Musikprotokoll 1972 Programmbuch
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The Rai Studio Di Fonologia (1954–83)
ELECTRONIC MUSIC HISTORY THROUGH THE EVERYDAY: THE RAI STUDIO DI FONOLOGIA (1954–83) Joanna Evelyn Helms A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2020 Approved by: Andrea F. Bohlman Mark Evan Bonds Tim Carter Mark Katz Lee Weisert © 2020 Joanna Evelyn Helms ALL RIGHTS RESERVED ii ABSTRACT Joanna Evelyn Helms: Electronic Music History through the Everyday: The RAI Studio di Fonologia (1954–83) (Under the direction of Andrea F. Bohlman) My dissertation analyzes cultural production at the Studio di Fonologia (SdF), an electronic music studio operated by Italian state media network Radiotelevisione Italiana (RAI) in Milan from 1955 to 1983. At the SdF, composers produced music and sound effects for radio dramas, television documentaries, stage and film operas, and musical works for concert audiences. Much research on the SdF centers on the art-music outputs of a select group of internationally prestigious Italian composers (namely Luciano Berio, Bruno Maderna, and Luigi Nono), offering limited windows into the social life, technological everyday, and collaborative discourse that characterized the institution during its nearly three decades of continuous operation. This preference reflects a larger trend within postwar electronic music histories to emphasize the production of a core group of intellectuals—mostly art-music composers—at a few key sites such as Paris, Cologne, and New York. Through close archival reading, I reconstruct the social conditions of work in the SdF, as well as ways in which changes in its output over time reflected changes in institutional priorities at RAI. -
Pace Final 26.11.15
Positions, Methodologies and Aesthetics in the Published Discourse about Brian Ferneyhough: A Critical Study Ian Pace1 Since Brian Ferneyhough achieved a degree of public recognition following the premiere of his Transit (1972-75) in March 1975 at the Royan Festival, a range of writings on and reviews of his work have appeared on a relatively regular basis. The nature, scope, style, and associated methodologies of these have expanded or changed quite considerably over the course of Ferneyhough's career––in part in line with changes in the music and its realization in performance––but nonetheless one can discern common features and wider boundaries. In this article, I will present a critical analysis of the large body of scholarly or extended journalistic reception of Ferneyhough's work, identifying key thematic concerns in such writing, and contextualizing it within wider discourses concerning new music. Several key methodological issues will be considered, in particular relating to intentionality and sketch study, from which I will draw a variety of conclusions that apply not only to Ferneyhough, but to wider contemporary musical study as well. Early Writings on Ferneyhough The first extended piece of writing about Ferneyhough's work was an early 1973 article by Elke Schaaf2 (who would become Ferneyhough's second wife),3 which deals with Epicycle (1968), Missa Brevis (1969), Cassandra's Dream Song (1970), Sieben Sterne (1970), Firecyle Beta (1969-71), and the then not-yet-complete Transit. Schaaf’s piece already exhibits one of the most -
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. -
Liner Notes, Visit Our Web Site: Recording: March 22, 2012, Philharmonie in Berlin, Germany
21802.booklet.16.aas 5/23/18 1:44 PM Page 2 CHRISTIAN WOLFF station Südwestfunk for Donaueschinger Musiktage 1998, and first performed on October 16, 1998 by the SWF Symphony Orchestra, conducted by Jürg Wyttenbach, 2 Orchestra Pieces with Robyn Schulkowsky as solo percussionist. mong the many developments that have transformed the Western Wolff had the idea that the second part could have the character of a sort classical orchestra over the last 100 years or so, two major of percussion concerto for Schulkowsky, a longstanding colleague and friend with tendencies may be identified: whom he had already worked closely, and in whose musicality, breadth of interests, experience, and virtuosity he has found great inspiration. He saw the introduction of 