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Teaching Guide: Area of Study 7
Teaching guide: Area of study 7 – Art music since 1910 This resource is a teaching guide for Area of Study 7 (Art music since 1910) for our A-level Music specification (7272). Teachers and students will find explanations and examples of all the musical elements required for the Listening section of the examination, as well as examples for listening and composing activities and suggestions for further listening to aid responses to the essay questions. Glossary The list below includes terms found in the specification, arranged into musical elements, together with some examples. Melody Modes of limited transposition Messiaen’s melodic and harmonic language is based upon the seven modes of limited transposition. These scales divide the octave into different arrangements of semitones, tones and minor or major thirds which are unlike tonal scales, medieval modes (such as Dorian or Phrygian) or serial tone rows all of which can be transposed twelve times. They are distinctive in that they: • have varying numbers of pitches (Mode 1 contains six, Mode 2 has eight and Mode 7 has ten) • divide the octave in half (the augmented 4th being the point of symmetry - except in Mode 3) • can be transposed a limited number of times (Mode 1 has two, Mode 2 has three) Example: Quartet for the End of Time (movement 2) letter G to H (violin and ‘cello) Mode 3 Whole tone scale A scale where the notes are all one tone apart. Only two such scales exist: Shostakovich uses part of this scale in String Quartet No.8 (fig. 4 in the 1st mvt.) and Messiaen in the 6th movement of Quartet for the End of Time. -
Different Trains
DIFFERENT TRAINS 2018 / 2019 Concert Series FROM THE ARTISTIC DIRECTOR Soundstreams audiences are accustomed each written compelling string works: Dorothy to programs that pursue themes: musical, Chang (Vancouver), “Streams” for solo viola; extra-musical and sometimes both. This and Rolf Wallin (Oslo, Norway), “Curiosity program does both, a direct result of a chance Cabinet” and “Swans Kissing,” each for string meeting on the street with violinist and coach quartet. We programmed these three works and par excellence Barry Shiffman. Barry has been invited both composers (and the Rolstons!) to a mentor to the impressive Rolston String be in residence for the ECW, which will Quartet, and mentioned they had rights for conclude tomorrow morning after ten intensive a limited time to a recent video created for days. Rounding out tonight’s program is one of Steve Reich’s iconic “Different Trains.” R. Murray Schafer’s most beloved works, his “String Quartet #2 (Waves)”. While we have programmed a number of Reich’s best known works, often in his presence, never In terms of extra-musical themes, our insightful have we presented “Different Trains,” and the colleague David Jaeger has pointed out in his opportunity to present it with the Rolstons in this program note that several of tonight’s works are special version with video proved irresistible. themed around water. And Reich’s Different So repertoire for strings became the evening’s Trains bears musical witness to the Holocaust, clear musical theme. one of the possible responses to philosopher and composer Theodor Adorno’s assertion that At the same time we made that decision, we “poetry after Auschwitz is barbaric.” were looking for visiting mentors for our annual Emerging Composers Workshop (ECW). -
A Nonesuch Retrospective
STEVE REICH PHASES A N O nes U ch R etr O spective D isc One D isc T W O D isc T hree MUSIC FOR 18 MUSICIANS (1976) 67:42 DIFFERENT TRAINS (1988) 26:51 YOU ARE (VARIATIONS) (2004) 27:00 1. Pulses 5:26 1. America—Before the war 8:59 1. You are wherever your thoughts are 13:14 2. Section I 3:58 2. Europe—During the war 7:31 2. Shiviti Hashem L’negdi (I place the Eternal before me) 4:15 3. Section II 5:13 3. After the war 10:21 3. Explanations come to an end somewhere 5:24 4. Section IIIA 3:55 4. Ehmor m’aht, v’ahsay harbay (Say little and do much) 4:04 5. Section IIIB 3:46 Kronos Quartet 6. Section IV 6:37 David Harrington, violin Los Angeles