SCSM Newsletter 14
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The Choral Compositions of Arvo Pärt As an Example of “God-Seeking” Through Music in Soviet Russia
Journal of Eastern Christian Studies 59(1-2), 85-101. doi: 10.2143/JECS.59.1.2023428 T©HE 2007 CHORAL by Journal COMPOSITIONS of Eastern Christian OF ARVO Studies. PÄRT All rights reserved. 85 THE CHORAL COMPOSITIONS OF ARVO PÄRT AS AN EXAMPLE OF “GOD-SEEKING” THROUGH MUSIC IN SOVIET RUSSIA TATIANA SOLOVIOVA* 1. EMERGING FROM THE UNDERGROUND OF ‘OFFICIAL ATHEISM’ OF THE SOVIET ERA Arvo Pärt was a representative of the underground music in the former Soviet Union. His music, like the works of many other musicians and art- ists, did not fit within the narrow bosom of Socialist Realism – the prevail- ing ideology of the time.1 He had to struggle in order to write the music he wanted. Nowadays there is no Soviet Empire anymore, and the composi- tions of Pärt represent “the face” of contemporary music. He is one of the few composers whose art music enjoys success similar to that of pop. He is widely known, and his works are being performed all over the world. Arvo Pärt was born in 1935 in Paide, near Tallinn, the capital of Estonia, one of the Western republics within the former USSR. Between the First and the Second World War this little country enjoyed a short period of in- dependence. Life for Pärt till 1980 was inseparably connected with his Motherland Estonia on one hand, and with Russia, which was the political and cultural dominant at that time, on the other hand. Pärt knew and loved national traditions, as well as he knew European and Russian culture: he called the composer Glazunov who taught his teacher Heino Eller ‘my musi- * Tatiana Soloviova studied at Moscow State University and obtained her PhD in His- tory. -
Darlene Franz Joseph Adam Oboe & English Horn Piano & Organ
X ST. JAMES CATHEDRAL X SEATTLE X 22 MAY 2020 X 6:30 PM X MUSICAL PRAYER Darlene Franz Joseph Adam oboe & English horn piano & organ Romanze in A Minor, op. 94, no. 1 Robert Schumann 1809–1856 Schumann composed the Three Romanze for oboe and piano on the 7th, 11th, and 12th of December, 1849, at the end of an extraordinarily productive year that included the composition of most of his chamber music for winds and piano. It is believed that he wrote them as a Christmas gift to his wife, the famed pianist Clara Wieck Schumann, who performed them privately in the Schumann household on December 27, 1849. Intermezzo in E-flat Major, op. 117, no. 1 Johannes Brahms 1833–1897 The three Intermezzi, written in 1892, are among the last Brahms wrote for solo piano, and among his very last compositions. The first Intermezzo is prefaced by words from a Scottish lullaby (though in Herder’s translation into German), which begins: “Baloo, my babe, lie still and sleep; it grieves me sore to see thee weep.” Brahms places the melody in an inner voice surrounded by a gently rocking accom- paniment. The central section moves from E-flat major to E flat minor, taking the listener to even more remote regions of sombre reflection. Spiegel im Spiegel (1978/2007) Arvo Pärt b. 1935 Spiegel im Spiegel (Mirror in the Mirror) is one of the best known and most performed pieces by Arvo Pärt and also one of his last compositions before his departure from his native Estonia. -
Production Database Updated As of 25Nov2020
