DOCSLIB.ORG

01 Announce/News

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
01 Announce/News News Figure 1. Electronic music composer Bebe Barron honored at a Los Angeles Figure 2. Steven Holtzman. gala. From left: Earl Holliman (partially hidden), Bebe Barron, Warren Stevens, and Star Trek’s George Takei. Bebe Barron Honored at Gala Steven R. Holtzman: Worlds, was published by The MIT for Forbidden Planet 1956–1999 Press in 1994. Electronic music composer Bebe Steven R. Holtzman died at his Barron was honored on 16 June Woodside, California home of cancer Bourges Electroacoustic Music 1999 at a screening of the classic at age 43. Born in Great Neck, New Competition 1999 science-fiction film Forbidden York, Mr. Holtzman became an ac- Planet (1956), for which she and her complished musician, studied phi- The Bourges International Institute late husband Louis created the losophy, and received a doctorate in of Electroacoustic Music has an- unique electronic soundtrack. The music and computer science from nounced the winners of the 26th In- recording of this soundtrack on the University of Edinburgh when ternational Electroacoustic Music GNP Crescendo Records is avail- he was 24. While in Edinburgh, he Competition/Bourges 1999. As in able from the Electronic Music directed the first electronic music the previous three years, awards Foundation (on the World Wide festival held in conjunction with the were made both for electroacoustic Web, http://www.emf.org). The gala annual Edinburgh Festival. A fre- music composition and musical event, sponsored by the Los Angeles quent advisor to start-up companies, software. This year’s Golden Pierre Conservancy, United Artists, and Mr. Holtzman founded Perspecta, Award for electroacoustic composi- Metro-Goldwyn-Mayer, was held in Liquid Audio, and Optimal Net- tion was received by Jacky Merit of the most lavish of the Los Angeles works. He was a frequent writer and France for Emphase, with the Silver movie palaces, the Los Angeles contributor for public radio and Pierre Award going to Patrick Kosk Theater, which opened in 1932. A other news media on the subject of of Finland, for Ice Bice. The crowd waited in a long line stretch- digital media. His book and CD- Magisterium Prize for electroacous- ing down Broadway in downtown ROM, Digital Mantras: The Lan- tic composition was awarded to Los Angeles for the sold-out event. guage of Abstract and Virtual Elzbieta Sikora of France, for News 5 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892699559959 by guest on 26 September 2021 Aquamarina. There were fewer Compositional residences were SoftwareCompetition/ prize winners in the Quadrivium awarded to Phil Archer (UK), Jean- softftpsite.html). section of the competition than in Christophe Banaszak (France), previous years: in the electroacous- Shintaro Imai (Japan), Ian Stewart tic concert-music category, the (Canada), Dmitry Subochev (Russia), Prix Ars Electronica 1999 Nonthematic Genre prize went to and Michael Thompson (USA). Frédéric Kahn (France) for Les fleurs, In the Musical Software competi- The Prix Ars Electronica competi- ces bouquets d’agonies, and the tion, the Golden Max Grand Prize tion’s music category was renamed Thematic Genre prize went to Frank was awarded to Yann Orlarey of from “Computer Music” to “Digital Corcoran (Ireland) for Sweeney’s Vi- France for MidiShare (Windows/ Musics” for 1999, broadening the sion. Also mentioned as finalists Macintosh/Atari). First prize in the scope of entries this year. The were John Gibson (USA) and Carlos computer-assisted musical composi- competition’s Golden Nica Award Grätzer (Argentina) in the tion category was awarded to Alfio was made to British musician Richard Nonthematic Genre, and Mathew Fazio of Italy for his Windows 95 James (“Aphex Twin”) and video art- Adkins (UK) and Gilles Gobeil program, Prie. Mentions went to ist Chris Cunningham, for their col- (Canada) in the Thematic Genre. Andriy Biletskyy (Ukraine) for Doc- laborative music video, Come to Prize winners in the Studio and tor Webern (Windows 95), Anders Daddy. Awards of Distinction were Score Genre of the Electroacoustic Friberg (Sweden) for Director made to Ikue Mori of Japan for Birth- Concert Music with Instruments Musices (Windows 95), and days, and to the Austrian record la- category were Unsuk Chin (Korea) Guillermo Pozzati (Argentina) for bel, mego, represented by Peter for Xi (for ensemble and electronics) his Windows 95-based Lisp Music Rehberg and Christian Fennesz, who and Kent Olofsson (Sweden) for Il Environment, GEN. In the Synthe- give performances of their music Liuto d’Orfeo (for guitar and tape). sis Software Systems category, Ryan equipped only with laptop computers. Roderik de Man of the Netherlands Francesconi of the USA won First and Cyril Kestellikian of France prize for his Macintosh PowerPC were named as finalists in this cat- software, Spongefork. Olivier Musica Scienza ’99, Rome egory. No prize was awarded in the Delerue and François Pachet of Device and Improvisation genre of France received a mention for their The 10th