Master Chorale 7. Section V 6:49 John Sherba, violin Grant Gershon, conductor 8. Section VI 4:54 Hank Dutt, viola Phoebe Alexander, Tania Batson, Claire Fedoruk, Rachelle Fox, 9. Section VII 4:19 Joan Jeanrenaud, cello Marie Hodgson, Emily Lin, sopranos 10. Section VIII 3:35 Sarona Farrell, Amy Fogerson, Alice Murray, Nancy Sulahian, 11. Section IX 5:24 TEHILLIM (1981) 30:29 Kim Switzer, Tracy Van Fleet, altos 12. Section X 1:51 4. Part I: Fast 11:45 Pablo Corá, Shawn Kirchner, Joseph Golightly, Sean McDermott, 13. Section XI 5:44 5. Part II: Fast 5:54 Fletcher Sheridan, Kevin St. Clair, tenors 14. Pulses 6:11 6. Part III: Slow 6:19 Geri Ratella, Sara Weisz, flutes 7. -
1989 and After
1 1989 AND AFTER BEGINNINGS It begins with a string quartet: two violins, a viola, and a cello pumping notes up and down like pistons. An image of the American machine age, hallucinated through the sound of the European Enlightenment. Th e image is strengthened as a voice—mature, female, American—intones an itinerary: “From Chicago . to New York.” Th e sound is prerecorded, digitally sampled and amplifi ed through speakers beside the ensemble. More samples are added: more voices; the whistles and bells of trains; one, two, three, or even more string quartets. Rapidly the musi- cal space far exceeds what we see on stage. Th is is a string quartet for the media age, as much recordings and amplifi cation as it is the four musicians in front of us. Yet everything extends from it and back into it, whether the quartet of quartets, which mirror and echo each other; the voices, which seem to blend seamlessly with the instrumental rhythms and melodies; or the whistles, which mesh so clearly with the harmonic changes that it seems certain they come from an unseen wind instrument and not a concrete recording. ••• It begins with thumping and hammering, small clusters struck on the piano key- board with the side of the palm or with three fi ngers pressed together, jabbing like a beak. Th e sound recalls a malevolent dinosaur or perhaps a furious child, but it isn’t random; a melody of sorts, or an identifi able series of pitches at least, hangs over the tumult. Aft er twenty seconds or so the thunder halts abruptly for a two- note rising motif played by the right hand, which is then imitated (slightly altered) 1 2 1989 AND AFTER by the left . -
Face the Music Repertoire List the Following Works Have Been Played by Face the Music
Face the Music Repertoire List The following works have been played by Face the Music. For Medium and Large Ensembles: John Adams—Shaker Loops (first movement) John Adams—Fearful Symmetries David Amram—Variations on Red River Valley Louis Andriessen—Worker’s Union Anton Batagov—Buster Keaton (US premiere) Dan Becker—Gridlock Owen Carter—The Sequester (world premiere) Ethan Cohn—Lionfish (world premiere) DBR—“Fast Black Dance Machine” and “La La La” DBR—Human Songs and Stories Dean Deng—Soliloquy (world premiere) Zachary Detrick—Computer Generated Jungle (world premiere) Zachary Detrick—I’ve Got Blisters on My Fingers (world premiere) Andrii Didorenko—Concerto for Two Violins Rachel Epperly—La Extranjera (world premiere) Graham Fitkin—Mesh Philip Glass—Glassworks Abe Gold—Continuing Resolution (world premiere) Osvaldo Golijov—Last Round Michael Gordon—Yo Shakespeare Michael Gordon—Gotham Michael Gordon—Trance Gerard Grisey—Manifestations (US premiere) Jack Gulielmetti—Inseguimento (world premiere) Gregor Huebner—Cuban Impressions Gregor Huebner—Concerto “Con Violin Latina” Gregor Huebner—Cello Concerto Vijay Iyer—Three Fragments Tom Johnson—Eggs and Baskets Joseph Jordan—Cumulonimbus (world premiere) David Lang—Slow Movement Paris Lavidis—This is Not Spartacus (world premiere) Paris Lavidis—Symphonic Greek Dances (world premiere) George Lewis—Artificial Life 2007 Daniel Ma—Music of Presidents (world premiere) Steven Mackey—Eating Greens Steve Martland—Horses of Instruction Rajesh Mehta—Songlines and Jewels (US Premiere) Ira Mowitz—Kol Aharon Jonah Murphy—Vilanelle Angélica Negrón—El Gran Caleidoscopio (world premiere) Vasu Panicker—“___van___” Joe Phillips—Liquid Timepieces (world premiere) Steve Reich—Tehillim Steve Reich—Double Sextet Steve Reich—Triple Quartet Terry Riley—In C Huang Ruo—Lost Garden Francis Schwartz—Cannibal Caliban; Chaqui Chaqui Bambula (world premiere) Julia Wolfe—Lick Ljova (Lev Zhurbin)—Ori’s Fearful Symmetry (arr. -
