DOCSLIB.ORG

Music in Time

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

MUSIC MUSIC IN TIME John Kennedy, Director and Host PROGRAM I: PAMELA Z Works for Voice, Electronics, and Video Memminger Auditorium May 27 at 9:00pm “Bone Music” (1992) Pamela Z (b. 1956) “Typewriter” (1995) “Declaratives in the First Person” (2005) “Badagada” (1986) “Flare Stains” (2010) “Breathing” (2013) “Unknown Person” (from Baggage Allowance, 2010) “16 Actions” (2009) “Syrinx / Birdvoice” (2003) “Pop Titles ‘You’” (1986) “Broom” (2009) PROGRAM II: IN CELEBRATION OF 100 YEARS OF THE RITE OF SPRING, MAY 29, 1913–MAY 29, 2013 Simons Center Recital Hall at College of Charleston May 29 at 5:00pm In addition to select passages of The Rite of Spring, the following works will be performed: Epitaphium (1959) Igor Stravinsky (1882–1971) Allegro Barbaro (1911) Béla Bartók (1881–1945) Preludes Book II (1912) Claude Debussy (1862–1918) XI. “Les tierces alternées” Three Japanese Lyrics (1913) Igor Stravinsky (1882–1971) Syrinx (1913) Claude Debussy (1862–1918) Six Bagatelles (1913) Anton Webern (1883–1945) Three Pieces for String Quartet (1914) Igor Stravinsky (1882–1971) Octandre (1923) Edgard Varèse (1883–1965) Music for Pieces of Wood (1973) Steve Reich (b. 1936) Workers’ Union (1975) Louis Andriessen (b. 1939) 73 MUSIC MUSIC IN TIME JOHN KENNEDY (conductor, director, HENRIK HEIDE, (flute, Program II) and host), Spoleto Festival USA Resident praised by The Washington Post for his Conductor and Director of Orchestral “gleaming tone,” has appeared as soloist Activities, has led acclaimed performances with the Milwaukee Symphony Orchestra, and premieres worldwide of opera, ballet, Wisconsin Chamber Orchestra, and National orchestral, and new music. Kennedy has Repertory Orchestra. He is currently a fellow conducted the Festival’s widely-regarded with the New World Symphony in Miami recent American premiere productions of Beach, Florida. Heide was a member of the the operas Faustus, the Last Night by Pascal 2012 Spoleto Festival USA Orchestra and Dusapin (2007), Proserpina by Wolfgang Rihm (2010), Émilie by has also participated in numerous music festivals, including the Kaija Saariaho (2011), and Kepler by Philip Glass (2012). As artistic Tanglewood Music Center, Music Academy of the West, Pacific director of Santa Fe New Music since 2001 and of New York’s Music Festival in Sapporo, Japan, National Orchestral Institute, Essential Music from 1988–2001, he has been a leader in exploring National Repertory Orchestra, and the Kent/Blossom Music diverse and adventurous repertoire and in contextualizing it Festival. He is a substitute flutist with the Milwaukee Symphony for today’s audiences. He has also served as guest conductor in Orchestra. Heide received his master’s degree in 2012 from The residence at Oberlin Conservatory and worked with leading new Juilliard School, where he was a student of Jeffrey Khaner. He has music ensembles including Ensemble ACJW, Magik*Magik, and also studied with Jeani Foster, Betty Bielefeld, Stephanie Jutt, and the Talea Ensemble. Kennedy is the composer of over 90 works, Leone Buyse at Rice University, where he received his bachelor’s including opera, orchestral, chamber, and experimental works degree. that have been performed throughout the world. PUREUM JO (soprano, Program II), a native SAMANTHA BENNETT (violin, Program of Korea, is entering the international opera IV) is an active soloist and chamber musician world while finishing her graduate studies at around the Boston area. As a recitalist, The Juilliard School, where she received her Bennett has performed in Boston’s Jordan undergraduate degree. Early on in her career, Hall, London’s Wigmore Hall at the invitation she won numerous competitions including of the Razumovsky Academy, and Zankel Hall The Korean Voice Competition and the Seoul at Carnegie Hall. She has participated in such Philharmonic Competition. Jo has sung the internationally renowned music festivals as role of Sandrina in La finta giardiniera, Giulia Spoleto Festival USA, the Music Academy of in La scala di seta, Lucinde and Melisse in Armide, and La Virtú in the West, and the Tanglewood Music Festival. As a member of the L’incoronazione di Poppea. She has also performed at Alice Tully Tanglewood Music Center, Bennett had the privilege of performing Hall in concerts including Juilliard’s Wednesday at One series, as part of the Boston Symphony Orchestra under Charles Dutoit. Brian Zeger’s Songfest, and Robert Mealy’s Juilliard 415 Rameau Additionally, she accompanied legendary soloists Yo -Yo Ma, Anne concert. Jo has appeared as a soloist in Haydn’s Mass in Time of -Sophie Mutter, Gil Shaham, and Emanuel Ax as part of the PBS War and Mozart’s Laudate Dominum with Voice of Ascension broadcast Tanglewood’s 75th Anniversary Celebration. Currently, in New York City. She is the recipient of the Anna Case MacKay Bennett plays with the Boston Philharmonic and is the principal Scholarship. Jo is performing the title role in Spoleto Festival USA’s second violin of the Discovery Ensemble, a group that presents 2013 production of Matsukaze. outreach classes and concerts in underprivileged Boston public