Iannis Xenakis
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Vocality and Listening in Three Operas by Luciano Berio
Clare Brady Royal Holloway, University of London The Open Voice: Vocality and Listening in three operas by Luciano Berio Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Music February 2017 The Open Voice | 1 Declaration of Authorship I, Patricia Mary Clare Brady, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: February 1st 2017 The Open Voice | 2 Abstract The human voice has undergone a seismic reappraisal in recent years, within musicology, and across disciplinary boundaries in the humanities, arts and sciences; ‘voice studies’ offers a vast and proliferating array of seemingly divergent accounts of the voice and its capacities, qualities and functions, in short, of what the voice is. In this thesis, I propose a model of the ‘open voice’, after the aesthetic theories of Umberto Eco’s seminal book ‘The Open Work’ of 1962, as a conceptual framework in which to make an account of the voice’s inherent multivalency and resistance to a singular reductive definition, and to propose the voice as a site of encounter and meaning construction between vocalist and receiver. Taking the concept of the ‘open voice’ as a starting point, I examine how the human voice is staged in three vocal works by composer Luciano Berio, and how the voice is diffracted through the musical structures of these works to display a multitude of different, and at times paradoxical forms and functions. In Passaggio (1963) I trace how the open voice invokes the hegemonic voice of a civic or political mass in counterpoint with the particularity and frailty of a sounding individual human body. -
Bruno CANINO
Bruno CANINO Geboren in Neapel. Klavierstudium am Konservatorium in Neapel bei Vincenzo Vitale. Diplome für Klavier und Komposition bei Enzo Calace und Bruno Bettinelli in Mailand. Als Solist und Kammermusiker in den wichtigsten Konzertsälen und bei den wichtigsten Festivals in Europa, Amerika, Australien, Japan und China aufgetreten. Seit 40 Jahren Klavierduo mit Antonio Ballista und seit 30 Jahren Mitglied des „Trio di Milano“. Zusammenarbeit mit namhaften Künstlern wie Salvatore Accardo, Uto Ughi, Lynn Harrell, Itzhak Perlman, Victoria Mullova. Künstlerischer Leiter des Giovine Orchestra Genovese, des Campus Internazionale di Musica in Latina. Von 1999 bis 2001 Leiter der Abteilung Musik der Biennale Venedig. Widmet sich im Besonderen auch der zeitgenössischen Musik. Zusammenarbeit u. a. mit Pierre Boulez, Luciano Berio, Karl-Heinz Stockhausen, György Ligeti, Bruno Maderna, Luigi Nono und Sylvano Bussotti. Zahlreiche Uraufführungen. Unter der Leitung von Abbado, Muti, Chailly, Sawallisch, Berio und Boulez Auftritte mit Orchestern wie der Philharmonie der Mailänder Scala, Santa Cecilia in Rom, den Berliner Philharmonikern, der New York Philharmonie, dem Philadelphia Orchestra und dem französischen Nationalorchester. Leitung einer Meisterklasse für Klavier und Kammermusik am Berner Konservatorium. Zahlreiche Schallplatten- und CD-Aufnahmen wie z. B. Johann Sebastian Bachs „Goldberg Variationen“, das Gesamtwerk für Klavier von Alfredo Casella (Stradivarius). In Produktion das Gesamtwerk für Klavier von Claude Debussy. Als Schriftsteller 1997 Veröffentlichung von „Vademecum per il pianista da camera“ (ed Passigli). Born in Naples. Piano studies at the Conservatory of Naples with Vincenzo Vitale. Diplomas in piano and composition with Enzo Calace and Bruno Bettinelli in Milan. Performances as soloist and chamber musician in the most important concert halls and at the most important festivals in Europe, America, Australia, Japan and China. -
GEOFFREY TOZER in CONCERT Osaka 1994
