Metropolis New Music Festival 2018
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Sebastian Lang-Lessing Chief Conductor & Artistic Director
2 0 0 9 SEBASTIAN LANG-LESSING Chief Conductor & Artistic Director 3 2009 3 HIGHLIGHTS WORLD PREMIERES The TSO and TSO Chorus under conductor Richard Mills gave the world première of Mills’s Passion According to St Mark in Hobart on 4 April, a Ten Days on the Island event. Lux Aeterna, by New Zealand composer Kenneth Young, received its world première under conductor Nicholas Milton in Hobart on 24 July. AUSTRALIAN PREMIERE Elena Kats-Chernin’s Ornamental Air, co-commissioned by the TSO, received its Australian première under conductor Baldur Brönnimann in concerts in Launceston and Hobart on 3 and 5 December. CONTENTS ACOUSTIC UPGRADE Highlights 2 The acoustics in Federation Concert Hall received a significant upgrade thanks to an acoustic screen and purpose- Chairman 4 built risers funded by a special one-off grant from the State Government. Managing Director 4 AUSTRALIAN COMPOSER SERIES VOL 3 TSO Holdings Board of Directors 5 The Hon. Peter Garrett, Federal Minister for the Arts, launched the Australian Composer Series Volume 3 at Moorilla on Strategies, Goals, KPIs 7 31 March. The five-CD box set, which features the music of Gerard Brophy, Brett Dean, Peggy Glanville-Hicks, Concerts 9 Richard Meale and Malcolm Williamson, brings the total number of CDs in the Australian Composer Series to 18. Artists 10 (L-R) Richard Mills, Lyndon Terracini, Core Repertoire Sebastian Lang-Lessing, the Hon. Peter Garrett and Nicholas Heyward. Classical and Early Romantic Music 11 Australian Music 13 CD Releases 14 Recordings 16 Marketing and Business Development 17 Education and Training 17 ABAF AwaRDS Orchestra 19 The TSO took out national honours at the Australia Business Arts Staff 20 Foundation (AbaF) awards in the ‘Giving Award’ category at a ceremony TSO Chorus 20 held in Brisbane on 15 October. -
Download Booklet
PROGRAMME NOTE While America’s culture of performance VIOLIN CONCERTOS inevitably turned to Europe for its models, it ROY HARRIS • JOHN ADAMS Among the enduring transformations that gradually gathered strands of American identity coursed through the United States in the – complete with works by native musicians – to decades following the Civil War, one stands set alongside classics by Handel, Mozart and proud in the history of the nation’s musical life. Beethoven and more recent scores from It concerns what the scholar and critic Joseph the Old World. The New York-born composer Horowitz calls the “culture of performance”, Edward MacDowell, for instance, directed his Concerto for Violin and Orchestra (1949) Roy Harris (1898-1979) the creation of civic institutions devoted to thoroughly European training in France and 1 Section One [8.46] the making of music and the rise of a new Germany to the intentional cultivation of a 2 Section Two [9.53] generation of American musicians determined distinct brand of musical nationalism, “a 3 Section Three [6.05] to build their own traditions of ‘classical music which should be American”, as he 4 Section Four [3.24] music’. The process was already in train put it. The nature of what ‘American’ meant, before the war in many east coast cities, as so often with debates about cultural Concerto for Violin & Orchestra (1993) John Adams (b. 1947) where orchestral and choral societies arose identity, varied according to perspective. Many 5 I – [15.51] to meet the needs of a growing middle-class Americans at -
Berkeley Symphony Biography
Berkeley Symphony Biography Berkeley Symphony is unique among American orchestras: founded in 1969 in the intellectual and artistic nexus of Berkeley, California; led by the restlessly innovative Music Director Joana Carneiro and Executive Director René Mandel, an actively performing violinist; committed to premiering and commissioning new music, including a disproportionate amount of music written by women; and sustained by the supportive musical environment of Berkeley, the East Bay, and the San Francisco Bay Area. From the outset, the people behind Berkeley Symphony’s culture and programming were attuned to the culturally diverse people and the heady creative climate of their home city. Thomas Rarick, a protégé of the great English maestro Sir Adrian Boult, founded the orchestra in 1969 as the Berkeley Promenade Orchestra. Reflecting the spirit of the times, musicians performed in street dress and at unusual locations such as the University Art Museum. When Kent Nagano became the music director of the orchestra in 1978, he charted a new course by offering innovative programming that included a number of rarely performed 20th-century works and numerous premieres. The renamed Berkeley Symphony Orchestra gained an international reputation for its adventurous programming, and became known for premiering the music of international composers and showcasing young local talents. During the 30 years he served as music director, Nagano established an international reputation as a gifted interpreter of both the operatic and symphonic repertoire. Nagano stepped down from his post at Berkeley Symphony in 2008, after his 30th anniversary season. In January 2009, Portuguese conductor Joana Carneiro became the orchestra’s third Music Director in its 40-year history. -
Expanding Horizons: the International Avant-Garde, 1962-75
452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary. -
Symphony and Symphonic Thinking in Polish Music After 1956 Beata
