DOCSLIB.ORG

The Ancient Callreza VALI

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Ancient Callreza VALI The Ancient Call REZA VALI Neal Berntsen Wendy Kallen Ismail Lumanovski Khosrow Soltani MICROTONAL TRUMPET SOPRANO CLARINET PERSIAN NEY Brevard Festival Slovak Radio Hoppa Project Kian Soltani Chamber Orchestra Symphony Orchestra PERSIAN KAMANCHE WWW.ALBANYRECORDS.COM Erberk Eryilmaz TROY1653 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 Keith Lockhart Robert Black CONDUCTOR Segâh Festival Ensemble TEL: 518.436.8814 FAX: 518.436.0643 CONDUCTOR CONDUCTOR ALBANY RECORDS U.K. Daniel Nesta Curtis BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 CONDUCTOR © 2016 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. Vali_1653_book.indd 1-2 10/20/16 12:50 PM camouflaged can be revealed. Since the year 2000, Vali has embraced and retrieved the essence and THE COMPOSER spirit of his Iranian heritage. Breaking away from the European music system (equal temperament Reza Vali was born in Ghazvin, Iran, in 1952. He began his music studies at the tuning, European forms), Vali began composing music based on the Iranian modal system, the Conservatory of Music in Tehran. In 1972 he went to Austria and studied music Dastgâh/Maghâm. He has composed exclusively within the demanding palette of Persian polyphony. education and composition at the Academy of Music in Vienna. After graduating from The breaking away, or turning, from the constructs of European music does not imply a rejection. After the Academy of Music, he moved to the United States and continued his studies at all, his bona fides include exhaustive studies at the Academy of Music in Vienna and the University of the University of Pittsburgh, receiving his Ph.D. in music theory and composition in Pittsburgh, where he became totally immersed in Western traditions. The Persian polyphony should not 1985. Mr. Vali has been a faculty member of the School of Music at Carnegie Mellon perplex the listener nor imply prior knowledge. All we need to know is that these are modal intervals University since 1988. He has received numerous honors and commissions, including the honor prize not indigenous to the Western equal-temperament system. of the Austrian Ministry of Arts and Sciences, two Andrew W. Mellon Fellowships, commissions from the The first work on the disc, The Ancient Call (Calligraphy No. 13) was composed for microtonal Pittsburgh Symphony Orchestra, the Boston Modern Orchestra Project, the Pittsburgh New Music Ensemble, trumpet and orchestra for the Pittsburgh Symphony Orchestra’s outstanding trumpet virtuoso Neal Kronos Quartet, the Carpe Diem String Quartet, the Seattle Chamber Players, and the Arizona Friends of Berntsen and was completed in 2014 (for information about the microtonal trumpet please see below). Chamber Music, as well as grants from the Pennsylvania Council on the Arts, The Pittsburgh The work exemplifies the composer’s retrieval of the ancients within the tenets of the Western Foundation, and the Pittsburgh Board of Public Education. He was selected by the Pittsburgh Cultural symphony orchestra. It is dialogical. This is evident in passages in which the trumpet skirmishes Trust as the Outstanding Emerging Artist for which he received the Creative Achievement Award. Vali’s with forces of the Western orchestra. These tensions are evident in the latter’s disruptive passages, orchestral compositions have been performed in the United States by the Pittsburgh Symphony, the especially the snarling brass and percussion. The single-movement piece ends triumphantly. Tidal Seattle Symphony, the Boston Modern Orchestra Project, the Baltimore Symphony, the Memphis eruptions are magically unveiled within the edifice of Vali’s artistic dwelling. Symphony Orchestra, and Orchestra 2001. His chamber works have received performances by Cuarteto Homage to tradition takes center-stage in the next work: Persian Folk Songs (Set. No. 7) for Latinoamericano, the Pittsburgh New Music Ensemble, Carpe Diem String Quartet, Kronos Quartet, the solo voice and orchestra. The difference between this setting and the other works in this collection Seattle Chamber Players, and the Da Capo Chamber Players. His music has been performed in Europe, is immediately evident. Persian Folk Songs (Set No. 7) dates from 1988 and therefore pre-dates China, Chile, Mexico, Hong Kong, and Australia and is recorded on the Naxos, New Albion, MMC, the composer’s turning. It is embryonic in the sense that we have the essence of a cultural heritage Ambassador, Albany, and ABC Classics labels. (Persian) cast within the mold of Western European structure. The songs clearly evoke the spirit of the ancients, while the bold orchestral framework places us in the midst of 20th-century methodologies. Vali takes great care in approaching each piece with the proper emotive response. The playfulness THE MUSIC depicted in the two Children’s Songs (nos. 2 and 3), is in marked contrast to the resonant opening Return to the Origin Song from Luristan and the closing Kurdish Song, all dazzlingly rendered by