Signumclassics
143booklet 23/9/08 13:15 Page 1 ALSO AVAILABLE on signumclassics Different Trains Time for Marimba Steve Reich Daniella Ganeva The Smith Quartet SIGCD057 SIGCD064 Signum Classics are proud to release the Smith Quartet’s debut Time for Marimba explores the 20-th century Japanese repertoire for disc on Signum Records - Different Trains. The disc contains three marimba including music by five pre-eminent post-war composers. of Steve Reich’s most inspiring works: Triple Quartet for three string quartets, Reich’s personal dedication to the late Yehudi Menuhin, Duet, and the haunting Different Trains for string quartet and electronic tape. Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 143booklet 23/9/08 13:15 Page 3 Electric Counterpoint Electric Counterpoint Steve Reich 1. I Fast [6.51] 2. II Slow [3.22] 3. III Fast [4.33] 4. Tour de France Kraftwerk [5.25] 5. Radioactivity Kraftwerk [5.57] 6. Pocket Calculator Kraftwerk [6.44] 7. Carbon Copy Joby Burgess & Matthew Fairclough [5.14] 8. Temazcal Javier Alvarez [8.05] 9. Audiotectonics III Matthew Fairclough [3.47] Total Timings [49.55] Video: Temazcal [8.09] Powerplant Joby Burgess percussion Matthew Fairclough sound design Kathy Hinde visual artist The Elysian Quartet www.signumrecords.com 143booklet 23/9/08 13:15 Page 5 Electric Counterpoint Tour de France improvising with flute, electric guitar, cello and Carbon Copy Steve Reich (1936-) Ralf Hutter (1946-), Florian Schneider (1947-) vibraphone as the then Organisation, they Joby Burgess (1976-) and Matthew Fairclough I Fast II Slow III Fast and Karl Bartos (1952-) explored the sounds of the modern industrial (1970-) world, setting up their own studio, Kling Klang, Joby Burgess xylosynth Radioactivity which remains at a secret location in Dusseldorf. -
Unorthodox the Mivos Quartet Plays Steve Reich
The Jewish Museum and Bang on a Can Present Bang on a Can: Unorthodox The Mivos Quartet plays Steve Reich ** Program Change Announcement ** February 4 Concert Tied to Unorthodox An Exhibition Featuring Art Without Concern for Conventions New York, NY – On Thursday, February 4, 2016 at 7:30pm, Bang on a Can and the Jewish Museum will present Bang on a Can: Unorthodox, a concert performed by the acclaimed Mivos Quartet celebrating composer Steve Reich. The program will not include Reich’s Violin Phase as previously announced, and will instead feature Reich’s poignant work WTC 9/11 for string quartet and tape, written in response to the September 11, 2001 attacks on the World Trade Center. The concert will also include Reich’s Holocaust-related masterpiece Different Trains and his intensely contrapuntal Triple Quartet, both for string quartet and tape. Steve Reich’s 1988 work Different Trains for String Quartet and pre-recorded performance tape, pioneered a new way of composing, using recorded speech as a source for melodies, and won a Grammy Award in 1989 for Best Contemporary Classical Composition. During World War II, Reich made train journeys between New York and Los Angeles to visit his parents, who had separated. Years later, he pondered the fact that, as a Jew, had he been in Europe instead of the United States at that time, he might have been travelling in Holocaust trains. In the piece, Reich combines taped speech from his governess, a train conductor, and others with the string instruments by selecting small speech samples and then notating them as accurately as possible in musical notation. -
L}-~ UW Modern Music Ensemble UW MUSIC