American Composers Orchestra Works Performed Workshopped from 1977-2020 firstname middlename lastname Date eventype venue work title suffix premiere commission year written Michael Abene 4/25/04 Concert LGCH Improv ACO 2004 Muhal Richard Abrams 1/6/00 Concert JOESP Piano Improv Earshot-JCOI 19 Muhal Richard Abrams 1/6/00 Concert JOESP Duet for Violin & Piano Earshot-JCOI 19 Muhal Richard Abrams 1/6/00 Concert JOESP Duet for Double Bass & Piano Earshot-JCOI 19 Muhal Richard Abrams 1/9/00 Concert CH Tomorrow's Song, as Yesterday Sings Today World 2000 Ricardo Lorenz Abreu 12/4/94 Concert CH Concierto para orquesta U.S. 1900 John Adams 4/25/83 Concert TULLY Shaker Loops World 1978 John Adams 1/11/87 Concert CH Chairman Dances, The New York ACO-Goelet 1985 John Adams 1/28/90 Concert CH Short Ride in a Fast Machine Albany Symphony 1986 John Adams 12/5/93 Concert CH El Dorado New York Fromm 1991 John Adams 5/17/94 Concert CH Tromba Lontana strings; 3 perc; hp; 2hn; 2tbn; saxophone1900 quartet John Adams 10/8/03 Concert CH Christian Zeal and Activity ACO 1973 John Adams 4/27/07 Concert CH The Wound-Dresser 1988 John Adams 4/27/07 Concert CH My Father Knew Charles Ives ACO 2003 John Adams 4/27/07 Concert CH Violin Concerto 1993 John Luther Adams 10/15/10 Concert ZANKL The Light Within World 2010 Victor Adan 10/16/11 Concert MILLR Tractus World 0 Judah Adashi 10/23/15 Concert ZANKL Sestina World 2015 Julia Adolphe 6/3/14 Reading FISHE Dark Sand, Sifting Light 2014 Kati Agocs 2/20/09 Concert ZANKL Pearls World 2008 Kati Agocs 2/22/09 Concert IHOUS -
Season 2020|2021 2021 | Season 2020
65th Concert Season Season 2020|2021 2021 | Season 2020 . A word from the Filharmonie Brno Managing Director Dear music lovers invite you to a social gathering over a glass Paľa. Leoš Svárovský is preparing for C. M. you! I am very happy that we enter the new of wine, from 6pm before the concerts at von Weber’s celebrated Bassoon Concerto season with the support of our exceptional You are holding in your hands our brand Besední dům (Filharmonie at Home series), with the virtuoso Guilhaume Santana and volunteers for the second time now, who new catalogue for the 2020/2021 sea- where you can learn plenty of interesting Roussel’s Le festin de l’araignée – with this help us with concerts and education – son: this time, it is not just the content that is facts about the programme and meet the concert, the former chief conductor of our thank you, everyone! new – the format is, too. We’ve aimed to evening’s artists in person. orchestra will celebrate an important anni- I am writing these words at a time when make the navigation easier, and to high- The new season is the work of the Filhar- versary in his life. Gerrit Prießnitz will focus we are all paralysed by the coronavirus light the unique characteristics of our sub- monie Brno chief conductor and artistic on the emotional topic of Hamlet in the pandemic and are not yet sure what the ul- scription concerts – each of them offers a director Dennis Russell Davies and the pro- works of Tchaikovsky and Walton. -
Carmen & Vivaldi
CARMEN & VIVALDI Zachary Schwartzman conductor Saturday, March 20, 2021 Performance # 164 Season 6, Concert 12 Livestreamed from the Fisher Center at Bard Sosnoff Theater SIGN UP FOR TŌN EMAIL by clicking here INSPIRE GREATNESS by making a donation at theorchestranow.org/support TABLE OF CONTENTS 4 CONCERT QUICK GUIDE 23 THE ADMINISTRATION 5 THE MUSIC 24 ABOUT BARD COLLEGE 6 ANTONIO VIVALDI CONCERTO FOR STRINGS IN G MINOR, RV 156 7 FRANK MARTIN PETITE SYMPHONIE CONCERTANTE 8 ARVO PÄRT CANTUS IN MEMORY OF BENJAMIN BRITTEN 9 RODION SHCHEDRIN CARMEN SUITE (AFTER BIZET’S OPERA) 10 THE ARTISTS 11 ZACHARY SCHWARTZMAN conductor 12 FRANK CORLISS piano 13 TAYLOR ANN FLESHMAN TŌN ’22 harp 14 RENÉE ANNE LOUPRETTE harpsichord 15 ARVO PÄRT composer 16 RODION SHCHEDRIN composer 17 THE ORCHESTRA NOW 19 SER KONVALIN horn 20 CHARLES GILLETTE percussion 21 SUPPORT TŌN Rehearsals and performances adhere to the strict guidelines set by the CDC, with daily health checks, the wearing of masks throughout, and musicians placed at a safe social 22 THE TŌN FUND DONORS distance. Musicians sharing a music stand also share a home. Concert Quick Guide The Music The Artists ™ Support TŌN CONCERT QUICK GUIDE The TŌN Fund Donors The Administration About Bard College ZACHARY SCHWARTZMAN conductor CONCERT TIMELINE 1 hour and 40 minutes Petite symphonie Concerto concertante Cantus Carmen Suite 6 min 21 min 6 min 42 min Brief remarks by Ser Konvalin horn ANTONIO VIVALDI Born 3/4/1678 in Venice, Italy Died 7/27 or 28/1741 at age 63 in Vienna CONCERTO FOR STRINGS IN G MINOR, -