International Forum of this category, although Charles Windows 95-based program, Music Contemporary Music, Science, and Bestor of the USA and Jean-Louis Space, as did Nicolas Lacoumette of Culture, entitled “Word versus Dhermy of France received mention France for X-Incarn (PC), and Chris Sound—Communication, Technol- as finalists. Within the Electroa- Rolfe and Damian Keller of Canada ogy, and Expression in Contemporary coustic Show-Music category, the for MacPOD (Macintosh PowerPC). Music,” was held in Rome, Italy, 1–9 Music for Dance genre prize was Netochka Nezvanova of New June 1999. The associated confer- awarded to Teruyoshi Kamiya of Ja- Zealand won First prize in the Mul- ence, Theatrics of Sound, brought to- pan for Dance of Stone. Edmond timedia Applications category for gether national radio stations, Mooney and Wayne Siegel, both of her Macintosh-based software, musicologists, and electroacoustic the USA, were named as finalists in nubula m81. First prize in the composers. The forum’s opening cer- this genre. Ted Apel, also of the Other Musical Activities (educa- emony on 1 June was dedicated to USA, was finalist in the Sound and tion, publishing, and games) cat- Edgard Varèse, and featured a recon- Music Installation or Environment egory was awarded to Didier struction of Poème Electronique with genre. No prizes were awarded Guillion of France for Melody As- images, light, colour, sound, and within the Electroacoustic Music sistant (PC and Macintosh). Ryan original components used in Le for Multimedia category, although Francesconi received a mention in Corbusier’s Philips Pavilion during Gérard Torres (France) and Alicyn this category for his Macintosh pro- the Brussels Universal Exhibition. As Warren (USA) were named as final- gram, Noise Organ. Full details of in 1958, Poème Electronique was pre- ists in the Music and Video genre, all of these software packages can ceded by the prelude Concrète PH, while Elizabeth Hinkle-Turner of be found in the Bourges software written for the occasion by Iannis the USA was finalist in the Music archive (on the World Wide Web at Xenakis, codesigning engineer of the for CD-ROM or Internet genre. http://www.gmeb.fr/ Pavilion. 6 Computer Music Journal Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892699559959 by guest on 26 September 2021 Open Electronic Festival, Technologies); Mills College Center performed by Matt Rogalsky in for Contemporary Music; and the Cambridge with other players in Groningen music department at University of Paris, San Francisco, New York, and California, San Diego; and was sup- two sites in Australia. Finding Time The Open Electronic Festival took ported by a grant from the Clarence is on the World Wide Web at http:// place 4–6 June 1999 in the City of E. Heller Charitable Foundation. www.turbulence.org/Works/ftime. Groningen, The Netherlands. Orga- nized by the Cyberslag Foundation, in association with the Groningen Immersion Festival, Melbourne Conservatory and the new-media de- Dodg’em Installation partment of the Groningen Academy Immersion was a series of three con- Martine Corompt and Philip of Art, Media-GN, the festival pre- cert presentations featuring 17 spe- Samartzis presented Dodg’em at sented an overview of developments cially commissioned surround-sound Gallery 101 in Melbourne, Austra- in the realms of electronic music and compositions by Australian and in- lia, 24 June–1 July 1999. Dodg’em new-media art. A series of perfor- ternational composers exploring a di- consisted of two adult-size pedal mances, exhibitions, and workshops verse range of methodologies in the cars in an invisible sonic landscape. were given at locations throughout exploration of sound in space. Philip Participants were invited to drive Groningen. Composers represented Samartzis, experimental sound artist themselves around an “empty” gal- at the festival’s concerts included Ri- and lecturer in sound at RMIT Uni- lery space, triggering a spatial chard Barrett, Olivier Hijmans, versity, Melbourne, served as curator soundscape of an unseen terrain as Laurens Kagenaar, Paul Obermeyer, for the three concerts to emphasize they went. As drivers negotiated the Wouter Snoei, Jorrit Tamminga, and the diversity of work being con- sonically suggested obstacles, they Kees Tazelaar. Installations were ducted in the field. The compositions could map out a mental construc- contributed by Judith de Boer, Runa were presented within a multichan- tion of the spatial landscape and Islam, Martin Riebeek, Peter Stel, nel cinema environment at the were able to anticipate, through and Martijn Veldhoen. The weekend Cinemedia at the Treasury Theatre, memory, the various peculiar char- also featured concerts of improvisa- Melbourne, 11–13 June 1999. Speak- acteristics of this invisible realm. tions, screenings of music videos, ers at the festival were Philip Brophy For more information, visit and displays of interactive computer (RMJT University), Bernard Experimenta’s World Wide Web site software. Parmegiani (GRM, France), and at http://www.experimenta.org. Cécile Le Prado (IRCAM, France).