schools in addition to concert performances. GLEB KANASEVICH (clarinet, Programs III and IV) has appeared as a soloist with NATHAN DAVIS (composer, Program III) the Baltimore Symphony Orchestra, “writes music that deals deftly and poetically Belarus National Philharmonic, Peabody with timbre and sonority” (The New York Symphony Orchestra, and many more. He Times). His music has been commissioned by has performed on the stages of Norfolk the International Contemporary Ensemble Chamber Music Festival, Atlantic Music (ICE), Claire Chase, Steven Schick, Yarn/Wire, Festival, soundSCAPE, and Klangspuren La Jolla Symphony Chorus, Miller Theater, Schwaz, and has received instruction as a Santa Fe New Music, and the Ojai Festival clarinetist and composer at the Yale School of Music and Peabody (for eighth blackbird and sound sculptor Conservatory. Kanasevich has won numerous competitions and Trimpin). Lincoln Center inaugurated the Tully Scope Festival awards as a clarinetist and composer in the United States, South with the premiere of Davis’s landmark work, Bells. His music America, and Europe. Kanasevich currently holds a position has been presented at Carnegie Hall, Merkin Hall, Symphony as a clarinetist/composer with Lunar Ensemble and is under Space, The Kitchen, Roulette, Le Poisson Rouge, the Stone, the management of Chesapeake International Artists. His playing can Park Avenue Armory, and many festivals. He has received awards be heard on the 2011 NEOS label release Music of Marcela Pavia from Meet The Composer, Fromm Foundation, Copland Fund, and Max E. Keller, and on the 2012 solo release Refractions, which Jerome Foundation, American Music Center, MATA, ASCAP, and also features his original compositions. the ISCM. As a percussionist and a core member of ICE, Davis is in residence at the Mostly Mozart Festival and has premiered hundreds of pieces, working with luminaries and fostering emerging composers. He is on the faculty at Dartmouth College. 75 MUSIC MUSIC IN TIME Okho (1989) Iannis Xenakis (1922–2001) Elegy for Solo Viola (1944) Igor Stravinsky (1882–1971) John Kennedy, concept and conductor Pureum Jo, soprano Henrik Heide, flute Jocelin Pan, viola Keun-A Lee, piano Members of the Spoleto Festival USA Orchestra PROGRAM III: MUSIC OF NATHAN DAVIS Simons Center Recital Hall at College of Charleston June 2 at 5:00pm Bells (2011) for ensemble with four-channel diffusion and cellphone transmission Nathan Davis (b. 1973) Weather Rock (2012) for violin, cello, and percussion On speaking a hundred names (2010) for bassoon and processing Crawlspace (2002) for amplified computer, processing itself video programming by Charles Spears Skrzyp Skzryń (2010) for string quartet Nathan Davis, percussion and electronics Ryan Wilkins, bassoon Gleb Kanasevich, clarinet Members of the Spoleto Festival USA Orchestra PROGRAM IV: IN A SPRING GARDEN Simons Center Recital Hall at College of Charleston June 7 at 5:00pm Death Valley Junction(2010) Missy Mazzoli (b. 1980) Variative. Derivative. Exploitative… Gleb Kanasevich (b. 1989) from Zyklus for clarinet and tape (2011) Cadernos (2009) Andreia Pinto-Correia (b. 1981) Hop (1989) Paul Lansky (b. 1944) Im Frühlingsgarten (In a Spring Garden, 2002) Toshio Hosokawa (b. 1955) Sergei Pavlov, conductor Gleb Kanasevich, clarinet George Nickson, vibraphone Samantha Bennett, violin Members of the Spoleto Festival USA Orchestra These performances are made possible in part through funds from the Spoleto Festival USA Endowment, generously supported by BlueCross BlueShield of South Carolina. 74 MUSIC MUSIC IN TIME KEUN-A LEE (piano, Program II) has been SERGEI PAVLOV (conductor, Program on the music staffs of New York City Opera, IV) has been guest conductor of the Classic Spoleto Festival USA, The Gotham Chamber FM Radio Symphony Orchestra in his native Opera, The Juilliard School, and Manhattan Bulgaria since 2007. Currently he is conductor School of Music. She has performed in in residence at Teatro Nacional Sucre, the venues that include Carnegie Hall’s Zankel national opera theater of Ecuador. Recent Hall, Weill Recital Hall, Alice Tully Hall, engagements include assistant conductor The Kennedy Center in Washington, D.C., of the National Repertory Orchestra in Chicago’s Preston Bradley Hall, Toronto’s Colorado, chorus master of Théâtre du Centre for the Arts, and the Sejong Cultural Center and Seoul Arts Châtelet in Paris, assistant conductor of Ensemble Orchestral de Center, both in her native Korea. Recent engagements include Paris, associate conductor of the Illinois Opera Theater at the the New York Philharmonic Chamber Music Series, the season- Krannert Center for the Performing Arts in Urbana, Illinois, and opening concert with Liang Wang by the Lyric Chamber Music visiting director of the orchestral and choral programs at Eastern Society of New York, recitals for the Marilyn Horne Foundation Illinois University. Born in Bulgaria, Pavlov graduated from the at the Music Academy of the West, and recitals with the winners Bulgarian National Conservatory of Music. Upon completing his of Young Concert Artists and Concert Artist Guild.
Recommended publications
  • Sòouünd Póetry the Wages of Syntax