vocalist Wendy Kallen. The The notes accompanying The Ancient Call attempt to capture Reza Vali’s unique and very personal formidable orchestral forces provide much more than mere accompaniment or dressing: they clearly ethos. I would define this as an approach to understand the dialogue between the ancients and the make visible the meaning and spirit of the texts. moderns. It addresses the composer’s conviction that what has been historically and artistically Vali_1653_book.indd 3-4 10/20/16 12:50 PM Sornâ (Folk Song, Set No. 17) Version for Solo Clarinet and Ensemble, much like The Ancient Kian Soltani. Much like The Ancient Call, the impossibility of rapprochement seems evident. What we Call (Calligraphy No. 13), is both respect and homage to tradition as well as an affirmation of a are witnessing is the full blooming of the ancient-modern dichotomy. But the point is, it is not so much brilliant soloist’s intuitive understanding of the composer’s intent. The original score of the work was a dichotomy as a shift that must be understood within the context of resolution. The composer bestows composed for Persian wind instruments and ensemble. A version for solo clarinet and ensemble was on us an offering that is radiant and illuminating. It is a powerful bonding—not a rejection. Segâh finalized in April 2015. unveils the very essence of the composer’s turning. The turning away from something into something Scored for solo clarinet, with flute, clarinet, piano, percussion, violin and cello, the composition other is neither renunciation nor denial: it is a belief in the urgency of dialogue. clearly evokes the full scope of Vali’s lexicon. There is an oceanic sense of discovery that permeates this —MARK YACOVONE © 2016 formidable undertaking. What emerges is soloist Ismail Lumanovski’s immersion in the demanding requisites of Persian microtonal intervals remarkably capturing this spirit within Western constructs. It is a work that evokes the past within the boundaries of the present. THE INSTRUMENTS The final work in this collection, Segâh, Double Concerto for Persian Ney, Kamanche, and Orchestra, The microtonal trumpet was developed in 2014 in Boston by Jim Becker at Osmun Music. A fourth valve is astounding in its full embracement of the composer’s convictions. Vali declares, “the piece consists has been added to the trumpet’s three valves. This additional valve lowers the note for a quarter tone of two traditional Persian instruments, the Ney (Persian bamboo flute), and Kamanche (Persian spike allowing the instrument to perform 24 quarter tones per octave. fiddle), as the musical representatives of Persian culture, set against the Western orchestra.” The Persian Ney is an end-blown flute performed by placing the instrument in the mouth The composer explains that the work is based on the Persian mode of Segâh, which is made at a 10 to 20 degree angle to the chin and using the mouth cavity, the tongue, and the teeth for of the succession of intervals of three quarter-tones and natural whole tones. Because of its interval sound production. structure, Segâh has no interval in common with the European/ Western equal-temperament tuning. The Kamanche is a Persian bowed instrument related to the rebab, the historical ancestor of This lack of common intervals between the Segâh mode and the equal-temperament tuning will lead the Kamanche. to cognitive dissonance if this mode is set against the equal-temperament system. What emerges is conflict. Is it cultural, artistic or both? The ultimate aim is Vali’s conviction that dialogue resolves whatever dilemmas are pending. The opening Prelude foreshadows the emerging friction. The second and final “Main Movement” brings everyone to the table. The composer states: “From the very first bars of the second movement of the piece, confusion and misunderstandings arise. The orchestra, being unable to play in the Persian mode of Segâh, or understand the mode, becomes more and more agitated. Musical tensions between the soloists and the orchestra lead to musical confrontations and finally to musical explosiveness.” A sizable orchestra, pitted against the Persian Ney and Kamanche, lays bare an extraordinary display of cultural and artistic tensions. Orchestral disruptive bursts predominate- colliding with the sensitive ornamentations of Ney and Kamanche in the hands of two remarkable soloists, Khosrow Soltani and Vali_1653_book.indd 5-6 10/20/16 12:50 PM premiered over 80 compositions by CMU students and faculty members. From 2011-2013, Curtis THE PERFORMERS was the Assistant Conductor of the Brooklyn Philharmonic where he worked alongside Alan Pierson Neal Berntsen joined the Pittsburgh Symphony Orchestra trumpet section in March 1997, to produce outside-the-box concert events. Curtis previously served as the Associate Conductor of having been appointed at the invitation of Music Director Lorin Maazel in 1996. He began the Bleecker Street Opera Company and Assistant Conductor of the Amor Artis Chorale and period his musical studies at age five playing the violin under the tutelage of his mother.