1—the expansion of the orchestra to include a wide range of a solo percussion part as a fitting way of paying tribute to the memory of David instruments and sound sources from outside and beyond the Tudor, whose pre-eminent pianistic skill, inventiveness, and creativity had exercised A19th-century classical tradition, in particular the greatly extended use of pitched such a crucial influence on the development of many of his earlier compositions. and unpitched percussion. The first part of John, David, as Wolff describes it, was composed by 2—the discovery and invention of new groupings and relationships within the combining and juxtaposing a number of “songs,” each of which is made up of a orchestra, through the reordering, realignment, and spatial distribution of its specified number of sounds: originally between 1 and 80 (with reference to traditional instrumental resources. -
Ballades À Cor Perdu
JEUDI 12 ET VENDREDI 13 MARS 2020 20H PMC - SALLE ÉRASME BALLADES À COR PERDU SMETANA DIRECTION La Fiancée vendue, CORNELIUS MEISTER ouverture COR MOZART STEFAN DOHR Concerto pour cor n°4 en mi bémol majeur K 495 VON ZEMLINSKY Die Seejungfrau BEDRICHˇ SMETANA (1824-1884) La Fiancée vendue, ouverture (1866) 6’ WOLFGANG AMADEUS MOZART (1756-1791) Concerto pour cor n°4 en mi bémol majeur K. 495 (1786) 17’ I. Allegro moderato II. Romanza : Andante III. Rondo : Allegro vivace ALEXANDER VON ZEMLINSKY (1871-1942) Die Seejungfrau, fantaisie d'après le conte d’Hans Christian Andersen (1905) 45’ I. Sehr mässig bewegt II. Sehr bewegt, rauschend III. Sehr gedehnt, mit schmerzvollem Ausdruck DIRECTION CORNELIUS MEISTER COR STEFAN DOHR 2 À l’origine, Stefan Dohr apprend l’alto et, après avoir entendu le célèbre corniste Hermann Baumann, il en conclut que « ce cor sonne mieux que mon alto ». Aujourd’hui, Stefan est le cor solo de l’Orchestre philharmonique de Berlin. À Strasbourg, il montrera toute l’étendue de son talent en interprétant Mozart. Cornelius Meister dirigera l’une des plus belles œuvres de Zemlinsky que l’on entend peu en concert, Die Seejungfrau (La Sirène) d’après le conte d’Andersen. Armin Jordan l’avait révélée au public strasbourgeois en 2002. 3 Smetana fut l’un des artisans de l’émergence d’une musique natio- nale tchèque et signa l’un des pre- miers chœurs en langue tchèque : La Chanson tchèque en 1860. Ce musicien-citoyen conçut son métier comme une mission patriotique, se dévouant à l’enseignement et, à partir de 1861, exclusivement au Théâtre national. -
21-Asis Aktualios Muzikos Festivalis GAIDA 21Th Contemporary Music Festival
GAIDA 21-asis aktualios muzikos festivalis GAIDA 21th Contemporary Music festival 2011 m. spalio 21–29 d., Vilnius 21–29 October, 2011, Vilnius Festivalio viešbutis Globėjai: 21-asis tarptautinis šiuolaikinės muzikos festivalis GAIDA 21th International Contemporary Music Festival Pagrindiniai informaciniai rėmėjai: MINIMAL | MAXIMAL • Festivalio tema – minimalizmas ir maksimalizmas muzikoje: bandymas Informaciniai rėmėjai: pažvelgti į skirtingus muzikos polius • Vienos didžiausių šiuolaikinės muzikos asmenybių platesnis kūrybos pristatymas – portretas: kompozitorius vizionierius Iannis Xenakis • Pirmą kartą Lietuvoje – iškiliausio XX a. pabaigos lenkų simfoninio kūrinio, Henryko Mikołajaus Góreckio III simfonijos, atlikimas • Dėmesys tikriems šiuolaikinės muzikos atlikimo lyderiams iš Prancūzijos, Vokietijos ir Italijos Partneriai ir rėmėjai: • Intriguojantys audiovizualiniai projektai – originalios skirtingų menų sąveikos ir netikėti sprendimai • Keletas potėpių M. K. Čiurlioniui, pažymint kompozitoriaus 100-ąsias mirties metines • Naujų kūrinių užsakymai ir geriausi Lietuvos bei užsienio atlikėjai: simfoniniai orkestrai, ansambliai, solistai Festivalis GAIDA yra europinio naujosios muzikos kūrybos ir sklaidos tinklo Réseau Varése, remiamo Europos Komisijos programos Kultūra, narys. The GAIDA Festival is a member of the Réseau Varése, European network Rengėjai: for the creation and promotion of new music, subsidized by the Culture Programme of the European Commission. TURINYS / CONTENT Programa / Programme.......................................................................................2 -
Maestro D'arte E Di Vita