    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.
  • The Shaping of Time in Kaija Saariaho's Emilie

    The Shaping of Time in Kaija Saariaho's Emilie

    THE SHAPING OF TIME IN KAIJA SAARIAHO’S ÉMILIE: A PERFORMER’S PERSPECTIVE Maria Mercedes Diaz Garcia A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS May 2020 Committee: Emily Freeman Brown, Advisor Brent E. Archer Graduate Faculty Representative Elaine J. Colprit Nora Engebretsen-Broman © 2020 Maria Mercedes Diaz Garcia All Rights Reserved iii ABSTRACT Emily Freeman Brown, Advisor This document examines the ways in which Kaija Saariaho uses texture and timbre to shape time in her 2008 opera, Émilie. Building on ideas about musical time as described by Jonathan Kramer in his book The Time of Music: New Meanings, New Temporalities, New Listening Strategies (1988), such as moment time, linear time, and multiply-directed time, I identify and explain how Saariaho creates linearity and non-linearity in Émilie and address issues about timbral tension/release that are used both structurally and ornamentally. I present a conceptual framework reflecting on my performance choices that can be applied in a general approach to non-tonal music performance. This paper intends to be an aid for performers, in particular conductors, when approaching contemporary compositions where composers use the polarity between tension and release to create the perception of goal-oriented flow in the music. iv To Adeli Sarasola and Denise Zephier, with gratitude. v ACKNOWLEDGMENTS I would like to thank the many individuals who supported me during my years at BGSU. First, thanks to Dr. Emily Freeman Brown for offering me so many invaluable opportunities to grow musically and for her detailed corrections of this dissertation.
  • OTHER WORLDS 2019/20 Concert Season at Southbank Centre’S Royal Festival Hall Highlights 2019/20