Load more

Recommended publications
  • ROBERT BLACK, Pianist ROGER SESSIONS MIRIAM GIDEON
    ROBERT BLACK, pianist Photo by Jane Hamborsky ROGER SESSIONS FIVE PIECES FOR PIANO (1974-75) ROGER SESSIONS (b. 1896, Brooklyn, New York) entered Harvard at the age of 14, and while there managed the footbal l team; he did graduate work with Horatio Parker at Yale. His subsequent studies, probably the most important to his development, were with Ernest Bloch. In his career as a composer and a teacher, Sessions has continued the 'great line' of European composers in its translation to the American musical community. Much of his early career was spent in Europe; after his return to this country, he profoundly influenced generations of students at Princeton, Berkeley and at Juilliard. The FIVE PIECES FOR PIANO were written in 1974 and 1975, thus coming between the cantata, When Lilacs Last in the Dooryard Bloomed , and the Ninth Symphony. In this ordered group, pieces I and V are linked by the slower tempo of their finely-worked counterpoint and their symmetrical forms and pro- cedures; II and IV share a brilliant agitato character and the scherzando, Ill, stands in the center. It was while writing piece IV, having completed the rest of the group, that Sessions heard of the death of a close friend and colleague. The brief tranquillo section which begins at the thirteenth bar marks this exact moment compositionally, and the entire group is inscribed "to the memory of Luigi Dallapiccola." - by Alan Fletcher MIRIAM GIDEON SONATA FOR PIANO (1977) MIRIAM GIDEON, born in Greeley, Colorado, has composed in all media. Her orchestral, chamber, and solo works have been performed and recorded in the U.S.A., Europe, and the Far East.
    [Show full text]
  • Washington State University Ninety-Second Annual Commencement
    WASHINGTON STATE UNIVERSITY NINETY-SECOND ANNUAL COMMENCEMENT May 7, 1988 Appc,JrJncc of :,1 narnc on thh progr;.un i,r,; prcs"i.11nptivc evidence (Jf gr:,~du;,1tiun ancl gr:,ldu.:r.Hion houors .. bur if n1usr. no!. in ;u1y sense he n-·g~1rdcd :.i.s conclusive. Tl1c dip(oni;i {){" 1"l'lc un..i1 1 (::r:-iiry) !•;.igni:·d ;ind ~1c11Jc(] by ii:; proper i..>\\iccrs, reiT\~-lin,•~ ihc ()('fici;l.l tc·stirnuny of i 1·1e 1·ios-1;css!on of rh,-· c!cgrcc The Commencement Procession Order of Exercises Presiding-Dr. Samuel Smith, President Processional Candidates for Advanced Degrees Washington State University Wind Symphony Professor L. Keating Johnson, Conductor University Faculty Posting of the Colors Regents of the University Army ROTC Color Guard The National Anthem Honored Guests of the University Washington State University Wind Symphony Dr. Jane Wyss, Song Leader President of the University Invocation Reverend Graham Owen Hutchins Simpson United Methodist Church Introduction of Commencement Speaker Dr. Samuel Smith Commencement Address The Honorable Thomas S. Foley President's Faculty Excellence Awards Dr. Albert C. Yates Executive Vice President and Provost Instruction: Gerald L. Young Research: Linda L. Randall Public Service: Thomas L. Barton Festival March by Giacomo Puccini Washington State University Wind Symphony Bachelors Degrees Advanced Degrees Alma Mater The Assembly SPECIAL NOTE FOR PARENTS AND FRIENDS: Professional Recessional photographers will photograph all candidates as they receive their diploma covers from the deans at the all-university and Washington State University Wind Symphony college commencement ceremonies. A photo will be mailed to each graduate, and additional photos may be purchased at reasonable rates.
