DOCSLIB.ORG

American Contemporary Music Ensemble (ACME) and Roomful of Teeth

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
American Contemporary Music Ensemble (ACME) and Roomful of Teeth Montclair State University Montclair State University Digital Commons 2014-2015 Discover the Heartbeat of Creative Life PEAK Performances Programming History 2-7-2015 American Contemporary Music Ensemble (ACME) and Roomful of Teeth Office of Arts + Cultural Programming PEAK Performances at Montclair State University Follow this and additional works at: https://digitalcommons.montclair.edu/peak-performances-2014-2015 Part of the Theatre and Performance Studies Commons Dr. Susan A. Cole, President Daniel Gurskis, Dean, College of the Arts Staff Jedediah Wheeler, Executive Director, Arts & Cultural Programming Program Editor Susan R. Case Office of Arts & Cultural Programming Production Run Crew Jesse Haack Executive Director Jedediah Wheeler Executive Producer Jill Dombrowski Producer Jessica Wasilewski College of the Arts Production/Facility Manager J. Ryan Graves Dean Daniel Gurskis American Contemporary Music Ensemble (ACME) Cultural Engagement Director Carrie Urbanic Associate Dean Ronald L. Sharps Media and Marketing Specialist Amy Estes Assistant Dean Linda D. Davidson Director of Administration Marie Sparks American Contemporary Music Ensemble (ACME) Director of Audience Services Robert Hermida Roomful of Teeth Lighting Supervisor Chris Holland College Administrator Zacrah S. Battle Audio Visual Engineer Erik Trester Executive Assistant to the Dean Alyson Thelin Works of Caroline Shaw, Gavin Bryars, and Henry Purcell Cultural Engagement Assistant Hannah Rolfes Program Assistant Kilolo Kumanyika Roomful of Teeth Production Associate Gillian P. Holmes Art and Design Aissa Deebi Film Project Coordinator Omonike Akinyemi John J. Cali School of Music Jon Robert Cart Box Office ManagerPierson Van Raalte School of Communication and Media Merrill Brown Theatre and Dance Randy Mugleston Works of Caroline Shaw, Gavin Bryars, and Henry Purcell House Manager Maureen Grimaldi ACME Roomful of Teeth Marketing/PR Assistant Noah Befeler Broadcast and Digital Media Facilities Nick Tzanis University Art Galleries Teresa Rodriguez Clarice Jensen, Artistic Director Brad Wells, Artistic Director Graphics Patrick Flood/pfloodesign.com Press Ellen Jacobs Associates Ben Russell, violin Estelí Gomez, soprano Laura Lutzke, violin Sarah Brailey, soprano Montclair State’s Office of Arts & Cultural Programming (ACP) presents and produces leading artists of the world in Yuki Numata Resnick, viola Caroline Shaw, alto dance, music, theater, and opera. Under its signature series Peak Performances, ACP has produced works such as Zinnias: The Life of Clementine Hunter by Robert Wilson, Bernice Johnson Reagon, Toshi Reagon, and Jacqueline Woodson; Clarice Jensen, cello Virginia Warnken, alto Dog Days by David T. Little and Royce Vavrek; Harry Partch’s Oedipus; and Ridge Theater’s The Difficulty of Crossing a Eric Dudley, tenor Field by David Lang. In addition, ACP has commissioned works by Bill T. Jones, Kronos Quartet, Jan Fabre, Liz Lerman, Avery Griffin, baritone Wayne McGregor, Laurie Anderson, Romeo Castellucci, Richard Alston, Susan Marshall, Fred Hersch, and David Gordon. Dashon Burton, bass-baritone Cameron Beauchamp, bass Major Donors Alexander Kasser Theater Benefactors Founders Arlene Allen Photo by Mark Shelby Perry PROGRAM Mary Mochary Bank of America Fantasia no. 10 in E Minor, Z.741 (1680) Henry Purcell (1659–1695) I. Michael Kasser John and Cynthia Barnes Alexandra and Seth Bergstein Grace Lyon Concialdi Jean Hall Fantasia upon One Note, Z. 745 (1680) Purcell Matthew Mochary ________________________ The Hillier Group Automatic Data Processing Audrey V. Leef Jesus’ Blood Never Failed Me Yet (1971) Gavin Bryars (b. 1943) Doris and Felix Beck The Prudential Insurance Company of America Robert and Barbara Constable Schering-Plough Research Institute Partita for 8 Voices (2009–2012) Caroline