    OTHER WORLDS 2019/20 Concert Season at Southbank Centre’S Royal Festival Hall Highlights 2019/20

    OTHER WORLDS 2019/20 Concert season at Southbank Centre’s Royal Festival Hall Highlights 2019/20 November Acclaimed soprano Diana Damrau is renowned for her interpretations of the music of Richard Strauss, and this November she sings a selection of her favourite Strauss songs. Page 12 September October Principal Conductor and Mark Elder conducts Artistic Advisor Vladimir Elgar’s oratorio Jurowski is joined by The Apostles, arguably Julia Fischer to launch his greatest creative the second part of Isle achievement, which of Noises with Britten’s will be brought to life elegiac Violin Concerto on this occasion with alongside Tchaikovsky’s a stellar cast of soloists Sixth Symphony. and vast choral forces. Page 03 Page 07 December Legendary British pianist Peter Donohoe plays his compatriot John Foulds’s rarely performed Dynamic Triptych – a unique jazz-filled, exotic masterpiece Page 13 February March January Vladimir Jurowski leads We welcome back violinist After winning rave reviews the first concert in our Anne-Sophie Mutter for at its premiere in 2017, 2020 Vision festival, two exceptional concerts we offer another chance presenting the music in which she performs to experience Sukanya, of three remarkable Beethoven’s groundbreaking Ravi Shankar’s works composed Triple Concerto and extraordinary operatic three centuries apart, a selection of chamber fusion of western and by Beethoven, Scriabin works alongside LPO traditional Indian styles. and Eötvös. Principal musicians. A love story brought to Page 19 Pages 26–27 life through myth, music
  • Computer Music

    Computer Music

    THE OXFORD HANDBOOK OF COMPUTER MUSIC Edited by ROGER T. DEAN OXFORD UNIVERSITY PRESS OXFORD UNIVERSITY PRESS Oxford University Press, Inc., publishes works that further Oxford University's objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2009 by Oxford University Press, Inc. First published as an Oxford University Press paperback ion Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data The Oxford handbook of computer music / edited by Roger T. Dean. p. cm. Includes bibliographical references and index. ISBN 978-0-19-979103-0 (alk. paper) i. Computer music—History and criticism. I. Dean, R. T. MI T 1.80.09 1009 i 1008046594 789.99 OXF tin Printed in the United Stares of America on acid-free paper CHAPTER 12 SENSOR-BASED MUSICAL INSTRUMENTS AND INTERACTIVE MUSIC ATAU TANAKA MUSICIANS, composers, and instrument builders have been fascinated by the expres- sive potential of electrical and electronic technologies since the advent of electricity itself.
  • Hear Me Now: the Implication and Significance of the Female Composer’S Voice As Sound Source in Her Electroacoustic Music

    Hear Me Now: the Implication and Significance of the Female Composer’S Voice As Sound Source in Her Electroacoustic Music

    Hear Me Now: the implication and significance of the female composer’s voice as sound source in her electroacoustic music Elizabeth Hinkle-Turner Computing and Information Technology Center, University of North Texas [email protected] This subject also interests me as I am myself a composer Abstract of primarily text-based electroacoustic music and video works. In several instances I am the recorded female voice In her writings about the role of the female voice in on the tape. After reading Bosma’s research which is readily electroacoustic music, noted Dutch researcher Hannah available on her website, I began to think about how I had Bosma has identified a variety of issues surrounding the used my own voice in my music and also why I had done compositional choices of those utilizing spoken and sung so. The reasons range from the practical to the symbolic and text in their work and illustrated the differences of use in will be discussed later in this paper. A question from an relationship to the chosen vocalist’s gender. Bosma article reviewer about the music of Alice Shields (which I exclusively focuses upon the musical works of men in her have researched extensively) got me thinking about other studies. This paper explores how women utilize the voice in women who use their own voice in the creation of their electroacoustic music and more specifically whether their music. The result is Hear Me Now, a discussion of a very treatment of the female voice in any way differs from the small number of the many women who use their voice as the treatment of the female voice by their male counterparts.
  • A Listening Guide for the Indispensable Composers by Anthony Tommasini

