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In the Sky I Am Walking

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Ekmeles and maya + rouvelle present In the Sky I am Walking Livestreamed from Brooklyn, NY July 18, 2020 at 8PM Ekmeles Charlotte Mundy, soprano Elisa Sutherland, mezzo-soprano Steve Beck, piano maya + rouvelle Lili Maya and James Rouvelle, video art Charles Mueller, technical assistance This performance is free to all, and will be online for one week following the live stream. We would also like to call your attention to the Navajo Nation COVID19 Relief Fund: www.navajo.fund We would like to acknowledge that Ekmeles is perform- ing today on unceded land of the Lenape people, and to pay respect to elders, both past and present. Program Asdzą́ą́ Nadleehé / Yoołgai Asdzą́ą́ (2016) Raven Chacon (b. 1977) Am Himmel wandre ich (1972) Karlheinz Stockhausen (1928-2007) Notes and Texts Asdzą́ą́ Nadleehé / Yoołgai Asdzą́ą́ Changing Woman / White Shell Woman Nááyéé’ – monster Déélgeed – The Horned Monster Nináháleeh – Male Monster Bird Jóhonáá’éí’ – The Sun Soprano: First Woman was alone with only First Man and four other people who survived. And there was nothing left to do but die or try to survive. And of these four, two were children, were siblings, and so while there was a future for them, there would be no future from them. Mezzo: First Man was alone with only First Woman and four other people who survived. And there was nothing left to do but die or try to survive. And of these four there was an old man and there was an old woman, and while they’d lived long lives themselves, it ended there. Nááyéé. Nothing will go wrong, I will surround myself in song. Soprano: And then first man found a turquoise figurine which grew into a woman. My sister I am lonely, and I wonder about the sun. So I will open my legs and watch the sun as he goes from East to West. Mezzo: And then first man found a white shell figurine which grew into a woman. Why should we remain here saying nothing, doing nothing, seeing no one and waiting. So I will go down into the rocks and let the waterfall fall down on me. And twins were born. / Find our father. Jóhonáá’éí’. Father give us your weapons. Soprano: A piece of lung he brings for me; our people are restored. A piece of wing he brings for me; my people are restored. A lock of hair he brings for me; his people are restored. The monster’s eyes he brings for me; our people are restored. Mezzo: Déégeed he brings for me; our people are restored. Nináháleeh he brings for me; my people are restored. Nááyéé’ he brings for me; his people are restored. Nááyéé’ he brings for me; our people are restored. Am Himmel wandre ich Am Himmel wandre ich is part of a larger work by Stockhausen, Alphabet für Liège. The fundamental idea underlying Alphabet is the notion that sound vibra- tions can affect both living beings and inanimate matter. Stockhausen explained his purpose in this piece was to show “how sound waves always change the mol- ecules, even the atoms of a being who listens to music, making them vibrate. And that is what we want to make visible, because most people only believe what they see.” Am Himmel wandre ich is the only part of Alphabet capable of performance in- dependent of the larger work, and the only part to have been published. The work consists of twelve scenes performed by two singers. Each scene consits of a Na- tive American song, taken from a book titled American Indian Prose and Poetry, edited by Margaret Astrov. The different poems, aphorisms or prayers come from the following tribes: Chippewa, Pawnee, Nootka, Teton Sioux, Ayacucho, Aztec. The scenes follow one another without interruption. The first song is intoned on a single note, C, the next song adds a second note to the first, the F# above, the third adds the G a semitone higher still, the fourth descends to E, and so on, until reaching a twelve-tone row in the final song, but with the notes in fixed registers. 1. DREAM SONG (Chippewa) In the sky I am walking, A Bird I accompany. 2. LOVE SONG (Chippewa) Oh I am thinking Oh I am thinking I have found my lover Oh I think it is so! 3. WAR SONG (Pawnee) Let us see, is this real, Let us see, is this real, This life I am living? Ye Gods, who dwell everywhere, Let us see, is this real, This life I am Living? 4. LOVE SONG (Nootka) No matter how hard I try to forget you, you always come back to my mind, and when you hear me singing you may know I am weeping for you. 5. SONG sung over a dying person (Chippewa) You are a spirit, I am making you a spirit, In the place where I sit I am making you a spirit. 