G IADA V IVIANI Maestro d’arte e di vita. Modelli e percorsi della riflessione teorica di Camillo Togni su Arnold Schönberg roverbiale è la strenua ricerca d’ordine condotta per tutta la vita da Camillo Togni, impostagli, secondo le sue stesse ricostruzioni a posteriori, dalla ferrea disciplina cui Pdall’età di tredici anni si era dovuto sottoporre per riuscire a convivere con il «bleicher Geselle» («pallido compagno») del diabete, ossia con il memento mori che, a partire dalla diagnosi dei medici, avrebbe pungolato la sua intera attività artistica e intellettuale. 1 In alcune dichiarazioni rilasciate tra gli anni ’80 e ’90, il compositore fa infatti coincidere con l’inizio della malattia – o meglio, della cura – la propria svolta decisiva verso quell’ideale di impegno e rigore che ne permeerà tanto l’esistenza quanto l’espressione arti- stica, incarnandosi sul piano della scrittura musicale in un’adesione assoluta, seppur mai acritica, al metodo della composizione seriale: Una disciplina ferrea richiesta dalla mia sopravvivenza di giorno in giorno e l’assiduità con cui perseguivo la cura insulinica l’ho applicata alla serie. Mi ero forgiato un metodo. Questo biograficamente è vero, perché io ho cominciato a studiare sul serio, anche a scuola, proprio allora. Il modo di curarmi mi ha insegnato una certa disciplina.2 Al di là dell’interesse aneddotico di simili affermazioni, costituisce un dato essen- ziale per l’esegesi togniana la sua personale concezione del «metodo compositivo dodecafo- nico» come «l’unico ausilio […] per un musicista dei nostri tempi per mettere in ordine le proprie idee», la quale, formulata già nel 1951 in una lettera indirizzata al compositore svedese Bengt Hambraeus,3 ha rappresentato per tutta la sua vita una costante cruciale del pensiero del compositore. -
Separation Integration Programme
Edinburgh Research Explorer Separation - Integration Citation for published version: Williams, S, Separation - Integration: Concert of works centred on David C Johnson, 2014, Performance. Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 04. Oct. 2021 This programme is built around David C Johnson’s 4-channel tape piece Our third interruption is a realisation of Yoko Ono’s 1963 Tape Piece III: Telefun, realised in the WDR Studio for Electronic Music, Cologne. Snow Piece: Gemini 8 is a new work by Sean Williams for Grey Area based on NASA's Take a tape of the sound of the snow Gemini missions of the 1960s which paved the way for the Apollo missions to falling. the moon. Gemini 8, piloted by Neil Armstrong, was the first manned space This should be done in the evening. mission in which two spacecraft, launched an hour and a half apart, Do not listen to the tape. -
L'opera Italiana Del Novecento
PIERO MIOLI L'OPERA ITALIANA DEL NOVECENTO MANZONI MILANO, 2018 PREMESSA Cento anni: così Giuseppe Rovani volle intitolare il suo grande romanzo storico-ciclico, narrando vicende comprese fra il 1750 e il 1849 e fra l’altro largheggiando di curiose situazioni e riflessioni musicali (l’edizione definitiva del libro è del 1868-69); e così dovrebbe pur chiamarsi questo sommario panorama del '900 teatro-musicale italiano, nonostante tutti gli imbarazzi che presiedono a tali quadrature cronologiche e tutti i rischi che esso corre fornendo forse più dati che idee. Cent’anni, un secolo, un lungo segmento temporale tutto sommato finito da poco: ma se la fine di questo fatidico '900 si trova a sfumare nell’inizio del secolo seguente, il '100 del Duemila che è in corso, altrettanto si deve riconoscere oggi e si sarà asserito allora del suo inizio sfumato dalla fine del secolo precedente. Nell’impossibilità, dunque, di fissare un avvio riferibile a un preciso fattore di carattere sociale, civile, culturale, per non dire artistico e musicale, sarà provvedimento modesto e rassegnato ma almeno utile e chiaro quello che accetta di dare l'inizio al semplicissimo 1901 e la fine all'altrettanto schietto 2000, permettendosi il credibile lusso di procedere qualche anno ancora. L’imbarazzo non viene a mancare, s’intende, né s’abbassa il rischio, ma da parte sua, almeno, la matematica non ammette né repliche né sfumature. Prima di pervenire al corpo del discorso diacronico, descrittivo, impostato insomma come una giusta suddivisione in periodi, è però sembrato bene fornire degli schizzi storico-culturali che sappiano inquadrare degnamente, si spera, le fasi storiche del genere, un genere significativo ma assai esigente come il teatro d’opera italiano: dunque il diverso “panorama” sincronico promesso dall’indice comprende gli elementi generali, alcuni fenomeni particolari, i luoghi teatrali nel loro complesso e qualche teatro in vista più di altri, ovviamente e principalmente le prime culle della nuova produzione operistica. -