Shaw (b. 1982) Andrew Constable Wachovia Bank Josh and Judy Weston Allemande George and Linda Hiltzik Montclair State University Alumni Association Sarabande Margaret and Herman Sokol Courante Jack and Jeanette Sullivan Passacaglia Photo by Nicholas Whitman ~~Intermission~~ The 2014/15 season is made possible in part by funds from: The Andrew W. Mellon Foundation Fantasia no. 6 in F Major, Z. 737 (1680) Purcell The New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts February 7, 2015 8:00pm Ritornello 2.3 (2015; world premiere of version for strings and voices) Shaw Discover Jersey Arts Film by Caroline Shaw Alexander Kasser Theater National Dance Project (NDP) of the New England Foundation for the Arts Alison and James T. Cirenza Robert and Holly Gregory Arts and Cultural Programming at Montclair State University is honored to have been awarded a 2015 Citation of The Honorable Mary Mochary Excellence from the New Jersey State Council on the Arts for achieving the highest standard of excellence as recognized by our peers. To view our complete season and for more information, visit peakperfs.org. Duration: 1 hour 35 minutes, including one 15-minute intermission. In consideration of both audience and performers, please turn off all electronic devices. The taking of photographs or @peakperfs videos and the use of recording equipment are not permitted. No food or drink is permitted in the theater. reconsider the colors and small details with every Ritornello 2.3 to perform barefoot whenever possible). Shaw loves Chen Yi, and more. ACME has also collaborated performance. Allemande opens with the organized the color yellow, avocados, otters, salted chocolate, with bands and artists including Grizzly Bear, Low, Program Notes chaos of square dance calls overlapping with Ritornello 2.3 is the newest iteration of a long-term kayaking, Beethoven opus 74, Mozart opera, Matmos, Craig Wedren, Micachu & The Shapes, technical wall drawing directions of the artist Sol musical project, Ritornello, that has its roots in the the smell of rosemary, and the sound of a janky and composers/performers Hauschka, Jóhann In 2013, I gave myself a challenge to write the same Jesus’ Blood Never Failed Me Yet 17th-century music of Monteverdi and its recent music for voices and for strings, separately. It was a LeWitt, suddenly congealing into a bright, angular mandolin. Jóhannsson, Max Richter, and Dustin O’Halloran. In 1971, when I lived in London, I was working with tune that never keeps its feet on the ground for very branches in experiments with Roomful of Teeth and way for me to consider both the history of early viol ACME. and vocal music as well as my own relationship to a friend, Alan Power, on a film about people living long. There are allusions to the movement’s intended American Contemporary Music ACME was founded by cellist Clarice Jensen, my two main musical arms—my voice and my violin. rough in the area around Elephant and Castle and simulation of motion and space in the short phrases conductor Donato Cabrera, and publicist Christina Waterloo Station. In the course of being filmed, of text throughout, which are sometimes sung and Sometimes it is the smallest things that return— Ensemble (ACME) Jensen and has received support from The Aaron This became Ritornello 2.0, a 30-minute work in again and again and again. Sometimes repetition some people broke into drunken song—sometimes sometimes embedded as spoken texture. The American Contemporary Music Ensemble Copland Fund for Music, New Music USA’s Cary two versions, one for Roomful of Teeth and one for a enhances meaning. Reinforces meaning. Depletes bits of opera, sometimes sentimental ballads—and (ACME), celebrating its 10th season in 2014–2015, New Music Performance Fund, and the Greenwall string quartet subset of ACME. it, warps it. Envelopes it. The simplest words, one, who in fact did not drink, sang a religious song, Sarabande’s quiet restraint in the beginning is is dedicated to the outstanding performance of