C(JW\~t\{t elISe N\ ~ 3 f\lIf\ r:g' SCHOOL OF MUSIC V!J\':!J UNIVERSITY of WASHINGTON Jo 1(0 l}-~ UW Modern Music Ensemble Cristi na L. Valdes, Director presents Steve Reich An 80th Birthday Celebration with special guests UW Percussion Ensemble Bonnie Whiting, Director Tuesday, December 6,2016 7:30 PM, Meany Theater UW MUSIC 2016-17 SEASON PROGRAM re-rnMf!..s, ValdL-s 2- PENDULUM MUSIC (1968, revised 1973) to, 'i/ Vijay Chalasani, Natalie Ham, Hexin Qiao, AlexanderTu Doug Niemela, technical director 3 DRUMMING, Part I(1971) I <r5 ~ 2. f University of Washington Percussion Ensemble David Gaskey, Aidan Gold, David Norgaard, Emerson Wahl Bonnie Whiting, director f TRIPLE QUARTET (1998) I'-f ~:3 '1 Erin Kelly &Halie Borror, violins / Vijay Chalasani, viola / Isabella Kodama, cello Matt Stearns, sound engineer INTERMISSION / CLAPPING MUSIC(1972) 5".2-7 Vijay Chalasani, Isabella Kodama, Hexin Qiao, AlexanderTu VERMONT COUNTERPOINT (1982) 9 ; L'S Gemma Goday Ofaz-Corralejo, flute Matt Stearns, sound engineer -3 RADIO REWRITE (2012) 19: 53 Erin Kelly &Halie Borror, violins Vijay Chalasani, viola Chris Young, cello . Natalie Ham, flute Alexander Tu, clarinet Emerson Wahl &Aidan Gold, vibraphones Hexin Qiao &Yimo Zhang, piano Tony Lefaive, electric bass Mario Alejandro Torres, conductor The University of Washington Modern Music Ensemble is excited to present an all-Steve Reich concert in celebration of the iconic 20th century composer's 80th birthday. Along with Philip Glass and Terry Riley, Reich's unique musical style and compositional voice helped shape the minimalistic movement. His techniques of phasing, tape loops, and rhythmic pulsing integrated into astatic harmony creating aworld of visceral thought that invites the mind to follow the process of unfolding music. -
The Testimonial Aesthetics of <I>Different Trains</I>
Dickinson College Dickinson Scholar Faculty and Staff Publications By Year Faculty and Staff Publications Spring 2010 The Testimonial Aesthetics of Different Trains Amy Lynn Wlodarski Dickinson College Follow this and additional works at: https://scholar.dickinson.edu/faculty_publications Part of the European History Commons, Jewish Studies Commons, and the Musicology Commons Recommended Citation Wlodarski, Amy Lynn. "The Testimonial Aesthetics of Different Trains." Journal of the American Musicological Society 63, no. 1 (2010): 99-141. This article is brought to you for free and open access by Dickinson Scholar. It has been accepted for inclusion by an authorized administrator. For more information, please contact [email protected]. The Testimonial Aesthetics of Different Trains AMY LYNN WLODARSKI I am other. I speak and my voice sounds like something other than a voice. My words come from outside of me. I speak and what I say is not said by me. —Charlotte Delbo, Auschwitz and After n 1988, Steve Reich completed Different Trains, his magnum opus for string quartet and tape in which he splices together spoken recollections Iby three Holocaust survivors to create a narrative of Jewish suffering during World War II. As he explains in the program notes, the piece was not merely a historical meditation but a personal response to his own Jewish heritage: The idea for the piece comes from my childhood. When I was one year old, my parents separated. [. .] Since they arranged divided custody, I traveled back and forth by train frequently between New York and Los Angeles from 1939 to 1942, accompanied by my governess[, Virginia]. -
Echoes of the Avant-Garde in American Minimalist Opera
ECHOES OF THE AVANT-GARDE IN AMERICAN MINIMALIST OPERA Ryan Scott Ebright A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2014 Approved by: Mark Katz Tim Carter Brigid Cohen Annegret Fauser Philip Rupprecht © 2014 Ryan Scott Ebright ALL RIGHTS RESERVED ii ABSTRACT Ryan Scott Ebright: Echoes of the Avant-garde in American Minimalist Opera (Under the direction of Mark Katz) The closing decades of the twentieth century witnessed a resurgence of American opera, led in large part by the popular and critical success of minimalism. Based on repetitive musical structures, minimalism emerged out of the fervid artistic intermingling of mid twentieth- century American avant-garde communities, where music, film, dance, theater, technology, and the visual arts converged. Within opera, minimalism has been transformational, bringing a new, accessible musical language and an avant-garde aesthetic of experimentation and politicization. Thus, minimalism’s influence invites