An Analytical Conductor's Guide to the SATB a Capella Works of Arvo Part
The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2008 An Analytical Conductor's Guide to the SATB A Capella Works of Arvo Part Kimberly Anne Cargile University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Musicology Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cargile, Kimberly Anne, "An Analytical Conductor's Guide to the SATB A Capella Works of Arvo Part" (2008). Dissertations. 1106. https://aquila.usm.edu/dissertations/1106 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi AN ANALYTICAL CONDUCTOR'S GUIDE TO THE SATB A CAPPELLA WORKS OF ARVO PART by Kimberly Anne Cargile A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 COPYRIGHT BY KIMBERLY ANNE CARGILE 2008 The University of Southern Mississippi AN ANALYTICAL CONDUCTOR'S GUIDE TO THE SATB A CAPPELLA WORKS OF ARVO PART by Kimberly Anne Cargile Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 DISSERTATION ABSTRACT AN ANALYTICAL CONDUCTOR'S GUIDE TO THE SATB A CAPPELLA WORKS OF ARVO PART by Kimberly Anne Cargile May 2008 Arvo Part (b. -
Calm Or Tension? the Musical Demands in Strung out (1967) and Spiegel Im Spiegel (1978)
International Journal of Social Science and Humanity, Vol. 6, No. 7, July 2016 Calm or Tension? The Musical Demands in Strung Out (1967) and Spiegel im Spiegel (1978) Ang-Cheng Kris Ho amplification. Spiegel im Spiegel (1978) is an example of Abstract—Estonian composer Arvo Pärt (b. 1935) and tintinnabuli compositional technique and minimalist music. American composer Philip Glass are composers who have This research will also illustrate the challenge of learning shown their similar musical influences yet different and performing this type of music. The violinist needs to compositional styles in their 1970s works written for amplified practice for flexibility in both hands and exercise the violin and violin and piano. Strung Out (1967) is an example of minimalist music and use of amplification. Spiegel im Spiegel sensibility of listening. (1978) is an example of tintinabuli compositional technique and minimalist music. This research will examine Strung Out (1964) and Spiegel im Spiegel (1978), two selected examples for II. COMPOSERS‟ BACKGROUND learning and performing experimental music. Both composers applied minimalist ideas and applied different techniques into Arvo Pärt (b. 1935) is an Estonian composer, whose their compositions. In Strung Out, Glass uses circular rhythmic compositions display many of the twentieth century's patterns and varied these patterns by groups. Pärt utilizes musical styles. His early works is based on piano, a simple harmonic tone and structure, varied by repeated and neoclassical idiom. Later he changed his interest to serial unchanged rhythm in Spiegel im Spiegel. Both works challenge music and continued creating works with serial techniques the performer’s musical interpretation, performance flexibility, throughout 1960s [3]. -
Arvo Pärt's Te Deum
Arvo Pärt’s Te Deum : A Compositional Watershed STUART GREENBAUM Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy (by thesis and musical composition) July 1999 Faculty of Music The University of Melbourne Abstract A critical analysis of Arvo Pärt’s Te Deum (1984-85) is conducted in light of his tintinnabuli style. The origin of this style is traced back to 1976, placing Te Deum in the middle of the tintinnabuli period. Te Deum is a major work lasting nearly half an hour, written for three choirs, strings, prepared piano and tape. The introduction to the thesis provides an overview of the composer and styles with which he is aligned. Definitions of minimalism, spiritual minimalism and tonality are contextualised, with reference to Pärt’s compositional technique, aesthetic and development. The