Foundation. acmemusic.org. when repeated aloud, develop a strangeness that is “Jesus’ Blood Never Failed Me Yet.” This was not punctured in the middle by an ecstatic, belted melody masterworks from the 20th and 21st centuries, Tonight’s performance is a dream of mine—a delightful and chilling at the same time. Repetition ultimately used in the film, and I was given all the that resolves quietly at the end, followed soon after primarily the work of American composers. The collaboration between ACME and Roomful of folds and unfolds a signifier until the relationship Roomful of Teeth Teeth, my closest musical friends and partners unused sections of tape, including this one. by the Inuit-inspired hocketed breaths of Courante. ensemble presents fresh work by living composers between the signifier and the signified breaks Founded in 2009 by Brad Wells, Roomful of Teeth is of the last five years. It was with ACME that I first A wordless quotation of the American folk hymn alongside the classics of the contemporary. ACME’s down, articulated best in fragments and distilled to a vocal project dedicated to mining the expressive discovered Gavin Bryars’s Jesus’ Blood Never Failed When I played it at home, I found that his singing “Shining Shore” appears at first as a musical non dedication to new music extends across genres and something nonverbal. Elusive semiotic theory aside, potential of the human voice. Through study with Me Yet; played the music of Jóhann Jóhannsson, was in tune with my piano, and I improvised a simple sequitur but later recombines with the rhythmic has earned them a reputation among both classical this, I think, is where some of our music comes from. masters from nonclassical traditions the world over, Lutoslawski, and Cage; and toured in a van with accompaniment. I noticed, too, that the first section breaths as this longest movement is propelled to and rock crowds. NPR calls them “contemporary And maybe this is why some music keeps coming the eight-voice ensemble continually expands its A Winged Victory for the Sullen (recently on the of the song—13 bars in length—formed an effective its final gasp. Passacaglia is a set of variations on music dynamos,” and the New York Times describes back. vocabulary of singing techniques and, through an stage of Peak Performances with 2014’s Atomos).
Load more

Recommended publications
  • 1. Sci-Fi and Fantasy
    How Film & TV Music Communicate – Vol. III – text copyright © 2015 Brian Morrell Chapter 1 SCIENCE FICTION & FANTASY This chapter deals in detail with the sci-fi / fantasy genre and analyses the music for a number of films where music plays an integral role in articulating the story and the underlying context and narrative. Films and music analysed include A Perfect Sense (Max Richter) Contagion (Cliff Martinez) K-Pax (Edward Shearmur) Limitless (Paul Leonard-Morgan) The Mothman Prophecies (Tomandandy) Shore) The 13 th Floor (Harald Klosser) Pleasantville (Randy Newman) Signs (James Newton Howard) The Adjustment Bureau (Thomas Newman) The Core (Christopher Young) The Village (James Newton Howard) Volcano (Alan Silvestri) The Event (Scott Starrett) Super 8 (Michael Giacchano) A PERFECT SENSE Max Richter A Perfect Sense is a story about two people who fall in love just as an epidemic begins to gradually rob the world’s population of their senses, one by one. The epidemic sweeps the globe, gradually rendering the public unable to function. First, people start crying for no reason. After drying up their tears, they notice they have lost their ability to smell; this is followed eventually by a loss of taste, hearing and finally, sight. The epidemic itself is not given a major part in the movie. The film focuses instead on the two lovers and the rest of the people dealing with the situation. This in part explains the functionality of the music, which is meant to underpin the emotional context of the movie, rather than the science fiction. The main protagonists are a scientist (Susan) and a chef (Michael).
