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News Section
78 Tempo 62 (244) 78–81 © 2008 Cambridge University Press doi:10.1017/S0040298208000144 Printed in the United Kingdom news section Composers elliott carter Figment IV (première) – 18 March Notes of premières of new works run from three months Washington DC, Freer Gallery / Samuel Rhodes before to three months following publication of this issue, (vla). Clarinet Quintet (première) – 29 April New i.e. from 1 January to 30 June 2008. There is therefore a York, Juilliard School / Charles Neidich (cl), Juilliard three-month overlap between issues, and omissions and String Quartet. late news for the three ‘following’ months of the current chaya czernowin Pilgerfahrten for speaker, issue will be picked up in the three ‘prior’ months of the children’s choir and ensemble (première) next one. News of more distant forthcoming premières is – 2 February Munich, Herkulessaal / Dresden given more briefl y; full details will be found in subsequent Kreuzchor c. Roderich Kreile. issues. michael daugherty Troy Jam (première) – hans abrahamsen Schnee (première) – 26 April 18 May Washington DC, Kennedy Center / National Witten, Wittener Tage / Ensemble Recherche. Symphony Orchestra c. Leonard Slatkin. john adams Doctor Atomic Symphony (US première) brett dean Short Stories (UK première) – 13 February – 7 February St Louis, Missouri / Saint Louis Norwich, St Andrew’s Hall / Britten Sinfonia c. Symphony Orchestra c. David Robertson. Jacqueline Shave. Ariel’s Music (UK première) – louis andriessen 18 April London, Barbican / Michael Collins (cl), La Commedia (première) – BBC Symphony Orchestra c. John Storgårds. 12 June Amsterdam, Koninklijk theater Carre / Claron McFadden, Cristina Zavalloni, Jeroen luca francesconi Kubrick’s Bone (UK première) – Willems, Netherlands Opera dir. -
MMXVII RUHE the Diary of the One Who Disappeared Private View MUZIEKTHEATER TRANSPARANT LUIGI DE ANGELIS ЗМЕЯ
WIM HENDERICKX Aquarius’ Dream Revelations LIESA VAN DER AA ParadiseHell MUZIEKTHEATER TRANSPARANT ANNELIES VAN PARYS And you must suffer MMXVII RUHE The Diary of the One Who Disappeared Private View MUZIEKTHEATER TRANSPARANT TRANSPARANT MUZIEKTHEATER LUIGI DE ANGELIS ЗМЕЯ IVO VAN HOVE Kings of War The Diary of the One Who Disappeared Roman Tragedies MM WOUTER VAN LOOY X Earth diver VI I Die Zauberflöte Revelations NAOMI BEELDENS WWW.TRANSPARANT.BE La Voix humaine CLARON MCFADDEN Secrets Lilith Nightshade: Aubergine WENDE SNIJDERS Wende CONTENTS A house full of voices 3 Artists 4 Partners & co-producers 5 NEW PRODUCTIONS Earth diver 6 Die Zauberflöte 8 Nightshade: Aubergine 10 Wende 12 The Diary of the One Who Disappeared 14 ЗМЕЯ 16 Aquarius’ Dream 18 Revelations 20 ON TOUR La Voix humaine 22 Secrets 23 Lilith 24 Listen to the silence 25 And you must suffer 26 Polar Night 27 Kings of War 28 RUHE 29 Private View 30 Roman Tragedies 31 Le coupeur d’eau 32 TRANSLAB Windischgrätz 42 Abendrot 42 ParadiseHell 43 Medeamaterial 44 Matterhonger 45 Matterhorn 46 Opera21 47 Songbook 48 Info 57 Calendar 59 A HOUSE FULL OF VOICES WIM HENDERICKX 18 Aquarius’ Dream “Over the past 20 years, Muziektheater Transparent has charted an impres- 20 Revelations sive course in which there has been room for both experimentation and established values.” This remark was part of the Music-Theatre’s Assessment Committee’s preliminary advice on our plan for the 2017-2021 period. This LIESA VAN DER AA 43 ParadiseHell motivates us even more for the future. As our aim is to profile ourselves even more pronouncedly as a music-theatre company in which the voice plays a central role, we are inviting artists whose practice centres on vocal work: ANNELIES VAN PARYS 26 And you must suffer Claron McFadden, Naomi Beeldens, Els Mondelaers, Liesa Van der Aa and 29 RUHE Wende Snijders, as well as our in-house composers Wim Henderickx and 14 The Diary of the One Who Disappeared Annelies Van Parys. -
I Silenti the Next Creation of Fabrizio Cassol and Tcha Limberger Directed by Lisaboa Houbrechts
I SILENTI THE NEXT CREATION OF FABRIZIO CASSOL AND TCHA LIMBERGER DIRECTED BY LISABOA HOUBRECHTS Notre Dame de la détérioration © The Estate of Erwin Blumenfeld, photo Erwin Blumenfeld vers 1930 THE GOAL For several years Fabrizio Cassol has been concentrating on this form, said to be innovative, between concert, opera, dance and theatre. It brings together several artistic necessities and commitments, with the starting point of previously composed music that follows its own narrative. His recent projects, such as Coup Fatal and Requiem pour L. with Alain Platel and Macbeth with Brett Bailey, are examples of this. “I Silenti proposes to be the poetical expression of those who are reduced to silence, the voiceless, those who grow old or have disappeared with time, the blank pages of non-written letters, blindness, emptiness and ruins that could be catalysers