Load more

Recommended publications
  • ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS from the LEADERSHIP
    ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS FROM THE LEADERSHIP The New York Philharmonic’s 2019–20 season certainly saw it all. We recall the remarkable performances ranging from Berlioz to Beethoven, with special pride in the launch of Project 19 — the single largest commissioning program ever created for women composers — honoring the ratification of the 19th Amendment. Together with Lincoln Center we unveiled specific plans for the renovation and re-opening of David Geffen Hall, which will have both great acoustics and also public spaces that can welcome the community. In March came the shock of a worldwide pandemic hurtling down the tracks at us, and on the 10th we played what was to be our final concert of the season. Like all New Yorkers, we tried to come to grips with the life-changing ramifications The Philharmonic responded quickly and in one week created NY Phil Plays On, a portal to hundreds of hours of past performances, to offer joy, pleasure, solace, and comfort in the only way we could. In August we launched NY Phil Bandwagon, bringing live music back to New York. Bandwagon presented 81 concerts from Chris Lee midtown to the far reaches of every one of the five boroughs. In the wake of the Erin Baiano horrific deaths of Black men and women, and the realization that we must all participate to change society, we began the hard work of self-evaluation to create a Philharmonic that is truly equitable, diverse, and inclusive. The severe financial challenge caused by cancelling fully a third of our 2019–20 concerts resulting in the loss of $10 million is obvious.
    [Show full text]
  • Día De Los Muertos Program
    New Orchestra NOW of Washington Alejandro Hernandez-Valdez, Artistic Director DÍA DE LOS MUERTOS Featuring Brahms’s Requiem Saturday, October 31, 2020 | 7:30PM Online Presentation e welcome you to this very special e are thrilled to be collaborating W program of Día de los Muertos. W with the New Orchestra of Normally, we would be presenting this Washington for this unique performance program live at the beautiful Mexican of the Brahms Requiem on the Day of Cultural Institute in Washington, D.C., the Dead. but this year instead, we have put You will note that the movements differ together a moving program that reflects in their presentation style. This is by our current reality. design, meant to reflect the fractured Día de los muertos has a very special sense of time and reality that we have meaning to me, personally. I have fond all experienced since the pandemic memories of it from my childhood and struck. In movements two, five, and six, I am thrilled and honored to be able to we remember the ease with which we share a piece of Mexico, my country of performed side by side in close quarters origin, with you. We are eternally grateful not so long ago. Movements one and to the wonderful Choral Arts Society of four reflect our life squeezed into a new Washington for all they have done to online reality, and movements three make this performance possible. and seven show us performing socially We are dedicating this program to the distanced, and the way in which that millions that have perished worldwide makes us feel isolated from one another.