    [Show full text]
  • Jeroen Van Veen MAX RICHTER B.1966 from 1994 Until 2004 I Frequently Played Concerts with the Dutch Based DJ Paul Solo Piano Music Adriaanse
    RICHTER SOLO PIANO MUSIC PLAYED BY Jeroen van Veen MAX RICHTER b.1966 From 1994 until 2004 I frequently played concerts with the Dutch based DJ Paul Solo Piano Music Adriaanse. From time to time we listened to the music of Max Richter; the music he produced was somehow what we did, only we used classical music and remixed that with clicks and cut’s. The name Max Richter came across a few times more; 1. Andras 4’51 11. Leo’s Journal 1’53 when I was working at my Minimal Piano Collection I discovered many pieces for 2. The Blue Notebooks 1’21 12. The Tartu Piano 2’27 four pianos and more dedicated to the Piano Circus; guess what: the Ensemble was 3. Circles from the rue Simon- 13. The Twins (Prague) 2’42 co-founded by Max! A few of these pieces I recorded on my Album Minimal Piano Crubellier 1’10 14. Vladimir’s Blues 2’03 Collection II (BC8551). 4. Departure 1’41 15. Written On The Sky I 2’37 On this Album you can hear all his published solo piano music by Chester Music. 5. The Family 2’48 16. Horizon Variations II 3’20 I added one piece Reflection from ‘Waltz with Bashir’. The music is an arrangement/ 6. Fragment 1’56 17. Waltz With Bashir Reflection variation on Schubert’s Piano Sonata in A major, D.959 2nd Movement (Andantino). 7. From the rue Villin 1’30 (End Title) 1’42 I also found another edition of Horizon Variations and I concluded the album with 8.
    [Show full text]
  • Concerts from the Library of Congress 2012-2013
    Concerts from the Library of Congress 2012-2013 LIBRARY LATE ACME & yMusic Friday, November 30, 2012 9:30 in the evening sprenger theater Atlas performing arts center The McKim Fund in the Library of Congress was created in 1970 through a bequest of Mrs. W. Duncan McKim, concert violinist, who won international prominence under her maiden name, Leonora Jackson; the fund supports the commissioning and performance of chamber music for violin and piano. Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. Please take note: UNAUTHORIZED USE OF PHOTOGRAPHIC AND SOUND RECORDING EQUIPMENT IS STRICTLY PROHIBITED. PATRONS ARE REQUESTED TO TURN OFF THEIR CELLULAR PHONES, ALARM WATCHES, OR OTHER NOISE-MAKING DEVICES THAT WOULD DISRUPT THE PERFORMANCE. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. THE LIBRARY OF CONGRESS Atlas Performing Arts Center FRIDAY, NOVEMBER 30, 2012, at 9:30 p.m. THE mckim Fund In the Library of Congress American Contemporary Music Ensemble Rob Moose and Caleb Burhans, violin Nadia Sirota, viola Clarice Jensen, cello Timothy Andres, piano CAROLINE ADELAIDE SHAW Limestone and Felt, for viola and cello DON BYRON Spin, for violin and piano (McKim Fund Commission) JOHN CAGE (1912-1992) String Quartet in Four Parts (1950) Quietly Flowing Along Slowly Rocking Nearly Stationary Quodlibet MICK BARR ACMED, for violin, viola and cello Intermission *Meet the Artists* yMusic Alex Sopp, flutes Hideaki Aomori, clarinets C.J.
    [Show full text]
  • 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.