to other ends: those of comfort, recovery, regeneration and beauty.” THE MUSIC Monteverdi’s Madrigals, the first vocal music of our written tradition to express human emotions with its dramas, passions and joys. These Madrigals, composed between 1587 and 1638, are mainly grouped around three themes: love, separation and war. The music is rooted, for the first time, in the words and their meaning, using poems by Pétraque, Le Tasse or Marino. It is during the evolution of this form and the actual heart of these polyphonies that Monteverdi participated in the creation of the Opera as a new genre. Little by little the voices become individualized giving birth to “arias and recitatives”, like suspended songs prolonging the narrative of languorous grievances. -
EASTMAN NOTES JUNE 2005 Draft: Web Date: July 5, 2005 INSIDE
NOTES JUNE 2005 A MAGAZINE FOR ALUMNI OF THE EASTMAN SCHOOL OF MUSIC FROM THE EDITOR Loss, love, and legacies Dear Eastman Alumni: More than any time since I began editing Eastman Notes, the winter and spring of 2004¬2005 was marked by a sense of loss, with the deaths of two inimitable NOTES figures in Eastman’s history: Frederick Fennell and Ruth Watanabe, who died in Volume 23, Number 2 December 2004 and February 2005 respectively. June 2005 It’s representative of their importance, not just to the School but to the musical world in general, that everyone reading this magazine, no matter when they at- Editor tended, knows who Frederick Fennell and Ruth Watanabe are. Both are indelibly David Raymond associated with two monuments of the School—the Wind Ensemble and the Sib- Assistant editor ley Library. Fennell built a new model for wind band playing—and a repertory— Juliet Grabowski pretty much from scratch; while Ruth Watanabe didn’t found the Sibley Library, Contributing writers she certainly developed it to its present eminence over a 40-year career. (See Martial Bednar Christine Corrado pages 6 and 8 for more Susan Hawkshaw on their remarkable ca- Contributing photographers reers.) Both continued Richard Baker to be generous with Kurt Brownell their time and talent Bob Klein well after retirement— Gelfand-Piper Photography Amy Vetter Fennell visiting Eastman numerous times to con- Photography coordinators Nathan Martel duct, Watanabe as the Amy Vetter School’s historian. Design These two people were Steve Boerner Typography & Design definitely respected as professionals, but they Frederick Fennell Ruth Watanabe Published twice a year by the Office of were also loved as people— Communications, Eastman School of Music, 26 Gibbs Street, Rochester, NY, see the brief tributes to Fennell by his successors Don Hunsberger and Mark 14604, (585) 274-1050. -
Download on AIR In
2015 ON 2016 AIR ON AIR ON AIR ON AIR ON AIR ON AIR ARTIST IN RESIDENCE PROGRAMME AMSTERDAM UNIVERSITY OF THE ARTS AIR ON ON Photo: Thomas Photo: Lenden AIR p. 8–14 Claron McFadden p. 16–28 Photo: Joost Bataille Joost Photo: Gabriel Lester Photo: Jan van Breda van Jan Photo: p. 30–38 Der Theater- macher p. 40–46 Henk Schut Photo: Anne Photo: Douqué p. 48–54 Helmut Dick Photo: Thomas Photo: Lenden ON AIR Moestuin van het cultuur- landschap Hier ENG VOORWOORD Students working on a glass painting in the Academy of architecture courtyard as part of Gabriel 5 Lester’s form study classes on matte painting. Photo: Thomas Lenden AIR ON ON AIR Claron McFadden Photo: Thomas Photo: Lenden 6 CONSERVATORIUM VAN AMSTERDAM AIR ON ON AIR Music Live Interview with Claron McFadden By Maria Hagen For soprano Claron McFadden, learning is all about finding new ways of listening to music and thinking about music. ‘I give the students innova- tive triggers and encourage them to open up their thinking as broadly as possible.’ She was the 2015 Artist in Residence at the Conservatorium van Amsterdam, where she coached students from a variety of programmes to Photo: Thomas Photo: Lenden broaden their perspectives on music practice. About Claron The eternal quest for dance and video, for example. They now the project McFadden new cross-connections play a crucial role in music practice. And the relationship between technology The distinguished American soprano Claron McFadden studied at the Claron McFadden was still very young and music is a very exciting one, too. -
Perspective Music Theatre