    [Show full text]
  • 7 October 2016 Page 1 of 11
    Radio 3 Listings for 1 – 7 October 2016 Page 1 of 11 SATURDAY 01 OCTOBER 2016 5:37 AM SCHAEFFER: Cinq Études De Bruits Schumann, Robert (1810-1856) STOCKHAUSEN: Studies 1-2; Gesang Der Jünglinge SAT 01:00 Through the Night (b07wrpks) Märchenbilder (Op.113) XENAKIS: Diamorphoses; Concret PH Brahms Symphony Cycle: Symphony No 3 Pinchas Zukerman (viola), Marc Neikrug (piano) VARÈSE: Poème Électronique 5:53 AM HENRY: Voile D©Orphée Jonathan Swain presents a performance from Lugano in Faure, Gabriel [1845-1924] Musique Concrète recorded in the studios of West German Radio Switzerland of Brahms©s Third Symphony and his Double Reflets dans l©eau from Mirages (Op.113) in Cologne and French Radio in Paris Concerto with violinist Alexandra Soumm and cellist Jean- Ronan Collett (baritone), Nicholas Rimmer (piano) Él ACMEM159CD (CD) Guihen Queyras. 5:58 AM 1:01 AM Dohnányi, Ernõ (1877-1960) BRITTEN: War Requiem Op. 66 Brahms, Johannes (1833-1897) Variations on a Nursery Song (Op.25) Galina Vishnevskaya (soprano), Peter Pears (tenor), Dietrich Double Concerto in A minor, Op.102 Arthur Ozolins (piano), Toronto Symphony, Mario Bernardi Fischer-Dieskau (baritone), Simon Preston (organ), London Alexandra Soumm (violin), Jean-Guihen Queyras (cello), (conductor) Symphony Orchestra, Melos Ensemble, London Symphony Orchestra della Svizzera Italiana, Markus Poschner (conductor) 6:23 AM Orchestra Chorus, Highgate School Choir, The Bach Choir, 1:36 AM Bach, Johann Sebastian (1685-1750), orch. Webern, Anton Benjamin Britten (conductor) Brahms, Johannes (1833-1897)
    [Show full text]
  • Composers in Residence Motivate Curtis's Student Performers And
    Inspiration, BY DAVID LUDWIG In Person Composers in residence motivate Curtis’s student performers and creators in new and exciting directions. 22 OVERTONES SPRING 2017 Every now and then in a rehearsal for one of my pieces, a performer or It is hard to conductor will remark to me how nice it is to have the composer present — argue against the something along the lines of, “if only we could ask Beethoven these same questions, too!” For many musicians, the opportunity to tap directly into the creative source of a work tremendous value they are playing is an unusual and special experience. This was less true for performers in Beethoven’s time, when musicians played music by living composers as a matter of of working with a course to a much larger extent than their counterparts today. living composer , Granted, centuries ago there was far less repertoire by composers of the past to begin with (much less even a concept of a “canon”). Regardless of the reason, it is hard to argue a process that allows that there hasn’t been a major shift over time in our larger performance culture in terms of playing contemporary music. But it is also hard to argue against the tremendous value the performer to of working with a living composer, a process that allows the performer to play a unique play a unique and and active role in a piece’s evolution. Whether it’s historical fact or simply widespread anecdote, I’ve heard from many active role in a composers of prior generations—and many have written about this—that when they were students, they felt constrained in their work by Modernist orthodoxy.
    [Show full text]
  • Han Chen / Piano
    HAN CHEN / PIANO Hailed by the New York Times as a pianist with "a graceful touch... rhythmic precision... hypnotic charm” and "sure, subtle touch," Han Chen is a distinctive artist whose credentials at a young age already include important prizes in competitions of traditional music as well as increasing respect in the avant- garde. Mr. Chen’s debut CD with Naxos Records, which consists of all-Liszt operatic transcriptions, was released in January 2016 as the first prize winner of the 6th China International Piano Competition. Gramophone complimented Mr. Chen’s “brilliant performance” in the CD as “impressively commanding and authoritative.” The website Classics Today also praised for his “assured, elegant and totally effortless technique” by scoring 10 out of 10 in both artistic quality and sound quality. International Piano magazine (UK) described Mr. Chen’s performance in the competition as “[Chen] displayed extraordinary strength, talent and flair.” His performances in the 15th Van Cliburn International Piano Competition, the 15th Arthur Rubinstein Piano Competition and the 2018 Honens International Piano Competition were also highly acclaimed. As a soloist, Mr. Chen has appeared with many orchestras, including the Hong Kong Philharmonic Orchestra (under Maestro Vladimir Ashkenazy), Calgary Philharmonic Orchestra, Fort Worth Symphony Orchestra, China Symphony Orchestra, Macao Orchestra, Juilliard Orchestra, National Taiwan Symphony Orchestra, Xiamen National Orchestra, Lexington Philharmonic Orchestra, Sendai Philharmonic Orchestra, Aspen Music Festival Brass Ensemble and Shanghai Conservatory Middle School Orchestra. Being an advocate for modern music, Mr. Chen actively performs music from the 20th and the 21st century. As a member of the New York-based contemporary music group Ensemble Échappé, he worked with composers such as Tonia Ko, Kevin Puts, Sean Shepherd and Nina Young.