work is analysed syntactically and statistically in terms of its harmonic mode, its textural state and orchestration, its motivic construction, and the setting of the Te Deum text. The syntactic function of these parameters are viewed in dialectical terms. Analysis is conducted from the phenomenological standpoint of the music ‘as heard’, in conjunction with the score. Notions of elapsed time and perceived time, together with acoustical space, are considered in the course of the analysis. The primary sound recording is compared to other sound recordings, together with earlier versions of the score and revisions that have accordingly taken place. The composer, Arvo Pärt, was interviewed concerning the work, and the analysis of that work. Pärt’s responses are considered in conjunction with other interviews to determine why he pursued or tackled some questions more than others. -
The Cambridge Companion to Arvo P Ä Rt
Cambridge University Press 978-1-107-00989-9 - The Cambridge Companion to Arvo Pärt Edited by Andrew Shenton Frontmatter More information Th e Cambridge Companion to Arvo P ä rt Arvo P ä rt is one of the most infl uential and widely performed contemporary composers. Around 1976 he developed an innovative new compositional technique called ‘tintinnabuli’ (Latin for ‘sounding bells’), with which he has had an extraordinary degree of success. His music is frequently performed around the world and has been used in award-winning fi lms, and pieces such as F ü r Alina and Spiegel im Spiegel have become standard repertoire. Th is collection of essays, written by a distinguished international group of scholars and performers, is the essential guide to Arvo P ä rt, and his music. Th e book begins with a general introduction to P ä rt’s life and works, covering important biographical details and outlining his most signifi cant compositions. Two chapters analyze the tintinnabuli style and are complemented by essays which discuss P ä rt’s creative process. Th e book also examines the spiritual aspect of P ä rt’s music, and contextualizes him in the cultural milieu of the twenty-fi rst century and in the marketplace. Andrew Shenton is Associate Professor of Music at Boston University. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-00989-9 - The Cambridge Companion to Arvo Pärt Edited by Andrew Shenton Frontmatter More information © in this web service Cambridge University Press www.cambridge.org -
Oranit Kongwattananon 1
Oranit Kongwattananon 1 Introduction Arvo Pärt, an Estonian composer, was born in 1935. He studied at Tallinn Conservatory under his composition teacher, Heino Eller, in 1958-1963. While studying, he worked as a sound engineer at the Estonian Radio, and continued working there until 1968, when he became a freelance composer. At the beginning of 1980, Arvo Pärt and his family emigrated to Austria where he received Austrian citizenship. Afterwards, he received a scholarship from Der Deutsche Akademische Austauschdienst (German Academic Exchange Service) in 1981-1982, so he and his family moved to West Berlin.1 Most of the works at the beginning of his career as a composer were for piano in neo- classical style. He won the first prize of the All-Union Young Composers’ Competition in Moscow in 1962, and turned his interest to serial music at this time. He studied from books and scores, which were difficult to obtain in the Soviet Union. The first work to which he applied serial techniques, Nekrolog, was composed in 1960. Although he was panned by the critics for this work, he nevertheless continued creating his works with serial techniques throughout the 1960s. One well-known piece called Credo, composed in 1968, was the last work combining tonal and atonal styles.2 For several years afterwards, Pärt turned his attention to studying tonal monody and two-part counterpoint exercises.3 Between 1968-1976 Pärt initiated a “self-imposed silence”; during which he published only one work, Symphony no. 3, whilst studing early music: At the beginning of this period, Pärt heard Gregorian chant for the first time in his life and was completely overwhelmed by what he heard: he immediately sought out other examples, and went on to make an intensive study of early music, including not only Gregorian chant, but also the music of the Notre Dame school, Gillaume de Machaut, 1 Wright, Stephen, “Arvo Pärt (1935- ),” in Music of the twentieth-century avant-garde: a biocritical sourcebook, ed. -