flanders arts institute Perspective: Music Theatre Content Foreword............................................................................................................... 2 Expanding from the centre............................................................ 11 1. (anti-) Definitions........................................................................................... 13 The.policy.framework.for.music.theatre............................................. 13 Tradition.and.innovation......................................................................... 15 2. A landscape in motion.................................................................................. 19 Shifting.centres........................................................................................... 19 Music.theatre.for.a.young(er).audience.............................................. 26 Musicals........................................................................................................ 29 Opera.2.0...................................................................................................... 30 ‘Staged’.music.............................................................................................. 31 New.urbanisation,.hybrid.identities..................................................... 33 Tinkering.with.sound............................................................................... 34 Performing.arts:.a.fusion.of.music,.theatre.and.dance.................... 34 Socio-artistic.music.theatre................................................................... -
The Unforgettable Songs of Leonard Bernstein
vr 29.01.2010 The Unforgettable Songs of Leonard Bernstein feat. Claron McFadden Concertzaal - 20.00 19.15 Inleiding door Lieven Van Ael The Unanswered Question Six Talks at Harvard muzikale diversiteit. Opvallend is de analo- gie met volgende uitspraak van Chomsky: ‘En er zijn algemene universele elementen, In 1973 gaf Leonard Bernstein zes lezingen condities voor de vorm en organisatie van (de Charles Eliot Norton Lectures) in Harvard elke menselijke taal, die het onderwerp vor- University (waar hijzelf ooit studeerde) die in men van de bestudering van de “universele 1976 werden gepubliceerd onder de titel van grammatica”.’ (Uit Taal en mens, taalkundige Charles Ives’ enigmatische compositie The bijdragen aan het onderzoek van de mense- unanswered question. Sterk beïnvloed door lijke geest.) het werk van de linguïst Noam Chomsky, onder meer Language and Mind, behandelt Bernsteins laatste lezing klinkt tevens als een Berstein achtereenvolgens de fonologische, hoopvolle boodschap in de lijn van de finale grammaticale en semantische aspecten van van Beethovens Negende. We laten hem tot muziek. Hij gelooft in het bestaan van een slot nog even zelf aan het woord. Hij is ervan universele muzikale syntaxis die gecodeerd overtuigd dat: ‘All particular languages bear en gestructureerd kan worden in termen van on one another, and combine into always symmetrie en herhaling en doorheen deze new idioms, perceptible to human beings. bijzonder boeiende lezingen klinkt de over- And that ultimately these idioms can all tuiging dat tonaliteit de grondslag is van alle merge into a speech universal enough to be muziek. Bernstein besluit deze lezingen, die accessible to all mankind.’ in de gedrukte versie maar liefst 425 pagina’s beslaan, met een al even enigmatisch state- Johan Huys ment als Ives ‘unanswered question’: ‘(…) And finally, I believe that because all these things are true, Ives’ Unanswered Question has an answer. -
Page 13 Musici / Musiciens
Nederlands: pagina 3 Français : page 8 English: page 13 Musici / Musiciens: pagina / page 19 2 “One happy thing about sound was that I could control the music, so I composed my own. I tried to compose elegant and romantic music to frame my comedies in contrast to the tramp character, for elegant music gave my comedies an emotional dimension. Musical arrangers rarely understood this. They wanted the music to be funny. But I would explain that I wanted no competition, I wanted the music to be a counterpoint of grave and charm, to express sentiment, without which, as Hazlitt says, a work of art is incomplete. (...) Nothing is more adventurous and exciting than to hear the tunes one has composed played for the first time by a fifty piece orchestra.“ - Charles Chaplin 3 WELKOM De magie van Charlie Chaplin blijft ook na bijna 100 jaar fantastisch indrukwekkend, ontroerend en hilarisch. De sympathieke zwerver, die ondanks zijn goede bedoelingen toch steeds weer in de problemen raakt, laat ons allemaal, klein én groot, lachen en nadenken. De meester zorgt gelukkig steeds voor een happy end, en componeerde ook voor The Kid zelf de prachtige muziek. Een pareltje. PROGRAMMA The Kid (1921) Charles Chaplin, regie & muziek (arr. Carl Davis) Charlie Chaplin als The Tramp Jackie Coogan als The Kid (John) Edna Purviance als The Woman FILMPHILHARMONIC EDITION Film ter beschikking gesteld door Roy Export S.A.S. Muziek ter beschikking gesteld door Bourne Co. Music Publishers. Brussels Philharmonic · Dirk Brossé, dirigent · Otto Derolez, concertmeester 4 SYNOPSIS Een verwarde vrouw legt haar pasgeboren baby te vondeling in een limousine. -
Decca Discography
DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982. -
Catalogue Wim Henderickx (08-2020)