    [Show full text]
  • Department of Music Programs 1983 - 1984 Department of Music Olivet Nazarene University
    Olivet Nazarene University Digital Commons @ Olivet School of Music: Performance Programs Music 1984 Department of Music Programs 1983 - 1984 Department of Music Olivet Nazarene University Follow this and additional works at: https://digitalcommons.olivet.edu/musi_prog Part of the Fine Arts Commons, and the Music Performance Commons Recommended Citation Department of Music, "Department of Music Programs 1983 - 1984" (1984). School of Music: Performance Programs. 17. https://digitalcommons.olivet.edu/musi_prog/17 This Book is brought to you for free and open access by the Music at Digital Commons @ Olivet. It has been accepted for inclusion in School of Music: Performance Programs by an authorized administrator of Digital Commons @ Olivet. For more information, please contact [email protected]. EDUCATION WITH A CHRISTIAN PURPOSE Department of Music Programs 1983-1984 Olivet Hozarene College Kankakee, Illinois 60901 Telephone 815-939-5011 Olivet Nazarene College Artist Lecture Series presents GUEST RECITAL LOLA AUSTIN, P iano Fantasia in D Minor ...................................... W.A. Mozart (1756-1791) Andante Favori.................................... L. Van Beethoven (1770-1827) Sonata in C Major, Op. 5 3 ......................L. Van Beethoven "Waldstein" Movement 1. Allegro con brio Movement 2. Adagio Movement 3. Allegretto INTERMISSION Scherzo in B flat Minor Op. 3 1 ........................... F. Chopin (1810-1849) Nocturne in C sharp Minor Op. post ................... F. Chopin Three Etudes: A flat Major Op. 25, No. 1 ............. F. Chopin G. flat Major Op. 10, No. 5 C Minor Op. 25, No. 12 Fountains at the Villa d'este........................... Franz Liszt (1811-1886) L i t a n y .............................................. Schubert - Liszt Legende: St. Francis Walking on the Water ...
    [Show full text]
  • Frank Mallory
    Curriculum Vitae August 24, 2014 Frank B. Mallory W. Alton Jones Research Professor of Chemistry Bryn Mawr College, 101 N. Merion Avenue, Bryn Mawr, Pennsylvania 19010-2899 Phone: (610)-526-5105 Fax: (610)-526-5086 E-mail: [email protected] Undergraduate Education B.S. summa cum laude, Yale University, 1954 Chemistry major, mathematics minor Research with Professor Werner Bergmann Graduate Education Ph.D. California Institute of Technology, 1958 Chemistry major, physics minor, Dissertation research with Professor John D. Roberts Honors and Awards Phi Beta Kappa, Yale University, 1954 NSF Predoctoral Fellow, California Institute of Technology, 1954-1955 General Electric Company Fellow, California Institute of Technology, 1956-1957 John Simon Guggenheim Memorial Foundation Fellow, 1963-1964 Alfred P. Sloan Research Fellow, 1964-1966 and 1966-1968 Bond Award of the American Oil Chemists' Society, 1970 NSF Senior Postdoctoral Fellow, 1970-1971 American Chemical Society Philadelphia Section Award for Distinguished Research, 1989 Christian R. and Mary F. Lindback Foundation Award for Distinguished Teaching, 1992 Philadelphia Organic Chemists’ Club Award for Distinguished Research, 2000 Fellow of the Inter-American Photochemistry Society Award for Lifetime Achievements in and Contributions to the Photochemical Sciences, 2006 American Chemical Society Award as an ACS Fellow for contributions to science and the profession, 2014 Bryn Mawr College Appointments Assistant Professor of Chemistry, 1957-1963 Associate Professor of Chemistry, 1963-1969
    [Show full text]
  • Field Recordings
    Photo by Stephanie Berger Bang on a Can All-Stars Field Recordings PROGRAM Sun, Oct 25 at 7pm Bang on a Can All-Stars Royce Hall Ashley Bathgate Cello Robert Black Bass Vicky Chow Piano and keyboard David Cossin Percussion Mark Stewart Electric guitar Ken Thomson Clarinets Andrew Cotton Sound engineer RUNNING TIME FIELD RECORDINGS Approximately 90 minutes; no intermission Julia Wolfe Reeling Florent Ghys An Open Cage Michael Gordon Gene Takes a Drink (with film by Bill Morrison) Christian Marclay Fade to Slide (with film) David Lang unused swan Tyondai Braxton Casino Trem Jóhann Jóhannsson Hz (with film) Todd Reynolds Seven Sundays Steve Reich The Cave of Machpelah (excerpt from The Cave) MEDIA SPONSOR: (arr. Michael Gordon) Bryce Dessner Maximus to Gloucester, Letter 27 [withheld] (with film) Anna Clyne A Wonderful Day PROGRAM NOTES MESSAGE FROM THE CENTER: For 135 years recorded sound has permeated every corner of our For almost 25 years, the phrase Bang On A Can All-Stars lives, changing music along with everything else. Bartok and Kodaly has been synonymous with innovation in the world of took recording devices into the hills of central Europe and modern contemporary music. While the performer lineup may music was never the same; rock and roll’s lineage comes from change periodically, the symbiotic relationship between artists revealed to the world by the Lomaxes, the Seegers, and other musicians and modern composers remains staunchly and archivists. Hip-hop culture democratized sampling: popular music illuminatingly in place. today is a form of musique concrète, the voices & rhythms of the past mixing with the sound of machinery and electronics.