“What Is More Mysterious Than Clarity”
“What is more mysterious than clarity” <? echo $this->teaser; ?> You have often spoken about how you first came across Arvo Pärt’s music. Your first project together was “Tabula Rasa“, an album that wrote history. The music world was surprised not only by the presentation of a new composer, but also by the unusual choice of musicians. Keith Jarrett – a jazz legend at the latest since the recording of the Cologne concert – also played on the “Tabula Rasa” album. What prompted that idea? Eicher: I met Arvo Pärt personally for the first time in the early 1980s. Our discussions with Arvo in Lockenhaus were guided by openness and a curious interest in the other person’s work. I was not surprised that Arvo was acquainted with the music of Steve Reich and Meredith Monk, for whom I worked as a producer. He was also familiar with Keith Jarrett‘s solo piano recordings. I took a piano recording by Keith Jarrett of music by Gurdjieff/De Hartmann, released by us the previous year on ECM, to our very first meeting. “Dolmen Music” by Meredith Monk was also in my bag. And by the end of this very first meeting, it was clear that we wanted to make a recording together. Arvo Pärt is in a class of his own. Fratres When we met the next time, in Vienna a few months later, we decided to ask UE17274 Gidon and Keith if they would record Fratres for violin and piano together. After brief consideration, both Gidon and Keith agreed. There was certainly a little bit of risk involved because the two musicians hadn’t ever played together before, and they had seemingly pursued entirely different paths until then – but this was not completely true. -
Shed2 Press Release
shed2 Press Release THE BLOOMBERG BUILDING 545 W 30th Street New York, NY 10001 For more information, please contact: Sommer Hixson Director of Communications The Shed (646) 876-6933 [email protected] Christina Riley Publicist The Shed Reich Richter features music composed by Steve Reich; a moving picture, in (646) 876-6858 collaboration with Corinna Belz; and images © Gerhard Richter 2019 (05042019). [email protected] Photo: Stephanie Berger. Courtesy The Shed. Reich Richter Pärt, Immersive Live Performance Installations Exploring the Amanda Domizio Shared Language of Visual Art and Music, Premieres on Saturday, April 6, Polskin Arts as an Opening Commission of The Shed (212) 583-2798 [email protected] NEW YORK, APRIL 6, 2019—In its opening week, The Shed presents Reich Richter Pärt, a marriage of music and visual art that brings together three @theshedny luminaries of 20th-century culture, in collaboration with each other for the first theshed.org time in their legendary careers. On Saturday, April 6th, celebrated American composer Steve Reich and pioneering artist Gerhard Richter will debut a world premiere commission, as two New York groups — Ensemble Signal and International Contemporary Ensemble — will alternate performances of Reich’s new score in counterpoint with Richter’s new work, including a new moving picture. Created by Gerhard Richter and filmmaker Corinna Belz, the moving picture will screen in an environment that is intentionally intimate for both audiences and musicians. “Gerhard and Corinna specially developed a new moving picture for this project using calculations based on Richter's book, Patterns: Divided, Mirrored, Repeated,” says Hans Ulrich Obrist, The Shed’s Senior Program Advisor.