6. OPENING PRAYER OF THE SUN DANCE (Teton Sioux) Grandfather! A voice I am going to send, Hear me! All over the universe A voice I am going to send, Hear me, Grandfather! I will live! I have said it. 7. PERUVIAN DANCE SONG (Ayacucho) Wake up, woman, Rise up, woman, In the middle of the street, A dog howls. May the death arrive – May the dance arrive – Comes the dance You must dance, Comes the death You can’t help it! Ah! what a chill, Ah! what a wind.... 8. PLAINT AGAINST THE FOG (Nootka) Don’t you ever, You up in the sky, Don’t you ever get tired Of having the clouds between you and us? 9. A SONG BY NEZAHUALCOYOTL (Aztec) I am like the quetzal bird, I am created in the one and only god; I sing sweet songs among the flowers; I chant songs and rejoice in my heart. 10. SONG TO BRING FAIR WEATHER (Nootka) You, whose day it is, make it beautiful. Get out your rainbow colors, So it will be beautiful. 11. LOVE SONG (Aztec) I know not whether thou hast been absent: I lie down with thee, I rise up with thee, In my dreams it is thou moving within my heart. If my eardrops tremble in my ears, I know it is thou moving within my heart. 12. SONG OF A MAN WHO RECEIVED A VISION (Teton Sioux) Friends, behold! Sacred I have been made. Friends, behold! In a sacred manner I have been influenced At the gathering of the clouds. Sacred I have been made, Friends, behold! Sacred I have been made. Biographies Raven Chacon is a composer, performer and installation artist from Fort Defiance, Navajo Nation. As a solo artist, collaborator, or with Postcommodity, Chacon has exhibited or performed at Whitney Biennial, documenta 14, RED- CAT, Musée d’art Contemporain de Montréal, San Francisco Electronic Music Festival, Chaco Canyon, Ende Tymes Festival, 18th Biennale of Sydney, and The Kennedy Center. Every year, he teaches 20 students to write string quartets for the Native American Composer Apprenticeship Project (NACAP). He is the recipient of the United States Artists fellowship in Music, The Creative Capital award in Visual Arts, The Native Arts and Cultures Foundation artist fellowship, and the American Academy’s Berlin Prize for Music Composition. He lives in Albuquerque, NM. Karlheinz Stockhausen (1928–2007) composed 376 individually performable works. He started composing in the early 1950s. Stockhausen’s entire oeuvre can be classified as “Spiritual Music”; this becomes more and more evident not only in the compositions with spiritual texts, but also in the other works of “Overtone Music”, “Intuitive Music”, “Mantric Music”, reaching “Cosmic Music” such as STIMMUNG (TUNING), AUS DEN SIEBEN TAGEN (FROM THE SEVEN DAYS), MANTRA, STERNKLANG (STAR SOUND), LICHT (LIGHT), and KLANG (SOUND). At nearly all world premières and in innumerable exemplary performances and recordings of his works world-wide, Stockhausen either personally conducted, or performed in or directed the performance as sound projectionist. In addition to numerous guest professorships in Switzerland, the United States, Finland, Holland, and Denmark, Stockhausen was appointed Professor for Com- position at the Hochschule für Musik in Cologne in 1971. In 1996 he was award- ed an honorary doctorate from the Freie Unversität Berlin, and in 2004 received an honorary doctorate from the Queen’s University in Belfast. He is a member of 12 international Academies for the Arts and Sciences, was named Honor- ary Citizen of Kuerten in 1988, became Commandeur dans l’Ordre des Arts et des Lettres, received many gramophone prizes and, among other honours, the Siemens Music Prize, the UNESCO Picasso Medal, the Cologne Culture Prize and, the Polar Music Prize with the laudation: “Karlheinz Stockhausen is being awarded the Polar Music Prize for 2001 for a career as a composer that has been characterized by impeccable integrity and never-ceasing creativity, and for hav- ing stood at the fore front of musical development for fifty years.” [εk’mεlεs] \ek’meles\ 1. In Ancient Greek music theory, tones of indefinite pitch and intervals with com- plex ratios, tones “not appropriate for musical usage.” 2. A “brilliant young ensemble... defining a fresh and virtuosic American sound” - The New Yorker Ekmeles is a vocal ensemble dedicated to the performance of new and rarely-heard works, and gems of the historical avant garde. New York is home to a vibrant in- strumental New Music scene, with a relative paucity of vocal music. Ekmeles was founded to fill the gap by presenting new a cappella repertoire for solo voices, and by collaborating with these instrumental ensembles. Director Jeffrey Gavett brings a hybrid vision to the group: he is an accomplished ensemble singer and performer of new works, and holds degrees from Westmin- ster Choir College and Manhattan School of Music’s Contemporary Performance Program.
