaking, and distinguished by a spiritual mood that only a huge pipe organ like Royce Hall’s Skinner can create. A perfect outlet for Zorn’s dramatic sense of color and contrast, this performance reveals the composer’s mind at work in all its permutations.
    [Show full text]
  • 09 New Romanticisms, Complexities, Simplicities Student Copy
    MSM CPP Survey EC 9. New… Romanticisms Alfred Schnittke (1934-1998) ''In the beginning, I composed in a distinct style,'' Mr. Schnittke said in an interview in 1988, ''but as I see it now, my personality was not coming through. More recently, I have used many different styles, and quotations from many periods of musical history, but my own voice comes through them clearly now.’' He continued, ''It is not just eclecticism for its own sake. When I use elements of, say, Baroque music,'' he added, ''sometimes I'm tweaking the listener. And sometimes I'm thinking about earlier music as a beautiful way of writing that has disappeared and will never come back; and in that sense, it has a tragic feeling for me. I see no conflict in being both serious and comic in the same piece. In fact, I cannot have one without the other.’' NY Times obituary. Concerto Grosso no. 1 (1977) “a play of three spheres: the Baroque, the Modern and the Banal” (AS) String Quartet no. 2 (1980) Concerto for Mixed Chorus (1984-1985) Wolfgang Rihm (*1952) String Quartet No. 5 (1981-1983) Vigilia (2006) Jagden und Formen (1995-2001) MSM CPP Survey EC Morton Feldman (1926-1987) Rothko Chapel (1971) ‘In 1972, Heinz-Klaus Metzger obstreperously asked Feldman whether his music constituted a “mourning epilogue to murdered Yiddishkeit in Europe and dying Yiddishkeit in America.” Feldman answered: It’s not true; but at the same time I think there’s an aspect of my attitude about being a composer that is mourning—say, for example, the death of art.
    [Show full text]