    [Show full text]
  • Triptych Eyes of One on Another
    Saturday, September 28, 2019, 8pm Zellerbach Hall Triptych Eyes of One on Another A Cal Performances Co-commission Produced by ArKtype/omas O. Kriegsmann in cooperation with e Robert Mapplethorpe Foundation Composed by Bryce Dessner Libretto by korde arrington tuttle Featuring words by Essex Hemphill and Patti Smith Directed by Kaneza Schaal Featuring Roomful of Teeth with Alicia Hall Moran and Isaiah Robinson Jennifer H. Newman, associate director/touring Lilleth Glimcher, associate director/development Brad Wells, music director and conductor Martell Ruffin, contributing choreographer and performer Carlos Soto, set and costume design Yuki Nakase, lighting design Simon Harding, video Dylan Goodhue/nomadsound.net, sound design William Knapp, production management Talvin Wilks and Christopher Myers, dramaturgy ArKtype/J.J. El-Far, managing producer William Brittelle, associate music director Kathrine R. Mitchell, lighting supervisor Moe Shahrooz, associate video designer Megan Schwarz Dickert, production stage manager Aren Carpenter, technical director Iyvon Edebiri, company manager Dominic Mekky, session copyist and score manager Gill Graham, consulting producer Carla Parisi/Kid Logic Media, public relations Cal Performances’ 2019 –20 season is sponsored by Wells Fargo. ROOMFUL OF TEETH Estelí Gomez, Martha Cluver, Augusta Caso, Virginia Kelsey, omas McCargar, ann Scoggin, Cameron Beauchamp, Eric Dudley SAN FRANCISCO CONTEMPORARY MUSIC PLAYERS Lisa Oman, executive director ; Eric Dudley, artistic director Susan Freier, violin ; Christina Simpson, viola ; Stephen Harrison, cello ; Alicia Telford, French horn ; Jeff Anderle, clarinet/bass clarinet ; Kate Campbell, piano/harmonium ; Michael Downing and Divesh Karamchandani, percussion ; David Tanenbaum, guitar Music by Bryce Dessner is used with permission of Chester Music Ltd. “e Perfect Moment, For Robert Mapplethorpe” by Essex Hemphill, 1988.
    [Show full text]
  • Max Richter Memoryhouse (Reissue)
    MAX RICHTER MEMORYHOUSE (REISSUE) Originally released in 2002 but long out of print, Max Richter’s gorgeous debut album will finally see a much-awaited reissue via FatCat’s 130701 imprint. Recorded by Richter with the BBC Philharmonic Orchestra and critically lauded on its original release, Memoryhouse is quite deservedly held very dear to the broad-reaching “post-classical” field. Championed as much in musical academia as by fans of film score and of contemporary music, Richter’s pieces share common ground with composers such as Henryk Górecki, Arvo Pärt, Philip Glass, Michael Nyman and Steve Reich in their depth, patience and articulacy, but also capture the swooning serenity and grace of quieter moments from Sigur Rós or Godspeed You! Black Emperor. Contemporaries Nico Muhly, Eluvium, Jóhan Jóhansson, or labelmate Hauschka provide a loose com- Release date: 1/26/10 parison point, but Max’s evocative sense of vision is stunningly singular, Format: LP as is his extraordinary ability to suddenly open up a piece of music like NOT AVAILABLE FOR EXPORT opening one’s eyes to glorious sunshine. File Under: Avant-Garde/ Modern Composition Memoryhouse is bright, sparkling, exhilarating, warming, gripping, heart- breaking, comforting and rousing, and never loses its awe-inspiring sense of identity and imagination. It is enveloping – one can get lost in the FAT1309LP lovingly-composed intricacies and interaction between instruments – or UPC: 600116130914 can be a subtle, albeit chill-inducing, soundtrack to the everyday. Box 25 Also Available: SELLING POINTS Memoryhouse FAT1309CD Long-awaited reissue of Richter’s out of print debut Full national press campaign 24 Postcards In Full Colour FAT1307CD College/public radio campaign by Chouette Richter recently won a European Film Award for the score The Blue Notebooks to the Academy Award-nominated Waltz With Bashir FAT1304CD Songs From Before TRACKLISTING FAT1305CD 1.