    [Show full text]
  • We Are Migrants
    we are students we are teachers we are performers we are creators we are storytellers we are explorers we are the rncm we are migrants Migration has been in the DNA of the RNCM from its earliest roots, when in 1893 the German-born conductor Sir Charles Hallé realised his vision of founding a Northern conservatoire which became the Royal Manchester College of Music. Ever since then, musicians have migrated to this city from all over the world to study, teach and perform here. Move forward to 2019/20 and the RNCM now has over 950 students from 55 countries, each with their own unique experience of migration. #WeAreMigrants celebrates the stories and creative output of musicians past and present who have left their homes, through choice or necessity, and explores the impact of migration on their music and on their adopted countries. Mon 06 Jan // 2.3 0 p m Thu 09 Jan // 1.15pm // RNCM Concert Hall // Carole Nash Recital Room RNCM WIND, BRASS TRUMPET AND PERCUSSION MASTERCLASS WITH ENSEMBLES PACHO FLORES Jean Françaix Wind Quintet No 1 (excerpts) A chance to witness the creative process Minoru Miki Finale from Marimba Spiritual up close as Venezuelan trumpeter Pacho Eric Ewazen Symphony in Brass Flores works with our students to develop Nicholas Thompson conductor their understanding of the music chosen Students from the School of Wind, Brass for this public masterclass. and Percussion Tickets £8 FS Free admission, no ticket required Fri 10 Jan // Doors 7.30pm // RNCM Theatre BLACK MIDI BLACK MIDI The connection between Geordie Greep, black midi’s curiously voiced singer, guitarist Matt Kwasniewski-Kelvin, bassist Cameron Picton and drummer Morgan Simpson is reflected in the intensely focussed and driven live shows with which they’ve made their name.
    [Show full text]
  • The Foreign Service Journal, January 1967
    Is your family protected? If you are a civilian employee of the U. S. govern¬ WAEPA has now doubled its Dependent Life Insurance ment now residing outside the country or one subject coverage to a maximum of $2,000 for each dependent. to overseas assignments in the normal course of your SCHEDULE OF COVERAGE AND COSTS duties or if you exercise management responsibility AGE UP to 41 41-50 incl. 51-65 yrs. for overseas operations, you qualify for membership in Group life Ins. $20,000 $17,500 $16,250 WAEPA. Accidental Death & Dismemberment $25,000 $25,000 $25,000 WAEPA stands for Worldwide Assurance for Em¬ Total Coverage $45,000 $42,500 $41,250 Annual Premium ployees of Public Agencies, Inc., a mutual non-profit Without Dep. $100.00 $125.00 $150.00 association whose sole purpose is to provide life in¬ *Add $7.20 per year for coverage of your spouse and all eligible children. surance at the lowest possible cost to its members. WAEPA WAEPA has been steadily increasing benefits with 1720 Massachusetts Ave. no increase in cost to its members for over 20 years. Washington, D. C. Please send me further information about member¬ Now WAEPA once again announces a new benefit ship in WAEPA. increase for its members. In addition to the continu¬ NAME ADDRESS ing coverages of Life Insurance up to $20,000, and CITY STATE ZIP Accidental Death and Dismemberment up to $25,000, Worldwide Assurance for Employees of Public Agencies, Inc. 1720 Massachusetts Ave. Washington, D. C. 20036 FOREIGN SERVICE JOURNAL PUBLISHED MONTHLY BY THE AMERICAN FOREIGN SERVICE ASSOCIATION AMERICAN FOREIGN SERVICE ASSOCIATION The Foreign Service JOURNAL is the professional journal of the American Foreign Service and is published by the American Foreign Service Association, DOUGLAS MACARTHUR, II, President a non-profit private organization.