GEOFFREY TOZER IN CONCERT Osaka 1994 Mozart Concerto K 467 • Liszt Raussian Folk Song + Rigoletto + Nighingale Geoffrey Tozer in Concert | Osaka 1994 Osaka Symphony Orchestra Wolfgang Amedeus Mozart (1756-1791) Concerto for Piano and Orchestra no. 21 in C, K 467 1 Allegro 13’34” 2 Romance 6’40” 3 Rondo. Allegro assai 7’14” Franz Liszt (1811-1886) 4 Russian Folk Song 2’55” 5 Rigoletto 6’44” 6 Nightingale 4’04” Go to move.com.au for program notes for this CD, and more information about Geoffrey Tozer There are more concert recordings by Geoffrey Tozer … for details see: move.com.au P 2014 Move Records eoffrey Tozer was an artist of Churchill Fellowship (twice, Australia), MBS radio archives in Melbourne and the first rank, a consummate the Australian Creative Artists Fellowship Sydney, the BBC archives in London and musician, a concert pianist (twice, Australia), the Rubinstein Medal in archives in Israel, China, Hungary, and recitalist with few peers, (twice, Israel), the Alex de Vries Prize Germany, Finland, Italy, Russia, Mexico, Gpossessing perfect pitch, a boundless (Belgium), the Royal Overseas League New Zealand, Japan and the United musical memory, the ability to improvise, (United Kingdom), the Diapason d’Or States, form an important part of Tozer’s to transpose instantly into any key or (France), the Liszt Centenary Medallion musical legacy; a gift of national and to create on the piano a richly textured (Hungary) and a Grammy Nomination international importance in music. reduction of an orchestral score at sight. for Best Classical Performance (USA), Throughout his career Tozer resisted He was a superb accompanist and a becoming the only Australian pianist to the frequent calls that he permanently generous collaborator in chamber music. -
Rohan De Saram Arnold BAX (1883–1953) 1 Rhapsodic Ballad [14:27]
BAX • CASSADÓ DALLAPICCOLA LIGETI works for solo cello Rohan de Saram Arnold BAX (1883–1953) 1 Rhapsodic Ballad [14:27] György LIGETI (1923–2006) Sonata for Solo Cello [8:41] 2 I. Dialogo [4:38] 3 II. Capriccio [3:59] Luigi DALLAPICCOLA (1904–1975) Ciaccona, Intermezzo e Adagio [18:35] 4 I. Ciaccona: Con larghezza [8:28] 5 II. Intermezzo: Allegro, con espressione drastica [2:38] 6 III. Adagio [7:25] Gaspar CASSADÓ (1897–1966) Suite for Solo Cello [16:21] 7 I. Preludio – Fantasia [6:06] 8 II. Sardana (Danza) [3:58] 9 III. Intermezzo e Danza finale [6:14] Total Timing: [58:11] ̶ 2 ̶ BAX • CASSADÓ • DALLAPICCOLA • LIGETI BAX • CASSADÓ works for solo cello The present album features four works which have come to gave the world premiere near Cork in May 1966. Technically the forefront of repertoire for solo cello from the modern era. its demands are considerable, while the range of emotions It may be significant that only one of the pieces was written encountered frequently puts one in mind of Bax’s symphonic by a composer who was also a practising cellist, though this is works from the 1930s. Formally, too, this piece ranks among not to imply any lack of technical expertise or musical insight the composer’s most individual, integrating its contrasted on the part of the other three. On the contrary, each of Bax, sections into an unbroken continuity. Ligeti and Dallapiccola enjoyed close contact with a leading exponent in their respective countries (England, Hungary and The work begins with a rhetorical gesture that denotes the Italy), which no doubt encouraged them to push the technical serious nature of what is to follow, though this strenuous limits of the instrument into new and hitherto unexplored manner is soon tempered with more speculative and equivocal regions. -
Venice Music Biennale Announces 2021 Programme, ‘Choruses’, September 17-26
VENICE MUSIC BIENNALE ANNOUNCES 2021 PROGRAMME, ‘CHORUSES’, SEPTEMBER 17-26 FIRST MUSIC BIENNALE UNDER ARTISTIC DIRECTOR LUCIA RONCHETTI FIFTEEN WORLD PREMIERES TO BE GIVEN KAIJA SAARIAHO RECEIVES GOLDEN LION LIFETIME ACHIEVEMENT AWARD Lucia Ronchetti. Photo credit: Vanessa Francia The programme for the 2021 Venice Music Biennale, one of the six Biennale di Venezia that showcase the best in contemporary Architecture, Art, Dance, Film, Music and Theatre, has been announced by Artistic Director Lucia Ronchetti. For her first Biennale as Artistic Director the Italian composer is presenting 15 world premieres over 10 days of performances across Venice under the heading of ‘Choruses.’ ‘Choruses’ will focus on contemporary choral writing through performances of new commissions and some of the most important works of the last 50 years that explore the human voice. The Venice Music Biennale 2021 is fostering a dialogue between the Venetian past and the present, and the possible renaissance of vocal polyphony through performances from major Venetian organisations across the city. The 65th Music Biennale will welcome major European vocal and choral ensembles such as Theatre of Voices from Copenhagen, Neue Vocalsolisten from Stuttgart, Accentus choir from Paris, vocal ensemble Sequenza 9.3 from Paris and SWR Vokalensemble from Stuttgart, as well as the renowned historical Venetian choirs the Cappella Marciana di San Marco and the choir of the Teatro La Fenice. The Festival will open at the Teatro La Fenice with a performance of Oltra mar for choir and orchestra by Kaija Saariaho, winner of the Golden Lion for Music, whose chamber work Only the sound remains will also be presented at the Teatro Malibran. -