    [Show full text]
  • Two Etudes by Unsuk Chin: No
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 Two Etudes by Unsuk Chin: No. 1, in C, and No. 6, Grains, for Piano Doori Yoo Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC TWO ETUDES BY UNSUK CHIN: NO. 1, IN C, AND NO. 6, GRAINS, FOR PIANO By DOORI YOO A Treatise submitted to College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2013 Doori Yoo defended this treatise on February 5, 2013. The members of the supervisory committee were: Read Gainsford Professor Directing Treatise Michael Buchler University Representative Joel Hastings Committee Member Timothy Hoekman Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ! ACKNOWLEDGEMENTS My first and deepest thanks go to God, who is my constant source of strength. My entire life, including this very treatise, reveals His faithfulness. I would like to express my very special gratitude to my major professor, Dr. Read Gainsford. I could not have completed this treatise without his many hours of help and guidance. I am ever grateful for the support that I had from this incredible artist. Because of his excellent teaching, my doctoral studies were both fruitful and tremendously enjoyable. The ingredients for his teaching always included knowledge, curiosity, creativity, openness, as well as genuine care for his students.
    [Show full text]
  • 2015 CMS International Conference June 17–24, 2015 Stockholm, Sweden & Helsinki, Finland
    2015 CMS International Conference June 17–24, 2015 Stockholm, Sweden & Helsinki, Finland PRESENTER & COMPOSER BIOS updated April 24, 2015 Adams, Bill J. Bill J. is a belting masterclass presenter and Art Song specialist who serves as the Coordinator of Performing Arts and associate professor at Nova Southeastern University in Fort Lauderdale FL. He is also a principal investigator for Music Counts: A Specialized Treatment Program for Children with Autism. New York credits include: The Rape of the Lock (Ariel), The Bartered Bride (VaŠek), Die ZauberflÖte (Monostatos), Madama Butterfly (Goro). Regional credits include: The Most Happy Fella (Ciccio) with William Michals, Cannibal: the Musical (Loutzenheiser), A View from the Bridge (Mike), Albert Herring (Mayor), Assassins (Zangara), The Coronation of Poppea (Arnalta), Falstaff (Dr. Cajus), Manon (Guillot), and One Flew Over the Cuckoo’s Nest (Cheswick). Adams, Daniel C. Daniel Adams (b. 1956, Miami, FL) is a Professor of Music at Texas Southern University in Houston. Adams holds a Doctor of Musical Arts (1985) from the University of Illinois at Urbana-Champaign, a Master of Music from the University of Miami (1981) and a Bachelor of Music from Louisiana State University (1978). He currently serves as the College Music Society Board Member for Composition and previously as South Central Chapter President. Adams is the composer of numerous published musical compositions and the author of many articles, encyclopedia entries and reviews on various music- related topics. His most recent article, “Indeterminate Passages as Temporal and Spatial Components of Three Selected Compositions for Snare Drum Ensemble” was published in the Fall 2013 issue of the Journal of the National Association of Wind and Percussion Instructors.