    [Show full text]
  • Greetings to All Conference Participants
    ACKNOWLEDGEMENTS Peggy Holloway, Program Chair Darleen Mitchell, Composers Concert Chair Andrew Houchins, Local Arrangements Chair Emporia State Percussion Ensemble, Tracy Freeze, Director Peter Park of the CMS Executive Office 2010 GREAT PLAINS REGIONAL CONFERENCE PROGRAM COMMITTEE Peggy Holloway, Chair (Dana College) Christine Beard (University of Nebraska Omaha) Stephen Bomgardner (Drury University) Katherine Eberle Fink (University of Iowa) Christopher Greco (Benedictine College) Nora Lewis (Kansas State University) Joseph Perniciaro (Fort Hays State University) Maxine Fawcett-Yeske (Nebraska Wesleyan University) 2010 GREAT PLAINS REGIONAL CONFERENCE COMPOSITION REVIEW COMMITTEE Darleen Mitchell, Chair (University of Nebraska at Kearney) Brooke Joyce (Luther College) Andrew Houchins (Emporia State University) Carl Schimmel (Grinnell, Iowa) Greetings to all Conference Participants: Welcome to the 29th Regional Conference of the College Music Society Great Plains Chapter. This year, we are pleased to feature Dr. Sherrie Tucker, Associate Professor of American Studies at the University of Kansas, as our Keynote Speaker. Dr. Tucker's address will be drawn from her current book project entitled Dance Floor Democracy: The Social Geography of Memory at the Hollywood Canteen. Dr. Tucker’ regionally relevant presentation promises to be a highlight of our weekend. This year’s national topic Music = Communication and its intriguing associated icon will engage our conversation at an open forum following our lunch buffet. Our chapter’s input on the topic will be presented during the Chapter Presidents panel discussion at the next national conference in Minneapolis, as a way of allowing the views of all CMS members to be heard. Several papers at our conference are also related to the common topic.
    [Show full text]
  • Northern Lights
    Bright SHENG Northern Lights Dan Zhu, Violin Julian Schwarz and Trey Lee, Cellos Robert Black, Double Bass Yoobin Son, Flute/Alto flute Pius Cheung, Marimba David Friend, Marika Bournaki, Bright Sheng, Pianos Bright SHENG (b. 1955) Northern Lights (2009) • Melodies of a Flute (2011) • Four Movements for Piano Trio (1990) Sweet May Again (2007) • Hot Pepper (2010) Northern Lights (2009) During one conversation, Bill, well versed in Norwegian for violoncello and piano culture, introduced me to Norwegian and Scandinavian 1. ♪ = 88 folk music. I became even more excited when, after 2. ♩ = 69 further examination, I noticed its kinship with some 3. ♩ = 63-66 forms of American country music, such as Appalachian 4. ♩ = 144-152 and Bluegrass. In many ways, composing music in various styles is The work is dedicated to Inger G. Ginsberg. similar to an author writing in different languages. On Northern Lights was jointly commissioned by The the one hand, an opus is usually at its most effective Chamber Music Society of Lincoln Center, La Jolla when written in a mother tongue, but on the other, Music Society, and the Bergen Festival with a generous many literary giants wrote in their second (or even gift from William Ginsberg in honour of his wife, Inger third) language with great results. Northern Lights is G. Ginsberg. It was finished on December 28th, 2009, my first attempt to integrate Norwegian/Scandinavian in New York City. folk music into my work, and it probably has a linguistic Folk music has been my fascination and creative ‘accent’. However, as a student who is embarking on his resource for over four decades.