Sardinian Composers of Contemporary Music
Interdisciplinary Studies in Musicology 12,2012 © PTPN & Wydawnictwo Naukowe UAM, Poznań 2012 CONSUELO GIGLIO Music Conservatory, Trapani Sardinian composers of contemporary music ABSTRACT: The meeting point between the school headed by Franco Oppo and the rich traditional music of the island gave birth in Sardinia to an intense flowering in the field of New Music, with a strong feeling of belonging and a constant call for a positive concept of identity. Thus, since the time of Oppo (1935) and his contemporary Vittorio Montis, we come across many composers that differ between each other but are almost always recognizably “Sardinian”. Oppo has been one of the most interesting figures on the international scene during the last few decades. After his studies in Rome, Venice and Poland in the early 1960s, he remained, by his own choice, in his home territory, sharing his “Sardinian-ness” in a free and dialectic manner with the avant-garde. After formulating his own particular aleatory approach, Oppo reached a turning point halfway through the 1970s: in Musica per chitarra e quartetto d’archi, Praxodia and, finally, in Anninnia I, the meeting point between avant-garde research and the special phonic quality of tra ditional music became more and more close-knit and organic, at the same time also acting on the founding language structure whilst still remaining under the control of incisive and informed dis ciplines (during the same period, moreover, he put forward new methodologies of analysis which were also necessary for his teaching). In this sense the most important works are chamber pieces like Anninnia I and II (1978, 1982), Attitidu (1983) and Sagra (1985), the theatrical work Eleonora d’Arborea (1986), some piano “transcriptions” - the Three berceuses (1982), Gallurese and Baroniese (1989; 1993) - Trio III (1994), Sonata B for percussion and piano (2005) and the two Concerts for piano and orchestra (1995-97; 2002). -
Nino Ro Ta Chamber
95237 CHAMBER MUSIC NINO ROTA Rocco Parisi clarinet Andrea Favalessa cello Gabriele Rota piano NINO ROTA 1911-1979 The name of Nino Rota is universally linked to his accomplishments in film music, Chamber Music which made of him one of the most popular and beloved Italian composers of our era. On the contrary, his remaining production is less known to the general public, Trio for clarinet, cello and piano [1973] Variazioni e Fuga nei dodici toni sul nome di however it is very wide (about 120 works) and extremely varied (it includes all 1. I. Allegro quasi in 1 5’23 Bach for piano [1950] musical genres). 2. II. Andante 5’45 Variations and Fugue in the twelve keys on the "The music of Nino Rota", Guido Agosti wrote, "is like the clearest of springs and 3. III. Allegrissimo 4’15 name of Bach has many excellent qualities: spontaneity, crystal transparency and unerring balance 17. Proposta. Sostenuto un poco Sonata in D for clarinet and piano [1945] liberamente 1’14 of each element of the composition. Here we never meet forced rhetoric, violence, 4. I. Allegretto scorrevole 4’24 18. Variazione I. Mosso, deciso 0'45 heaviness, opacity, on the contrary you can see the terse clarity of detail. Nino Rota 5. II. Andante (quasi adagio) 3’55 19. Variazione II. Tranquillo, had - not as something painstakingly acquired, but as a gift - an innate almost classic 6. III. Allegro scorrevole 3’39 scorrevole 1’12 sense of form and a masterly style". 20. Variazione III. Allegro vivace 0'56 And it is especially in the more intimate and personal field of chamber music that 7. -
FHR13 Booklet