    [Show full text]
  • 2016-Program-Book-Corrected.Pdf
    A flagship project of the New York Philharmonic, the NY PHIL BIENNIAL is a wide-ranging exploration of today’s music that brings together an international roster of composers, performers, and curatorial voices for concerts presented both on the Lincoln Center campus and with partners in venues throughout the city. The second NY PHIL BIENNIAL, taking place May 23–June 11, 2016, features diverse programs — ranging from solo works and a chamber opera to large scale symphonies — by more than 100 composers, more than half of whom are American; presents some of the country’s top music schools and youth choruses; and expands to more New York City neighborhoods. A range of events and activities has been created to engender an ongoing dialogue among artists, composers, and audience members. Partners in the 2016 NY PHIL BIENNIAL include National Sawdust; 92nd Street Y; Aspen Music Festival and School; Interlochen Center for the Arts; League of Composers/ISCM; Lincoln Center for the Performing Arts; LUCERNE FESTIVAL; MetLiveArts; New York City Electroacoustic Music Festival; Whitney Museum of American Art; WQXR’s Q2 Music; and Yale School of Music. Major support for the NY PHIL BIENNIAL is provided by The Andrew W. Mellon Foundation, The Fan Fox and Leslie R. Samuels Foundation, and The Francis Goelet Fund. Additional funding is provided by the Howard Gilman Foundation and Honey M. Kurtz. NEW YORK CITY ELECTROACOUSTIC MUSIC FESTIVAL __ JUNE 5-7, 2016 JUNE 13-19, 2016 __ www.nycemf.org CONTENTS ACKNOWLEDGEMENTS 4 DIRECTOR’S WELCOME 5 LOCATIONS 5 FESTIVAL SCHEDULE 7 COMMITTEE & STAFF 10 PROGRAMS AND NOTES 11 INSTALLATIONS 88 PRESENTATIONS 90 COMPOSERS 92 PERFORMERS 141 ACKNOWLEDGEMENTS THE NEW YORK PHILHARMONIC ORCHESTRA THE AMPHION FOUNDATION DIRECTOR’S LOCATIONS WELCOME NATIONAL SAWDUST 80 North Sixth Street Brooklyn, NY 11249 Welcome to NYCEMF 2016! Corner of Sixth Street and Wythe Avenue.
    [Show full text]
  • Classical Music
    2020– 21 2020– 2020–21 Music Classical Classical Music 1 2019– 20 2019– Classical Music 21 2020– 2020–21 Welcome to our 2020–21 Contents Classical Music season. Artists in the spotlight 3 We are committed to presenting a season unexpected sounds in unexpected places across Six incredible artists you’ll want to know better that connects audiences with the greatest the Culture Mile. We will also continue to take Deep dives 9 international artists and ensembles, as part steps to address the boundaries of historic Go beneath the surface of the music in these themed of a programme that crosses genres and imbalances in music, such as shining a spotlight days and festivals boundaries to break new ground. on 400 years of female composition in The Ghosts, gold-diggers, sorcerers and lovers 19 This year we will celebrate Thomas Adès’s Future is Female. Travel to mystical worlds and new frontiers in music’s 50th birthday with orchestras including the Together with our resident and associate ultimate dramatic form: opera London Symphony Orchestra, Britten Sinfonia, orchestras and ensembles – the London Los Angeles Philharmonic, The Cleveland Symphony Orchestra, BBC Symphony Awesome orchestras 27 Orchestra and Australian Chamber Orchestra Orchestra, Britten Sinfonia, Academy of Ancient Agile chamber ensembles and powerful symphonic juggernauts and conductors including Sir Simon Rattle, Music, Los Angeles Philharmonic and Australian Choral highlights 35 Gustavo Dudamel, Franz Welser-Möst and the Chamber Orchestra – we are looking forward Epic anthems and moving songs to stir the soul birthday boy himself. Joyce DiDonato will to another year of great music, great artists and return to the Barbican in the company of the great experiences.