FRENCH SYMPHONIES from the Nineteenth Century to the Present
FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen. -
Thesis Submission
Rebuilding a Culture: Studies in Italian Music after Fascism, 1943-1953 Peter Roderick PhD Music Department of Music, University of York March 2010 Abstract The devastation enacted on the Italian nation by Mussolini’s ventennio and the Second World War had cultural as well as political effects. Combined with the fading careers of the leading generazione dell’ottanta composers (Alfredo Casella, Gian Francesco Malipiero and Ildebrando Pizzetti), it led to a historical moment of perceived crisis and artistic vulnerability within Italian contemporary music. Yet by 1953, dodecaphony had swept the artistic establishment, musical theatre was beginning a renaissance, Italian composers featured prominently at the Darmstadt Ferienkurse , Milan was a pioneering frontier for electronic composition, and contemporary music journals and concerts had become major cultural loci. What happened to effect these monumental stylistic and historical transitions? In addressing this question, this thesis provides a series of studies on music and the politics of musical culture in this ten-year period. It charts Italy’s musical journey from the cultural destruction of the post-war period to its role in the early fifties within the meteoric international rise of the avant-garde artist as institutionally and governmentally-endorsed superman. Integrating stylistic and aesthetic analysis within a historicist framework, its chapters deal with topics such as the collective memory of fascism, internationalism, anti- fascist reaction, the appropriation of serialist aesthetics, the nature of Italian modernism in the ‘aftermath’, the Italian realist/formalist debates, the contradictory politics of musical ‘commitment’, and the growth of a ‘new-music’ culture. In demonstrating how the conflict of the Second World War and its diverse aftermath precipitated a pluralistic and increasingly avant-garde musical society in Italy, this study offers new insights into the transition between pre- and post-war modernist aesthetics and brings musicological focus onto an important but little-studied era. -
AMRC Journal Volume 21
American Music Research Center Jo urnal Volume 21 • 2012 Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder The American Music Research Center Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Dominic Ray, O. P. (1913 –1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music Eric Hansen, Editorial Assistant Editorial Board C. F. Alan Cass Portia Maultsby Susan Cook Tom C. Owens Robert Fink Katherine Preston William Kearns Laurie Sampsel Karl Kroeger Ann Sears Paul Laird Jessica Sternfeld Victoria Lindsay Levine Joanne Swenson-Eldridge Kip Lornell Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25 per issue ($28 outside the U.S. and Canada) Please address all inquiries to Eric Hansen, AMRC, 288 UCB, University of Colorado, Boulder, CO 80309-0288. Email: [email protected] The American Music Research Center website address is www.amrccolorado.org ISBN 1058-3572 © 2012 by Board of Regents of the University of Colorado Information for Authors The American Music Research Center Journal is dedicated to publishing arti - cles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and proposals from the scholarly community, ranging from 3,000 to 10,000 words (exclud - ing notes). All articles should be addressed to Thomas L. Riis, College of Music, Uni ver - sity of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301. Each separate article should be submitted in two double-spaced, single-sided hard copies.