HANS PFITZNER Cello Concerto in G major JOHN MAYER Prabhanda • Ragamalas ROHAN DE SARAM cello Druvi de Saram piano John Mayer tanpura Netherlands Radio Orchestra Bohumil Gregor Hans PFITZNER: Cello Concerto in G major John MAYER: Prabhanda • Ragamalas This disc centres on the musicianship of Rohan de Hans PFITZNER (1869-1949) Saram – the British-born Sri Lankan cellist renowned for his involvement in and advocacy of It was for de Saram’s teacher Gaspar Cassadó both classical and contemporary music, as well as that Hans Pfitzner wrote the second of his three that of his native Sri Lanka. He is also a direct link cello concertos in 1935 (the other two being in between the two seemingly removed composers A minor and sharing certain material despite whose music is featured here. being composed 55 years apart). Pfitzner was born in Moscow in 1869, where his father played Born to Ceylonese parents in Sheffield, de Saram violin in a theatre orchestra, though the family studied with Gaspar Cassadó in Siena and returned to his father’s native Frankfurt in 1872. Florence. In 1955 (when only 16) he was the first In 1884 he wrote his first songs and, during recipient of the Guilhermina Suggia Award, 1886-90, studied composition at the Hoch which enabled him to study in Britain with Conservatory in Frankfurt, although his Barbirolli and in Puerto Rico with Casals. He professional breakthrough only came when he made his Carnegie Hall début in 1960 with was appointed director of the opera and also the New York Philharmonic, performing head of the conservatory at Strasbourg in 1908. -
Jon Phetteplace Papers
http://oac.cdlib.org/findaid/ark:/13030/kt2r29r4xt No online items Jon Phetteplace Papers Finding aid prepared by Special Collections & Archives Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla, California, 92093-0175 858-534-2533 [email protected] Copyright 2008 Jon Phetteplace Papers MSS 0135 1 Descriptive Summary Title: Jon Phetteplace Papers Identifier/Call Number: MSS 0135 Contributing Institution: Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla, California, 92093-0175 Languages: English Physical Description: 15.0 Linear feet (6 archives boxes, 6 records cartons, 2 card file boxes and 52 oversize folders) Date (inclusive): 1885 - 1991 (bulk 1965 - 1991) Abstract: Papers of Jon Phetteplace, composer and performer of contemporary music. The papers include drafts, transparencies, and Ozalid prints of his own scores, as well as materials for the performance of works by others; correspondence with composers and friends in English and Italian; programs from Phetteplace's activity with orchestras and small ensembles; miscellaneous appointment books, calendars, and journals; photographs; subject files; notebooks; and audio recordings of his work and the work of others. One of the strengths of the collection is the extensive documentation of his time in Italy, both in terms of his own work and that of others. Creator: Phetteplace, Jon, 1940- Scope and Content of Collection The Jon Phetteplace Papers contain the scores of Phetteplace's musical compositions, in manuscript and printed versions, in addition to notes and sketches which document his major activities from 1965 to 1991. There are also materials for the performance of works by others, including printed scores and annotations. -
Programme De Salle
PORTRAIT IRVINE ARDITTI & QUATUOR ARDITTI Concert 1 Irvine Arditti, violon Radio France/Studio 104 – 7 octobre 2017 – 18h Ashot Sarkissjan, violon Brian Ferneyhough : Ralf Ehlers, alto Unsichtbare Farben , pour violon ; Terrain , pour violon et ensemble Lucas Fels, violoncelle entracte Umbrations d’après Christopher Tye (c.1505-c.1572) : Dès octobre 1984, le Quatuor Arditti est invité à jouer au Festival d’Automne des œuvres de Iannis Xenakis cycle constitué de In Nomine a 3 , pour flûte piccolo, hautbois et clarinette ; Dum transisset I : Reliquary, Dum transisset II : Totentanz, et de György Ligeti. Depuis, Irvine Arditti et les membres de son quatuor auront joué pour le Festival les pour quatuor à cordes ; Lawdes Deo , pour piano et percussion ; In Nomine , pour violoncelle solo ; O Lux , pour dix instruments ; œuvres de Luigi Nono, Helmut Lachenmann, Brian Ferneyhough à plusieurs reprises, mais aussi celles de Christus Resurgens , pour contrebasse et quatuor à cordes ; In Nomine a 5 , pour ensemble ; Dum transisset III : Shadows, Dum Luciano Berio, Pascal Dusapin, Toshio Hosokawa, Brice Pauset, Emmanuel Nunes, Harrison Birtwistle et bien transisset IV : Contrafacta , pour quatuor à cordes ; In Nomine a 12, pour ensemble d’autres. Ce Portrait en trois concerts, qui pour la première fois n’est pas consacré à un compositeur, est (création en France – commande de Westdeutscher Rundfunk, Ensemble Modern, Festival d’Automne à Paris avec le concours de la Fondation conçu dans des configurations différentes comme un bouquet d’œuvres nouvelles ; en témoignage de notre Ernst von Siemens pour la musique, Huddersfield Contemporary Music Festival & Wien Modern) admiration et de notre reconnaissance pour l’engagement et le talent des quatre musiciens dont le répertoire Irvine Arditti , violon solo ; Lucas Fels , violoncelle solo ; Quatuor Arditti ; Paul Cannon , contrebasse solo raconte l’histoire de la musique d’aujourd’hui. -