    [Show full text]
  • 2020/21 Season Join Music Director Jaap Van Zweden and Your Orchestra for the 2020/21 Season
    2020/21 SEASON JOIN MUSIC DIRECTOR JAAP VAN ZWEDEN AND YOUR ORCHESTRA FOR THE 2020/21 SEASON. 04 08 10 14 16 18 20 21 22 23 Season Special Curated Curated Curated Curated Matinees Young Membership Subscribe Highlights Events Weekday Thursday Friday Saturday People’s Sampler Series Evening Series Evening Series Evening Series Concerts® GYÖRGY KURTÁG | SAMUEL BECKETT FIN DE PARTIE “Nothing is funnier than unhappiness.” In the dystopian world of Beckett’s Fin de partie (Endgame), we see a blind man, his helpless parents, and his hapless servant bumble and bicker as they wait for an end to their suffering — like four final pieces on a chessboard, waiting for the game to end. Kurtág’s music provides the timeless continuum for the eternal question, one that concerns us in the 21st century now more than ever: how will this universal game play out? The New York Philharmonic presents the US Premiere of Kurtág’s opera based on Beckett’s SEASON TWO tragicomedy in a fully staged production directed by Claire van Kampen (Farinelli and the King) PROJECT 19 and conducted by Jaap van Zweden. 19 Commissions To Celebrate the Centennial of the 19th Amendment nyphil.org/findepartie American women gained the right to vote with the ratification of the 19th Amendment in 1920. The New York Philharmonic is marking the centennial with Project 19, a multi-season initiative to commission and premiere 19 new works by ARTIST-IN-RESIDENCE women, launched last season. The single largest women-only commissioning initiative in history, Project 19 continues in 2020–21. CHICK COREA TAKEOVER Like Mozart, Chick Corea improvises the Unsuk Chin Ellen Reid cadenzas whenever he plays a Mozart piano Mary Kouyoumdjian Maria Schneider ROOMFUL OF TEETH concerto.
    [Show full text]
  • New Honors for Alan Gilbert on Heels of Triumphant LSO Debut
    For immediate release Contact Glenn Petry (212) 625-2038 Alan Gilbert: new honors on heels of triumphant LSO debut [email protected] New Honors for Alan Gilbert on Heels of Triumphant LSO Debut Alan Gilbert (photo: Chris Lee) When Alan Gilbert gave the first of his two recent concerts with the London Symphony Orchestra earlier this month, the Guardian ran its review under the headline: “New York maestro hands audience an adrenaline rush.” This auspicious debut marks the latest in a string of successes for the Grammy Award-winning conductor, who was recently named an Officier de l’Ordre des Arts et des Lettres by the French government, and has been chosen to Alan Gilbert: new honors on heels of triumphant LSO debut Page 2 of 5 receive an honorary doctorate from Westminster Choir College later this spring. Meanwhile, after returning to conduct a special gala evening at his alma mater, the Juilliard School, Gilbert looks forward to concluding his seventh season as Music Director of the New York Philharmonic with a wealth of programs at home in New York, on tour in California, and in the second NY PHIL BIENNIAL, a flagship project that represents one of the most significant innovations of his distinguished tenure. For his first appearances with the London Symphony Orchestra, Gilbert led a pair of programs featuring the music of Scandinavia. Classical Source observed: “Gilbert seems to have hit the ground running. … There was a palpable positive connection.” In Sibelius’s stirring tone poem En Saga, he “presided over a tension-filled,
    [Show full text]
  • 2019 Programme Bergen International Festival
    BERGEN BERGEN 22 MAY—05 JUNE INTERNATIONAL 2019 FESTIVAL 2019 PROGRAMME BERGEN INTERNATIONAL FESTIVAL WWW.FIB.NO/EN PREFACE BERGEN INTERNATIONAL 003 FESTIVAL 2019 Art as Collective Dreaming For almost seven decades, the Bergen Welcome to the 2019 Bergen International International Festival has set human minds in Festival! motion with art's wild and sprawling dream- We are such stuff Together we scapes. Art is the way in which society dreams. As dreams are made on; and our little life Through music, theatre and dance, the Festival Is rounded with a sleep. create good has celebrated and rattled the city, and sought – From THE TEMPEST new answers to old questions. by William Shakespeare, customer When Bergen is dressed in the green delight of May, the best artists from Norway and experiences abroad arrive, standing shoulder to shoulder to celebrate spring and the blossoming life of festive-minded locals and international guests. The Festival and Bergen are situated in the most Anders Beyer dynamic region of the country, with incredible Festival Director nature as a dramatic and beautiful backdrop for all activities. The Festival wishes to make a mark on the city and create lasting experi- ences by letting daily life take a break, instead offering adventurous dream rooms where one can breathe fresh air and think new thoughts. The Bergen International Festival is proud evidence of the social power and transforma- We hope you will have a great cultural experience tive potential of being able to dream together, at the Bergen International Festival. publicly and consciously. We expand horizons and inspire strong emotional unfolding.
    [Show full text]