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  • C:\Documents and Settings\Hubert Howe\My Documents\Courses

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    Musical works of Karlheinz Stockhausen (b. 1928) [Information taken from www.stockhausen.org.] Nr. Chöre für Doris for choir a capella, 1950 Drei Lieder for chorus and chamber orchestra, 1950 Chorale for four-part choir a capella, 1950 Sonatine for violin and piano, 1951 Kreuzspiel (“Cross-play”) for oboe, bass clarinet, piano, percussion, 1951 Formel (“Formula”) for orchestra, 1951 Etüde, musique concrète, 1952 Spiel (“Play”) for orchestra, 1952 Schlagtrio (percussion trio), for piano and 3x2 timpani, 1952 Punkte (“Points”) for orchestra, 1952 (revised, 1962) 1 Kontra-Punkte (“Counter-points”) for 10 instruments, 1952-3 2 Klavierstücke I-IV (Piano pieces I-IV), 1952-3 (Klavierstück IV revised 1961) 3/I Studie I, electronic music, 1954 3/II Studie II, electronic music, 1954 4 Klavierstücke V-X, (Piano pieces V-X), 1954-5 (Klavierstück X revised 1961) 5 Zeitmasze (“Tempi”) for woodwind quintet, 1955-6 6 Gruppen (“Groups”) for three orchestras, 1955-57 7 Klavierstück XI (Piano piece XI), 1956 8 Gesang der Jünglinge (“Song of the Youths”), electronic music, 1955-6 9 Zyklus (“Cycle”) for one percussionist, 1959 10 Carré for four orchestras and choruses, 1959-60 11 Refrain for three players, 1959 12 Kontakte (“Contacts”) for electronic sounds, 1959-60 Kontakte for electronic sounds, piano and percussion, 1959-60 Originale (“Originals”), musical theater with Kontakte, 1961 13 Momente (“Moments”) for soprano, four choral groups and 13 instruments, 1962-4 (Revised 1965, 1998) 14 Plus/Minus 2 x 7 pages for elaboration, 1963 15 Mikrophonie I (“Microphony
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    Nine Concerts: July 9 th to 17 th 2022 Wednesday, July 13 th , 8 p.m., Sülztalhalle Courses Stock hau sen Concerts Faculty and works which will be taught in master Sound projection (Instructors: Kathinka Pasveer, sound th Saturday, July 9 , 5 p.m. KLANG 4th Hour: HEAVEN’S DOOR classes projectionist; Reinhard Klose, sound engineer) for a percussionist and a child In the context of the daily rehearsals and concerts with and Courses Kürten 202 2 opening Suzanne Stephens (clarinet, basset-horn, bass clarinet) Festive of the courses at the and Stockhausen’s closest technical collaborators, anyone who and Kathinka Pasveer (flute, alto flute, piccolo) Karlheinz-Stockhausen-Platz . MICHAEL’S CALL st is interested in learning more about the sound projection from July 9 th to 17 th 1 participants’ concert will be teach ing all Stock hau sen works com posed for their in performances of Stockhausens electronic, vocal and for 4 trumpets will open and close the ceremony respec tive instru ments. Thursday, July 14 th , 8 p.m., Sülztalhalle instrumental works can experience, first-hand, which “Sometimes music vibrates beyond the clouds, and we can Marco Blaauw (trumpet, piccolo trumpet, flugelhorn): aspects must be addressed and how they are can be solved no longer hear its echo. Very rarely is it truly infinite; then ARIES, TIERKREIS, IN FREUNDSCHAFT, DONNERSTAGS- from the sound engineering point of view. it makes us forget the Earth. The great masters sense that Saturday, July 9 th , 8 p.m. , Sülztalhalle HALT (of THURSDAY from LIGHT) GRUSS, MICHAELS-RUF, MICHAELs REISE UM DIE ERDE, HALT, In addition to the daily concerts, open rehearsals, master they have one last thing to say, and that life is coming to an for trumpet and double bass MISSION und HIMMELFAHRT, VISION, OBERLIPPENTANZ, SIRIUS (Summer Version ) PIETÀ, TRUMPETENT, MICHAELION, BASSETSU-TRIO, QUITT, classes, and concert introductions, there will be seminars, end –.