a reappraisal of how opera has been and continues to be defined and experienced at the turn of the twenty-first century. “Echoes of the Avant-garde in American Minimalist Opera” offers a critical history of this subgenre through case studies of Philip Glass’s Satyagraha (1980), Steve Reich’s The Cave (1993), and John Adams’s Doctor Atomic (2005). This project employs oral history and archival research as well as musical, dramatic, and dramaturgical analyses to investigate three interconnected lines of inquiry. The first traces the roots of these operas to the aesthetics and practices of the American avant-garde communities with which these composers collaborated early in their careers. -
Steve Reich. Resonances of an Origin Carmen Pardo Salgado
Steve Reich. Resonances of an origin Carmen Pardo Salgado An origin can be a beginning, a motive or a cause of what happens afterwards, but in geometry it is also the point of intersection of the axis. If we are to begin at the beginning, it has to be said that Steve Reich is considered one of the most influential musicians of the international music scene. Born in 1936 in New York, in the bosom of a European family of Jewish origin, he started studying piano as a boy, and then turned to study percussion. In 1957 he graduated with a B.A. in Philosophy at Cornell University, New York, though he was already set on becoming a musician by then. In 1964 he takes part in the premiere of In C, by Terry Riley, a piece set within the framework of the origins of minimalist repetitive music. This experience leads him to work with short melodic motifs and it strengthens his decision to establish a regular rhythm in music, at a moment when both the serial music of Karlheinz Stockhausen, Luciano Berio or Pierre Boulez, and the indecision in music practised by John Cage, were alien to this need. It’s Gonna Rain, his first work on tape, created a year later, represented his official joining the minimalist repetitive school of music, which also takes in musicians such as Philip Glass. In this piece, Reich uses a technique which he had discovered by accident: the progressive moving out of phase. The piece is based on a fragment from a sermon about the end of the world, given by a young street-preacher. -
STEVE REICH Compositions
STEVE REICH Compositions RUNNER (2016) 2 fl, 2 ob, 2 cl, 2vbs, 2 pro, 4 vin, 2 vla, 2vcl, 1 cb PULSE (2015) 2 fl, 2 Cl, Pno, Electric Bass, 4 vlns, 2 vla QUARTET (2013) 16' for 2 pianos and two percussion RADIO REWRITE (2013) 19' fl.cl-2vib-2pft-elec.bass.gtr-1.1.1.1.0 WTC 9/11 (2010) 15' for string quartet and pre-recorded tape MALLET QUARTET (2009) 15' for percussion quartet 2X5 (2009) 20' for five musicians and tape, or 10 live musicians DOUBLE SEXTET (2007) 22' for ensemble (or ensemble and pre-recorded tape) 2fl-2cl-2vln-2vcl-2vib-2pft or fl-cl-vln-vcl-vib-pft and pre-recorded tape Awarded the 1990 Pulitzer Prize in Music DANIEL VARIATIONS for large ensemble (2006) 30' Text: Book of Daniel; Daniel Pearl (E) 2cl-4pft-perc(6):BD/tam-t/4vib-*2vln.vla.vlc-4 voices(*SSTT) *max. 1 player/voice per part VARIATIONS FOR VIBES, PIANOS AND STRINGS (2005) 25’ dance piece for vibraphones, pianos and strings 2 pft-4vib-3 string quartets (or sm string section*) YOU ARE (VARIATIONS) for amplified ensemble and voices (2004) 27' text: Rabbi Nachman of Breslov (E), Psalms (Heb.), Wittgenstein (E) & Pirke Avot (Heb.) 2-2-3-0, no brass, 2 marimbas, 2 vibraphones, 4 pft., strings 3-3-3-3-1 voices S,S,S,A,T,T FOR STRINGS (WITH WINDS AND BRASS) for orchestra (1987/2004) 12' 4(IV=picc).4.4.4-4.4.3.1-2synth-strings(16.16.12.8.6) CELLO COUNTERPOINT (2003) 15' for amplified cello and multichannel tape DANCE PATTERNS (2002) 6' 2 xylophones, 2 vibraphones, 2 pianos THREE TALES (1997-2002) 60’ Documentary video opera in collaboration with video artist Beryl Korot Text: documentary material (English) Vocal forces: Lyric Soprano (2), Tenor (3) perc (4): 2vib / 2SD / 2pedal kick dr/susp.cym - 2 pft (I, II=samplers) - pre-recorded tape - strings (1.1.1.1.0) TRIPLE QUARTET (1999) 15' for string quartet and tape (or three quartets or small string section eg.