    A Listening Guide for the Indispensable Composers by Anthony Tommasini

    A Listening Guide for The Indispensable Composers by Anthony Tommasini 1 The Indispensable Composers: A Personal Guide Anthony Tommasini A listening guide INTRODUCTION: The Greatness Complex Bach, Mass in B Minor I: Kyrie I begin the book with my recollection of being about thirteen and putting on a recording of Bach’s Mass in B Minor for the first time. I remember being immediately struck by the austere intensity of the opening choral singing of the word “Kyrie.” But I also remember feeling surprised by a melodic/harmonic shift in the opening moments that didn’t do what I thought it would. I guess I was already a musician wanting to know more, to know why the music was the way it was. Here’s the grave, stirring performance of the Kyrie from the 1952 recording I listened to, with Herbert von Karajan conducting the Vienna Philharmonic. Though, as I grew to realize, it’s a very old-school approach to Bach. Herbert von Karajan, conductor; Vienna Philharmonic (12:17) Today I much prefer more vibrant and transparent accounts, like this great performance from Philippe Herreweghe’s 1996 recording with the chorus and orchestra of the Collegium Vocale, which is almost three minutes shorter. Philippe Herreweghe, conductor; Collegium Vocale Gent (9:29) Grieg, “Shepherd Boy” Arthur Rubinstein, piano Album: “Rubinstein Plays Grieg” (3:26) As a child I loved “Rubinstein Plays Grieg,” an album featuring the great pianist Arthur Rubinstein playing piano works by Grieg, including several selections from the composer’s volumes of short, imaginative “Lyrical Pieces.” My favorite was “The Shepherd Boy,” a wistful piece with an intense middle section.
  • Seductive Solitary. Julian Anderson Introduces the Work of Kaija Saariaho STOR ® Julian Anderson; Kaija Saariaho

    Seductive Solitary. Julian Anderson Introduces the Work of Kaija Saariaho STOR ® Julian Anderson; Kaija Saariaho

    Seductive Solitary. Julian Anderson Introduces the Work of Kaija Saariaho STOR ® Julian Anderson; Kaija Saariaho The Musical Times, Vol. 133, No. 1798. (Dec., 1992), pp. 616-619. Stable URL: http://links.j stor.org/sici ?sici=0027 -4666%28199212%29133%3A1798%3C616%3ASSJAIT%3E2.0.C0%3B2-F The Musical Times is currently published by Musical Times Publications Ltd.. Your use of the JSTOR archive indicates your acceptance of JSTOR' s Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www .j stor .org/joumals/mtpl.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is an independent not-for-profit organization dedicated to creating and preserving a digital archive of scholarly journals. For more information regarding JSTOR, please contact [email protected]. http://www .j stor.org/ Tue Jul 25 00:15:12 2006 .:..,_- ---:.. Kaija Saariaho in focus - • SEDUCTIVE SOLITARY Julian Anderson surveys the w-ork o£ Kaija Saariaho~ a composer pursuing a ~lonely but seductive search £or music at once directly expressive and genuinely new-~ ogether with her compatriot and near-contemporary Magnus T Lindberg (on whose music I wrote last month), Kaija Saariaho is the only Finnish composer since the death of Sibelius to have achieved widespread international acclaim.
  • University of California Santa Cruz