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    composed 47 works for choir and vocal ensemble from 1950 to 2007. SCORES , compact discs, books , posters, videos, music boxes may be ordered directly from the Stockhausen-Verlag . A complete list of Stockhausen ’s works and CDs is available free of charge from the Stockhausen-Verlag , Kettenberg 15, 51515 Kürten, Germany (Fax: +49 [0 ] 2268-1813; e-mail [email protected]) www.stockhausen.org Duration Publisher CD of the Stockhausen Complete Edition 1950 CHÖRE FÜR DORIS (CHORUSE S FOR DORIS) [9 ’30”] U.E. e1 for a cappella choir (cond. = conductor) (Universal Edition ) 1950 CHORAL (CHORALE) [4’] U.E. e1 for choir a cappella (cond. ) 195 9 CARRÉ [ca. 36’] U. E. e5 to 60 for 4 orchestras and 4 choirs (4 cond. ) 196 2 MOMENTE (MOMENTS) [113’] St. e7 E80‰ to 64 for solo soprano, 4 choir groups (Stockhausen-Verlag ) (finished in ’69) and 13 instrumentalists ( cond. ) 1965 MIKROPHONIE II (MICROPHONY II) ca. 1 5’ e9 [ ] U. E. for 12 singers , Hammond organ or synthesizer, 4 ring modulators, tape ( cond., timer ) 1968 STIMMUNG (TUNING) [ca. 70’] E12‰ U. E. for 6 vocalists 1968 AUS DEN SIEBEN TAGEN (FROM THE SEVEN DAYS) U. E. 15 text compositions for intuitive music (individually performable) th 12 text: LITANEI (LITANY) for speaker or choir E61‰ th 15 text: ANKUNFT (ARRIVAL) for speaker or speech-choir ≤A∞l∞l∞ ∞o∞f ∞th∞e∞ ∞f∞o∞l∞l∞o∞w∞i∞n∞g∞ ∞w∞o∞r∞k∞s∞ ∞a∞r∞e∞ ∞p∞u∞b∞l∞i∞s∞h∞e∞d∞ ∞b∞y∞ ∞t∞h∞e ∞St∞oc∞kh∞au∞se∞n-∞Ve∞rl∞ag∞.≥ 1971 STERNKLANG (STA R SOUND) [ca.