Symphony and symphonic thinking in Polish music after 1956 Beata Boleslawska-Lewandowska UMI Number: U584419 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U584419 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Declaration This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signedf.............................................................................. (candidate) fa u e 2 o o f Date: Statement 1 This thesis is the result of my own investigations, except where otherwise stated. Other sources are acknowledged by footnotes giving explicit references. A bibliography is appended. Signed:.*............................................................................. (candidate) 23> Date: Statement 2 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed: ............................................................................. (candidate) J S liiwc Date:................................................................................. ABSTRACT This thesis aims to contribute to the exploration and understanding of the development of the symphony and symphonic thinking in Polish music in the second half of the twentieth century. -
Bang on a Can Announces Onebeat Marathon #2 Live Online! Sunday, May 2, 2021 from 12PM - 4PM EDT
FOR IMMEDIATE RELEASE Press contact: Maggie Stapleton, Jensen Artists 646.536.7864 x2, [email protected] Bang on a Can Announces OneBeat Marathon #2 Live Online! Sunday, May 2, 2021 from 12PM - 4PM EDT A Global Music Celebration curated and hosted by Found Sound Nation. Four Hours of LIVE Music at live.bangonacan.org Note: An embed code for the OneBeat Marathon livestream will be available to press upon request, to allow for hosting the livestream on your site. The OneBeat Virtual Marathon is back! OneBeat, a singular global music exchange led by our Found Sound Nation team, employs collaborative original music as a potent new form of cultural diplomacy. We are thrilled to present this second virtual event, showcasing creative musicians who come together to make music, not war. The OneBeat Marathon brings together disparate musical communities, offering virtuosic creators a space to share their work. These spectacular musicians join us from across the globe, from a wide range of musical traditions. They illuminate our world, open our ears, and break through the barriers that keep us apart. - Julia Wolfe, Bang on a Can co-founder and co-artistic director Brooklyn, NY — Bang on a Can is excited to present the second OneBeat Marathon – Live Online – on Sunday, May 2, 2021 from 12PM - 4PM ET, curated by Found Sound Nation, its social practice and global collaboration wing. Over four hours the OneBeat Marathon will share the power of music and tap into the most urgent and essential sounds of our time. From the Kyrgyz three-stringed komuz played on the high steppe, to the tranceful marimba de chonta of Colombia's pacific shore, to the Algerian Amazigh highlands and to the trippy organic beats of Bombay’s underground scene – OneBeat finds a unifying possibility of sound that ties us all together. -
Curriculum Vitae
Curriculum Vitae Nathan E. Nabb, D.M. Associate Professor of Music – Saxophone Stephen F. Austin State University www.nathannabbmusic.com Contact Information: 274 Wright Music Building College of Fine Arts - School of Music Stephen F. Austin State University TEACHING EXPERIENCE Associate Professor of Saxophone Stephen F. Austin State University 2010 to present Nacogdoches, Texas Maintain and recruit private studio averaging 20+ music majors Applied saxophone instruction to saxophone majors (music education and performance) Saxophone quartets (number depending on enrollment) Private Applied Pedagogy and Repertoire for graduate saxophone students Recruitment tour performances and master classes with other wind faculty Saxophone studio class Assistant Professor of Saxophone Morehead State University 2005 to 2010 Morehead, Kentucky Maintain and recruit private studio averaging 17-22 music majors Applied saxophone instruction to saxophone majors (education, performance and jazz) Saxophone quartets (three or four depending on enrollment) Woodwind methods course (flute, clarinet and saxophone) Saxophone segment of Advanced Woodwind Methods Course Private Applied Pedagogy and Performance Practice for graduate saxophone students Guided independent study courses for graduate saxophone students Present annual clinics for Kentucky high-school saxophonists for the MSU Concert Band Clinic Present annual All-State audition preparation clinics Academic advisor for undergraduate private applied saxophonists Saxophone studio class Nathan E. Nabb Curriculum -
0912 BOX Program Notes
THE BOX–music by living composers NotaRiotous Microtonal Voices Saturday, September 12, 2009 About the composers and the music Ben Johnston Johnston began as a traditional composer of art music before working with Harry Partch, helping the senior musician to build instruments and use them in the performance and recording of new compositions. After working with Partch, Johnston studied with Darius Milhaud at Mills College. It was, in fact, Partch himself who arranged for Johnston to study with Milhaud. Johnston, beginning in 1959, was also a student of John Cage, who encouraged him to follow his desires and use traditional instruments rather than electronics or newly built ones. Unskilled in carpentry and finding electronics then unreliable, Johnston struggled with how to integrate microtonality and conventional instruments for ten years, and struggled