    University of California Santa Cruz

    UNIVERSITY OF CALIFORNIA SANTA CRUZ EXTENDED FROM WHAT?: TRACING THE CONSTRUCTION, FLEXIBLE MEANING, AND CULTURAL DISCOURSES OF “EXTENDED VOCAL TECHNIQUES” A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by Charissa Noble March 2019 The Dissertation of Charissa Noble is approved: Professor Leta Miller, chair Professor Amy C. Beal Professor Larry Polansky Lori Kletzer Vice Provost and Dean of Graduate Studies Copyright © by Charissa Noble 2019 TABLE OF CONTENTS List of Figures v Abstract vi Acknowledgements and Dedications viii Introduction to Extended Vocal Techniques: Concepts and Practices 1 Chapter One: Reading the Trace-History of “Extended Vocal Techniques” Introduction 13 The State of EVT 16 Before EVT: A Brief Note 18 History of a Construct: In Search of EVT 20 Ted Szántó (1977): EVT in the Experimental Tradition 21 István Anhalt’s Alternative Voices (1984): Collecting and Codifying EVT 28evt in Vocal Taxonomies: EVT Diversification 32 EVT in Journalism: From the Musical Fringe to the Mainstream 42 EVT and the Classical Music Framework 51 Chapter Two: Vocal Virtuosity and Score-Based EVT Composition: Cathy Berberian, Bethany Beardslee, and EVT in the Conservatory-Oriented Prestige Economy Introduction: EVT and the “Voice-as-Instrument” Concept 53 Formalism, Voice-as-Instrument, and Prestige: Understanding EVT in Avant- Garde Music 58 Cathy Berberian and Luciano Berio 62 Bethany Beardslee and Milton Babbitt 81 Conclusion: The Plight of EVT Singers in the Avant-Garde
  • The Guardian's Best Classical Music Works of the 21St Century

    The Guardian's Best Classical Music Works of the 21St Century

    04/05/2020 The best classical music works of the 21st century | Music | The Guardian The best classical music works of the 1st century Over the coming week, the Guardian will select the greatest culture since 2000, carefully compiled by critics and editors. We begin with a countdown of defining classical music compositions, from Xrated opera to hightech string quartets • Read an interview with our No1 choice by Andrew Clements, Fiona Maddocks. John Lewis, Kate Molleson, Tom Service, Erica Jeal and Tim Ashley Main image: From left: The Tempest, The Minotaur, L’amour de loin, Hamlet Thu 12 Sep 2019 17.20 BST 25 Jennifer Walshe XXX Live Nude Girls 2003 Jennifer Walshe asked girls about how they played with their Barbie dolls, and turned the confessionals into an opera of horrors in which the toys unleash dark sex play and acts of mutilation. Walshe is a whiz for this kind of thing: she yanks off the plastic veneer of commercial culture by parodying then systematically dismembering the archetypes. KM Read our review | watch a production from 2016 BIFEM 24 John Adams City Noir 2009 Adams’s vivid portrait of Los Angeles, as depicted in the film noir of the 1940s and 50s, is a three-movement symphony of sorts, and a concerto for orchestra, too. It’s an in-your-face celebration of orchestral virtuosity that references a host of American idioms without ever getting too specific. It’s not his finest orchestral work by any means (those came last century), but an effective, extrovert showpiece. AC Read our review | Listen on Spotify https://www.theguardian.com/music/2019/sep/12/best-classical-music-works-of-the-21st-century 1/10 04/05/2020 The best classical music works of the 21st century | Music | The Guardian Immediate … the Sixteen and Britten Sinfonia perform Stabat Mater, conducted by Harry Christophers.
  • Denham Scholarly Essay.Pdf

    Denham Scholarly Essay.Pdf

    IMPROVISATION AS A GENERATIVE TOOL FOR NEW OPERA: AN EXPLORATION OF METHODS AND PARAMETERS BY ELLEN LOUISE DENHAM SCHOLARLY ESSAY Submitted in partial fulfillment of the requirements for the degree of Doctoral of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana–Champaign, 2016 Urbana, Illinois Doctoral Committee: Professor Sylvia Stone, Chair Professor Erik Lund, Director of Research Associate Professor Katherine Syer Assistant Professor Michael Tilley ABSTRACT This scholarly essay explores the subject of improvisation in opera and vocal music, tracing its historical antecedents, providing examples of contemporary, classically-informed improvising singers and opera companies, and presenting an overview of possible methods and parameters. Chapter 1 examines the historical background of extemporaneous counterpoint in the fifteenth and sixteenth centuries, the flourishing of improvised ornaments and embellishments from the Baroque era to the bel canto style of the nineteenth century, and the eventual decline in the use of improvised ornaments and cadenzas in the late nineteenth century. Chapter 2 covers first the subject of contemporary improvisation, including experimental techniques from the 1950s and 1960s, with reference to the use of improvisatory elements in composed scores. The second area involves a discussion of singer-composers Cathy Berberian, Meredith Monk, Pamela Z, and Bobby McFerrin. The third area explores current opera creators and performers using improvisation, focusing on the improv-comedy-based groups Impropera and La Donna Improvvisata, and two “devised operas”: Ann Baltz’s OperaWorks production of The Discord Altar, and Ellen Lindquist’s dream seminar. Much of this newer material has yet to be the subject of much scholarship.
  • BEKANNTMACHUNG Die Preisträger Des Polar Music Prize