Wim HENDERICKX List of Works © Photo by Filip Van Roe (2019) WIM HENDERICKX: BIOGRAPHY (August 2020) Wim Henderickx is a Flemish composer, based in Antwerp. He studied compositon and percussion at the Royal Conservatoire of Antwerp and sonology at Ircam in Paris and at the Conservatoire of Music in The Hague. He received numerous awards, such as the Prize for Contemporary Music Flanders-Québec in 1993. In 2006 he was nominated for the Flanders Culture Prizes and in 2011 he received the Lifetime Achievement Award in Lier (BE), his birthplace. In 2015 he was appointed as a member of the Royal Flemish Academy of Belgium (KVAB) for Science and the Arts. Wim Henderickx is professor of composition at the Conservatories of Music in Antwerp and Amsterdam and he is the main coach on the SoundMine Summer Composition Course for young composers, which is organised by Musica, Impulse Centre for Music. Many of his compositions are influenced by oriental music and philosophy. Between 2004 and 2010 he worked on the TANTRIC CYCLE, a seven-part composition series based on Oriental philosophy and Buddhism. Wim Henderickx has been Composer in Residence at Muziektheater Transparant since 1996 and in 2013 he joined the Antwerp Symphony Orchestra as Artist in Residence. The full DOUBLE CD (2016) with four of his works recorded by the Antwerp Symphony Orchestra with conductors Martyn Brabbins and Edo de Waart, received international acclaim including five stars in BBC Music Magazine. Henderickx’s first opera TRIUMPH OF SPIRIT OVER MATTER premiered in 2000 at La Monnaie in Brussels and ACHILLEUS, an opera for young people, had multiple performances in Antwerp and Copenhagen (2003 - 2006). -
27 February 2009 Page 1 of 40 SATURDAY 21 FEBRUARY 2009 Katarzyna Jankowska-Borzykowska (Piano)
Radio 3 Listings for 21 – 27 February 2009 Page 1 of 40 SATURDAY 21 FEBRUARY 2009 Katarzyna Jankowska-Borzykowska (piano) SAT 01:00 Through the Night (b00hpkjd) 4.06am With Jonathan Swain. Schreker, Franz (1878-1934): Nachtstick (Der ferne Klang) BBC Philharmonic 1.00am Vassily Sinaisky (conductor) Schumann, Robert (1810-1856): Concerto in A minor for piano and orchestra, Op 54 4.23am Alexander Melnikov (piano) Mackeben, Theo (1897-1953): Schlafe, mein Geliebter! Korean Broadcasting System (KBS) Symphony Orchestra Jean Stilwell (mezzo-soprano) Bramwell Tovey (conductor) Marie Berard (violin) Joseph Macerollo (accordion) 1.32am Strauss, Richard (1864-1949): Ein Heldenleben (A hero's life), 4.28am Op 40 Tchaikovsky, Pyotr Il'yich (1840-1893): Aria: Sleep my little one Korean Broadcasting System (KBS) Symphony Orchestra and dream (Mazeppa) Bramwell Tovey (conductor) Joanne Kolomyjec (soprano) Calgary Philharmonic Orchestra 2.18am Mario Bernardi (conductor) Lopes-Graca, Fernando (1906-1994): Cancoes heroicas, Op 44 Ricercare Chorus 4.31am Rodrigo Gomes (piano) Liszt, Franz (1811-1886): Hymne de l'enfant a son reveil, S19 Pedro Teixeira (conductor) Eva Andor (soprano) Hedi Lubik (harp) 2.41am Gabor Lehotka (organ) Chopin, Fryderyk (1810-1849): Polonaise in A flat, Op 53 The Girl's Choir of Gyor (Heroique) Miklos Szabo (conductor) Jacek Kortus (piano) 4.42am 2.49am Mozart, Wolfgang Amadeus (1756-1791): Serenade in G, K525 Strauss, Richard (1864-1949): Dance of the Seven Veils (Eine Kleine Nachtmusik) (Salome, Op 54) New Zealand Symphony Orchestra -
Building a Library
BUILDING A LIBRARY All selections were made from recordings available in the UK at the time of the broadcast and are full price unless otherwise stated. CD Review cannot guarantee that they have not subsequently been deleted. KEY: CD = compact disc c/w = coupled with SIS = a recording which is only available through EMI’s Special Import Service IMS = a recording which is only available through Universal Classics' Import Music Service CONTENTS September 1999 – July 2000 .................................................................................................................................................................................. 2 September 2000 – July 2001 ................................................................................................................................................................................ 23 September 2001 – July 2002 ................................................................................................................................................................................ 45 September 2002 – July 2003 ................................................................................................................................................................................ 73 September 2003 – July 2004 ................................................................................................................................................................................ 97 September 2004 – July 2005 .............................................................................................................................................................................