Maxwell Davies
Peter MAXWELL DAVIES Sonata for Violin Alone Dances from The Two Fiddlers Sonata for Violin and Piano Piano Trio: A Voyage to Fair Isle Duccio Ceccanti, Violin Vittorio Ceccanti, Cello Matteo Fossi, Piano • Bruno Canino, Piano Peter Maxwell Davies (b. 1934): Sonata for Violin Alone Dances from ‘The Two Fiddlers’ • Sonata for Violin and Piano • Piano Trio: A Voyage to Fair Isle This recording focusses for the most part on more recent Stromness. Although central to the denouement of the the Gianicolo. I imagine arriving on the heights of the demands on the island chorus and the folk musicians that chamber works by the late Peter Maxwell Davies. Such opera, with its use of supernatural elements, these make Gianicolo, when all the bells of Rome’s churches ring out would daunt professionals, but which, in performance, music forms the central part of his composing in this for an effective recital piece in their own right. After a call in joyous clangour.” gave everyone huge satisfaction. I was most of all moved period, notably a cycle of ten ‘Naxos’ String Quartets as to attention, the first dance unfolds as a lively and The work begins with a musing interplay that soon by this extraordinary expression of a community’s emerged between 2002 and 2007 [the whole series is humorous jig. There follows a pensive dialogue with brief takes on a more forceful and increasingly combative essence: one felt a challenging piece of new music had recorded on Naxos 8.505225, 5 CDs), but there are syncopated interludes which build to a brusque climax, quality, though this itself diversifies as these instruments really permeated, through months of rehearsal, into the various sundry pieces in which Davies investigates the followed by a heavily accented dance with pungent evolve highly contrasted personas in which elements of spirit of Fair Isle, so as to become a part of its fabric in a possibilities of other ‘classical’ chamber combinations – harmonies. -
Program Trio in C Major, No
Long Theater * Stockton, California * March 31, 1979 * 8:00 p.m. FRIENDS OF CHAMBER MUSIC in cooperation with UNIVERSITY OF THE PACIFIC, and SAN JOAQUIN DELTA COLLEGE present Bruno Canino, piano Cesare Ferraresi, violin Rocco Filippini, cello PROGRAM TRIO IN C MAJOR, NO. 43 (HOBOKEN XV NO. 27) • (Franz) Joseph Haydn (1732 - 1809) Allegro Andante Finale (Presto) TRIO IN A MINOR (1915) . ... Maurice Ravel Modere (1875 - 1937) Pantoum (Assez vif) Passacaille (Tres large) Final (Anime) INTERMISSION TRIO IN B FLAT MAJOR, OPe 97 •• ..... Ludwig ("The Archduke") van Beethoven Allegro moderado (1770 - 1827) Scherzo (Allegro) Andante cantabile, rna pero con moto (Variations) Allegro moderato - Presto Trio di Milano is represented by Mariedi Anders Artists Manage ment, Inc., 535 El Camino Del Mar, San Francisco, California. The TRIO DI MILANO, composed of three noted and talented musicians, was formed in the spring of 1968. Engaged by the most important Italian musical societies to play at Milan, Torino, Venice, Rome, Florence, Pisa, Genoa, and Padua, the Trio has also performed in Germany, Switzerland, Spain, Portugal and the United States and has been acclaimed with enthu siasm and exceptional success everywhere. CESARE FERRARESI was born at Ferrara in 1918, took his degree for violin at the Verdi Conservatorio of Milan, where he is now Principle Professor. Winner of the Paganini Prize and of the International Compe tition at Geneva, he has now for many years enjoyed an intensely full and busy career as a concert artist. Leader of the Radio Symphony Orchestra (RAI) at Milan and soloist of the "Virtuosi di Roma", he has played at the most important music festivals at Edinburgh, Venice, Vienna, and Salz burg and in the major musical centers of Europe, Japan, and the United States.