    BEKANNTMACHUNG Die Preisträger Des Polar Music Prize

    BEKANNTMACHUNG Die Preisträger des Polar Music Prize 2014 sind: CHUCK BERRY UND PETER SELLARS Die Begründung für Chuck Berry Der Polarpreis 2014 wird Chuck Berry von St. Louis, USA, verliehen. An jenem Tag im Mai 1955, als Chuck Berry seine Debutsingel "Maybellene" einspielte, wurden die Parameter der Rockmusik definiert. Chuck Berry war der Pionier des Rock'n'Roll, der der E-Gitarre als Hauptinstrument der Rockmusik den Weg bereitete. Alle Riffs und Soli, die Rockgitarristen in den letzten 60 Jahren gespielt haben, enthalten DNA- Spuren, die sich auf Chuck Berry zurückführen lassen. The Rolling Stones, The Beatles und eine Million andere Bands haben ihr Handwerk erlernt, indem sie Stücke von Chuck Berry eingeübten. Daneben ist Chuck Berry ein meisterhafter Songwriter. In drei Minuten kann er Bilder aus dem Alltag eines Jugendlichen und dessen Träume skizzieren, nicht selten mit einem Auto im Zentrum. Chuck Berry, geboren 1926, war der erste, der auf den Highway hinausgefahren ist um zu verkünden: Wir alle sind "born to run". Preisbegründung für Peter Sellars: Der Polarpreis 2014 geht an Peter Sellars aus Pittsburgh, USA. Der Regisseur Peter Sellars ist das beste lebende Beispiel dafür, um was es beim Polarpreis geht: Musik sichtbar zu machen und sie in einem neuen Kontext zu präsentieren. Mit seinen kontroversen Inszenierungen von Opern und Theaterstücken hat Peter Sellars alles, von Krieg und Hunger bis hin zu Religion und Globalisierung, auf die Bühne gebracht. Sellars hat Mozart in den Luxus des Trump Tower und in den Drogenhandel von Spanish Harlem versetzt, eine Oper über Nixons Besuch in China inszeniert und Kafkas Sauberkeitswahn vertont.
  • Third Space Network: Theatrical Roots

    Third Space Network: Theatrical Roots

    Revista do Programa de Pós-graduação em Comunicação Universidade Federal de Juiz de Fora / UFJF ISSN 1516-0785 | e-ISSN 1981-4070 Lumina Third Space Network: Theatrical Roots Randall Packer1 Abstract: This essay provides an overview of artistic work and experimentation leading to the concept of the Third Space Network: a live Internet broadcast and performance project for connecting artists, audiences, and cultural perspectives from around the world. The concept of the third space suggests the collapse of the local (first space) and remote (second space) into a third, socially constructed networked space. The third space can be viewed as a new realization of the community of theater in a globally connected culture: performance space for broadcasted live art, a forum for the aggregation of artist streams of media art, and an arena for social interaction. The following is a personal artistic history and contextualization of nearly thirty years of live performance, interactive media, installation, Internet art, and the spaces they inhabit. This essay connects early work in Music Theater from the late 1980s and early 1990s to more recent networked projects to frame the idea of the Third Space Network as a new theatrical environment rich in potential for live performance and creative discourse. Keywords: Media art. Creative discourse. Live performance. Networked space. Third space network. 1 MFA and PhD in music composition. Multimedia artist, composer, writer and scholar in new media. Associate Professor of Networked Artat Nanyang Technological University (NTU), Singapore. Website: http://zakros.com/E-mail: [email protected]. 82 Juiz de Fora, PPGCOM – UFJF, v. 11, n.