with how to integrate microtones into his compositional language through a slow process of many stages. However, since 1960 Johnston has used, almost exclusively, a system of microtonal notation based on the rational intervals of just intonation. Other works include the orchestral work Quintet for Groups (commissioned by the St. Louis Symphony Orchestra), Sonnets of Desolation (commissioned by the Swingle Singers), the opera Carmilla, the Sonata for Microtonal Piano (1964) and the Suite for Microtonal Piano (1977). Johnston has also completed ten string quartets to date. He has received many honors, including a Guggenheim Fellowship in 1959, a grant from the National Council on the Arts and Humanities in 1966, and two commissions from the Smithsonian Institution. Johnson taught composition and theory at the University of Illinois at Urbana-Champaign from 1951 to 1986 before retiring to North Carolina. -
City Research Online
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by City Research Online City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2019). The Historiography of Minimal Music and the Challenge of Andriessen to Narratives of American Exceptionalism (1). In: Dodd, R. (Ed.), Writing to Louis Andriessen: Commentaries on life in music. (pp. 83-101). Eindhoven, the Netherlands: Lecturis. ISBN 9789462263079 This is the published version of the paper. This version of the publication may differ from the final published version. Permanent repository link: http://openaccess.city.ac.uk/22291/ Link to published version: Copyright and reuse: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. City Research Online: http://openaccess.city.ac.uk/ [email protected] The Historiography of Minimal Music and the Challenge of Andriessen to Narratives of American Exceptionalism (1) Ian Pace Introduction Assumptions of over-arching unity amongst composers and compositions solely on the basis of common nationality/region are extremely problematic in the modern era, with great facility of travel and communications. Arguments can be made on the bases of shared cultural experiences, including language and education, but these need to be tested rather than simply assumed. Yet there is an extensive tradition in particular of histories of music from the United States which assume such music constitutes a body of work separable from other concurrent music, or at least will benefit from such isolation, because of its supposed unique properties. -
An Analysis of the Lost Art of Letter Writing By
u. 0 >> ~.X 1-tu ., 0 (j) z :I 0 a:o ~ m L'\J >- G :!! (/) c: ... z o a :l 0 a:: UNIVERSITY OF SYDNEY Con Music Rare Book Q 784.272 0281 1 Thesis An analysis of "The Lost art of letter writing" by Brett Dean THE UNIVERSITY OF SYDNEY COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51(2) of the Copyright Act permits an authorised officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorised officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author's moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author's reputation For further information contact the University's Director of Copyright Services sydney.edu.au/copyright AN ANALYSIS OF 'THE LOST ART OF LETTER WRITING' BY BRETT DEAN Clare Miller A thesis submitted in partial fulfilment of requirements for the degree of Master of Music (Music Performance) Sydney Conservatorium of Music University of Sydney 2010 II I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. -
Downbeat.Com February 2021 U.K. £6.99
FEBRUARY 2021 U.K. £6.99 DOWNBEAT.COM FEBRUARY 2021 DOWNBEAT 1 FEBRUARY 2021 VOLUME 88 / NUMBER 2 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow. -
2006/07 Season Press Release
Contact: Adam Crane, 213.972.3422 Rachelle Roe, 213.972.7310 LOS ANGELES PHILHARMONIC ASSOCIATION ANNOUNCES 2006/07 SEASON Season Highlights include: • The Tristan Project premieres in New York City and returns for encore performances in Los Angeles, including the complete opera in one evening • Esa-Pekka Salonen, soprano Dawn Upshaw, and the orchestra give U.S. premiere of Kaija Saariaho’s new Philharmonic co-commissioned oratorio for orchestra and chorus: La Passion de Simone • Shadow of Stalin programs explore the effects of political climate on creativity and artistic expression • On Location residencies with Thomas Adès, Emanuel Ax, Joshua Bell, and Dawn Upshaw feature orchestral, Green Umbrella, chamber music, and recital programs • Cycle of complete symphonies by Brahms, led by Christoph von Dohnányi • Other U.S. premieres of works by Gerald Barry, Brett Dean, Esa-Pekka Salonen, Liza Lim, and Anthony Pateras Los Angeles (February 7, 2006) – The Los Angeles Philharmonic announces the season programming for the 2006/07 season, the orchestra’s 88 th subscription year, and 15th under Music Director Esa-Pekka Salonen. Beginning September 28, 2006 and running through June 3, 2007, the 2006/07 season marks the orchestra’s fourth year in Walt Disney Concert Hall. The season opens with a gala concert, led by Esa-Pekka Salonen, that features Manuel de Falla’s Master Peter’s Puppet Show with puppet theater, and works by Ravel, closing with the showpiece, Bolero . “I’m looking forward to this season,” says Music Director Esa-Pekka Salonen. “It has an energizing mix of old and new, familiar and unfamiliar, and even some repertoire returning in a richer version than before.” “The 2006/07 Los Angeles Philharmonic season bears the imprint of our unique perspective on how a season is assembled and what it offers our audiences.