    [Show full text]
  • THESCORE News, Moves, and Events in the Orchestra Industry
    THESCORE News, moves, and events in the orchestra industry League Issues Statement Condemning MUSICAL CHAIRS Violence Against Asian Americans and ROBERT BLACK has joined the Milwaukee Sympho- Pacific Islanders ny Orchestra as principal tuba. On March 19, in response to the recent rise in anti-Asian American violence, the The Wheeling Symphony in West Virginia has hired BRYAN BRAUNLICH as executive director. League of American Orchestras issued the following Statement on Violence and Dis- SHERI BROEDLOW has been chosen as crimination Against Asian Americans and Pacific Islanders: the San Diego Symphony’s vice presi- The League of American Orchestras stands in solidarity with the Asian American dent of institutional advancement. and Pacific Islander (AAPI) community as it faces a terrible new wave of hate crimes The Cincinnati Symphony Orchestra has appointed HAROLD BROWN as its and racism. Asian Americans and Pacific Islanders are an integral part of our orchestra inaugural chief diversity and inclusion Broedlow community and our country. AAPI discrimination precedes the pandemic and has long officer. existed—though it has previously been ignored. The League is dedicated to fighting this The Louisiana Philharmonic Orchestra has named COURTNEY BRYAN racism as part of its long-term commitment to advancing equity, diversity, and inclusion composer as creative partner, a post that runs until June 2023. in our own organization, and in supporting our members to do the same. The New York Philharmonic has tapped PATRICK The hate against our fellow Americans must stop. Discrimination, stereotyping, and CASTILLO as vice president of artistic planning. aggression must stop. As we stated in August 2020, “We choose to move fully and Australia’s Melbourne Symphony Orchestra without delay toward absolute diversity and equity within our field; and henceforth to has added two new staff positions.
    [Show full text]
  • A Stylistic Comparison Into the Carmen Fantasy for Double Bass: Proto, Sankey, and Daxun
    A Stylistic Comparison into The Carmen Fantasy for Double Bass: Proto, Sankey, and DaXun A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in Double bass the Performance Studies Division of the College-Conservatory of Music 2016 By Hyungtag Lee M.M., University of Cincinnati, College-Conservatory of Music, 2006 B.A., Kyungwon University, 2000 Committee Chair: Albert Laszlo, MM Committee Member: Lee Fiser, B.Mus. Committee Member: Won-Bin Yim, DMA ABSTRACT This study compares the compositional styles of three different Carmen Fantasies by Stuart Sankey, Frank Proto, and DaXun Zhang. The majority of the “fantasy” genre for double bass was composed by Bottesini in the nineteenth century. In the mid-twentieth century, the reappearance of the “fantasy” genre, driven by Sankey, Proto, and Zhang, inspired many double bass players with its mixture of modern and Romantic elements. Many feel that these pieces capture the spirit of the double bass better than others before them. The analysis compares how the famous themes and melodies from the original opera were adapted in each of these pieces, revealing aspects of each composer’s compositional style through the details of his treatment of Bizet’s themes. The ultimate purpose of this study is to provide performers with the context and inspiration to comprehend and interpret these three virtuosic fantasies. ii Copyright © 2016 by Hyungtag Lee All rights reserved. iii ACKNOWLEDGEMENTS I would like to thank my committee chair Professor Albert Laszlo for his enduring support in planning my solo recital programs and lecture recital program.
    [Show full text]
  • Steen Cv 2017
    KEN STEEN curriculum vitae Education: 1989-91 Bard College. Annandale-on-Hudson, NY MFA in Music Composition and Multimedia. Principal studies with Joan Tower and Nicholas Maw. Electronic music studies with Elie Yardan. 1986-87 Independent theory and composition studies with Joseph Maneri from New England Conservatory : 1978-82 Hartt School of Music of the University of Hartford, West Hartford, CT B. Mus. in Composition, magna cum laude. Studies with: Donald Harris and Edward Diemente : 1982-91 Master classes with Stephen Albert, Christine Berl, Elliott Carter, John Corigliano, Donald Erb, Bernard Rands, Gunther Schuller, Richard Teitelbaum, Michael Torke, and Charles Wuorinen Teaching: : 2011-pres. Professor of Composition and Theory, The Hartt School, University of Hartford 2010-2012 Director/teacher, Digital Music Composition Program, University High School of Science & Engineering, University of Hartford 2009-pres. Founding director/teacher, Young Composers Project @ Hartt - Hartt Community Division 2005-09 Co-director/teacher, Inter-district Composition Program (state-wide middle/high school composition pgm.) : 2003-10 Associate Professor of Composition and Theory (promotion and tenure granted) Director of Studio D, [the digital sound, music and noise studio] The Hartt School, University of Hartford 1996-02 Assistant Professor of Composition and Theory Director of Studio D, The Hartt School, University of Hartford : 1992-96 Associate in Composition, Theory and Music Technology, The Hartt School Adjunct Faculty, Director of the Electronic
    [Show full text]