    [Show full text]
  • Volume I (Final) Proofread
    UCLA UCLA Electronic Theses and Dissertations Title The Influence of Pop Music in the Works of Three Contemporary American Composers: Steven Mackey, Julia Wolfe and Nico Muhly Permalink https://escholarship.org/uc/item/5h4626dd Author Lee, Hyunjong Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles The Influence of Pop Music in the Works of Three Contemporary American Composers: Steven Mackey, Julia Wolfe and Nico Muhly A dissertation submitted in partial satisfaction of the requirements for the degree Doctoral of Philosophy in Music by Hyunjong Lee 2014 © copyright by Hyunjong Lee 2014 ABSTRACT OF THE DISSERTATION The Influence of Pop Music in the Works of Three Contemporary American Composers: Steven Mackey, Julia Wolfe and Nico Muhly by Hyunjong Lee Doctor of Philosophy in Music University of California, Los Angeles, 2014 Professor Ian Krouse, Chair There are two volumes in this dissertation: the first is a monograph, and the second a musical composition, both of which are described below. Volume I These days, labels such as classical, rock and pop mean less and less since young musicians frequently blur boundaries between genres. These young musicians have built an alternative musical universe. I construct five different categories to explore this universe. They are 1) circuits of alternate concert venues, 2) cross-genre collaborations, 3) alternative modes of musical groups, 4) new compositional trends in classical chamber music, and 5) new ensembles and record labels. ii In this dissertation, I aim to explore these five categories, connecting them to recent cultural trends in New York.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Music Editor
    DEL SPIVA MUSIC EDITOR FILM: The Old Guard Studio: Netflix Director: Gena Prince-Bythewood Editor: Terylin A. Shropshire Composer: Volker Bertelmann & Dustin O’Halloran Top Gun Meverick Studio: Paramount Pictures Director: Joseph Kosinsky Editor: Chris Lebenzon Composer: Harold Faltermeyer & Hans Zimmer Just Mercy Studio: Warner Bros Director: Destin Daniel Cretton Editor : Nat Sanders Composer: Joel P West DeadPool 2 Studio: Twentieth Century Fox Director: David Leach Editor : Craig Alpert, Elisabet Ronaldsdóttir Composer: Tyler Bates The Defiant Ones Studio: HBO Director: Allen Hughes Editor : Doug Pray Composer: Atticus Ross Blade Runner 2049 Studio: Alcon entertainment Director: Denis Villenueve Editor : Joe Walker Composer: Johann Johannson Roman J. Israel, Esq. Studio: Sony Director: Dan Gilroy Editor : John Gilroy Composer: James Newton-Howard The Glass Castle Studio: Lionsgate Entertainment Director: Destin Daniel Cretton Editor : Nat Sanders Composer: Joel P West Gold Studio: The Weinstein Company, Black Bear Pictures Director: Stephen Gaghan Editor : Rick Grayson Composer: Daniel Pemberton Shots Fired (TV Series) Studio: Twentieth Century Fox Directors: Gina Prince—Bythewood, Jonathon Demme, Malcom D. Lee, Millicent Shelton, Reggie Bythewood Editors Teri Shropshire, Micky Blythe, Jacques Gravett, Nancy Richardso Composer: Terence Blanchard DEL SPIVA MUSIC EDITOR C oco Studio: Lions Gate Director: RZA Editor : Yon Van Kline Keanu Studio: New Line Director: Peter Atencio Editor : Nicholas Mansour Composer: Steve Jablonsky Saints & Strangers (TV Mini-Series) Studio: Sony/NatGeo Director: Gina Mathews Editor : Colby Parker, Jr. Composer: Lorne Balfe Won, Golden Reel: Best Music Editing, TV Long Form Pete’s Dragon Studio: Disney Director: david Lowery Editor : Lisa Zeno Churgin Deepwater Horizon Studio: Lionsgate Director: Peter Berg Editor : Colby Parker, Jr.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]