  • Boston Symphony Orchestra Concert Programs, Summer, 1993

    Boston Symphony Orchestra Concert Programs, Summer, 1993

    Tanglew®d Music Center I f ^ m n *-# ^-^ -a-e- S S e /. ^^%f 1993 Festival of Contemporary Music July 31 -August 2 August 22-26 NEW MUSIC ON COMPACT DISC from BRIDGE Elliott Carter, Jacob Druckman, George Crumb, Charles Ives, Tod Machover, Arnold Schoenberg, Jonathan Harvey, Charles Wuorinen, William Bland, Neil Rolnick, Gyorgy Kurtag, Sandor Jemnitz, Milton Babbitt, Paul Hindemith, Hans Werner Henze, Tom Takemitsu, Barbara Kolb, John Anthony Lennon, Stephen Sondheim, Robert Saxton, Poul Ruders, Humphrey Searle, Stephen Jaffe, Ronald Roxbury, Joaquin Rodrigo, Richard Wemick, Seymour Shifrin, Benedict Mason, Mario Davidovsky, Roger Reynolds, Mel Powell, Paul Lansky, Michael Starobin, Michael Calvert, Kecak from Bali, Gyorgy Ligeti, Peter Lieberson, John Harbison BRIDGE RECORDS, INC., GPO BOX 1864, NEW YORK, NY 10116 CARROLL MUSICAL INSTRUMENT RENTALS SERVING NEW YORK'S THEATERS, RESTAURANTS, CONCERT HALLS, NIGHTCLUBS, PHOTOGRAPHERS, & MOTION PICTURE INDUSTRY STEIN WAY WE ALSO RENT: BALDWIN SOUND SYSTEMS YAMAHA STAGING KAWAI DRUMS HAMMOND B-3 PERCUSSION SYNTHESIZERS AMPS &. GUITARS WE ALSO REBUILD, REFINISH, &TUNE PLAJnJOS 212'868'4120 OPEN 7 DAYS FAMILY OWNED & OPERATED SINCE 194 5 351 WEST 41ST STREET, NEW YORK, NY 10036 1993 FESTIVAL OF CONTEMPORARY MUSIC Oliver Knussen, Festival Director sponsored by the TANGLEWOOD MUSIC CENTER Leon Fleisher, Artistic Director Gilbert Kalish, Ciiairman of the Faculty Alexander Goehr, Composer-in-Residence Oliver Knussen, hiead of Contemporary Music Activities Bradley Lubman, Assistant to Oliver Knussen Richard Ortner, Administrator Barbara Logue, Assistant to Richard Ortner James E. Whitaker, Chief Coordinator Carol Wood worth, Secretary to the Faculty Virginia Hecker, Vocal Music Coordinator Harry Shapiro, Orchestra Manager Works presented at this year's Festival were prepared under the guidance of the following Tanglewood Music Center Faculty r.
  • Percussion Ensemble and Electronic Sounds

    Percussion Ensemble and Electronic Sounds

    This Concert is Dedicated to Elliott Carter Program Synchronisms No. 5 (1969) Mario Davidovsky For Percussion Ensemble and Electronic Sounds Nicolas Doktor, Antony Fabrizio, Jasmine Henry, Patrick Lapinsky, Kiana Salameh John Ferrari – Conductor Jessica (2013)* Payton MacDonald Payton Macdonald For Marimba Solo New Music Series Payton Macdonald Blue Sky (2006) Linda Catlin Smith Peter Jarvis, director For Five Percussionists presents David Endean, Steve Nowakowski, John Henry Bishop, Tim Malone, Kenneth Cubillas Payton MacDonald - Conductor The William Paterson University Burial (2013) * Theo Metz New Music Ensemble For Vibraphone, sampler, looping station, and various effects and Theo Metz Fuller Brush Music (2010) Christian Carey Percussion Ensemble For Drum Set Peter Jarvis Ritmica No. 5 (1930) Amadeo Roldán Ritmica No. 6 (1930) Amadeo Roldán For Percussion Ensemble Percussion Kenneth Cubillas, Samir Egusquiza, David Endean, Monday, March 4, 2013, 7:00 PM Patrick Lapinsky, Timothy Malone, Steve Nowakowski, Ricky Rosa, Kiana Salameh, Travis Salim, Dakota Singerline Shea Center for the Performing Arts Double Bass – Max Stehr Conductor – Peter Jarvis Night Music (1973) Jeffrey Kresky A serenade for Three Percussionists John Ferrari, Peter Jarvis, Payton MacDonald Program Notes Biographical Information Synchronisms No. 5: Mario Davidovsky Christian Carey: Synchronisms No. 5 (1969) is a brilliant combination of idiomatic and against- Composer Christian Carey is an Assistant Professor at Westminster Choir the-grain percussion writing. In hindsight, one can hear how Synchronisms No. 5 points College of Rider University, where he teaches courses in music composition, history, choral the way to No. 6. The two share many similar sounds, gestures, and formal techniques. In literature, and theory.