Summer Festival 2007
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Af20-Booking-Guide.Pdf
1 SPECIAL EVENT YOU'RE 60th Birthday Concert 6 Fire Gardens 12 WRITERS’ WEEK 77 Adelaide Writers’ Week WELCOME AF OPERA Requiem 8 DANCE Breaking the Waves 24 10 Lyon Opera Ballet 26 Enter Achilles We believe everyone should be able to enjoy the Adelaide Festival. 44 Between Tiny Cities Check out the following discounts and ways to save... PHYSICAL THEATRE 45 Two Crews 54 Black Velvet High Performance Packing Tape 40 CLASSICAL MUSIC THEATRE 16 150 Psalms The Doctor 14 OPEN HOUSE CONCESSION UNDER 30 28 The Sound of History: Beethoven, Cold Blood 22 Napoleon and Revolution A range of initiatives including Pensioner Under 30? Access super Mouthpiece 30 48 Chamber Landscapes: Pay What You Can and 1000 Unemployed discounted tickets to most Cock Cock... Who’s There? 38 Citizen & Composer tickets for those in need MEAA member Festival shows The Iliad – Out Loud 42 See page 85 for more information Aleppo. A Portrait of Absence 46 52 Garrick Ohlsson Dance Nation 60 53 Mahler / Adès STUDENTS FRIENDS GROUPS CONTEMPORARY MUSIC INTERACTIVE Your full time student ID Become a Friend to access Book a group of 6+ 32 Buŋgul Eight 36 unlocks special prices for priority seating and save online and save 15% 61 WOMADelaide most Festival shows 15% on AF tickets 65 The Parov Stelar Band 66 Mad Max meets VISUAL ART The Shaolin Afronauts 150 Psalms Exhibition 21 67 Vince Jones & The Heavy Hitters MYSTERY PACKAGES NEW A Doll's House 62 68 Lisa Gerrard & Paul Grabowsky Monster Theatres - 74 IN 69 Joep Beving If you find it hard to decide what to see during the Festival, 2020 Adelaide Biennial . -
Michel Van Der Aa Appears Tobenothingparticularlyradicalaboutit
Excerpt from the score of Here [to be found]. ‘This is the Gesamtkunst of the future.’ The Financial Times on After Life An Introduction to the Music cryptic suffering. As a dramatized documentary about a of Michel van der Aa genre it is quintessential Van der Aa. He is the observer whose expedition begins with the vital life questions his by Bas van Putten characters pose on his behalf. What do I see and hear, who am I, what do I feel, what do I think, where do I At first glance, Spaces of Blank (2007) by the Dutch stand? His brand of composing – and in the meantime, composer Michel van der Aa appears to be a conven- much more than just that: Van der Aa also films and tional three-movement song cycle for mezzo-soprano, directs – is less a matter of style as of attitude. ‘I’m not orchestra and soundtrack. The work, written on a a composer of just notes,’ he once said. Although he commission from the Royal Concertgebouw Orchestra, willingly qualifies that statement (‘not that notes aren’t Radio France and the Norddeutscher Rundfunk, is a important’), music is for Van der Aa unmistakably part of setting of evocative poems by Emily Dickinson, Anne a larger whole. The immediate recognizability of his tone, Carson and Rozalie Hirs; it is scored for more or less with the typical alternation between hectic motion and standard orchestral forces; the solo part is, for the most serene, surprisingly sonorous electro-acoustic harmo- part, without vocal eccentricities. Less common is the nies, does nothing to diminish this assertion. -
Shipbreaking Bulletin of Information and Analysis on Ship Demolition # 60, from April 1 to June 30, 2020
Shipbreaking Bulletin of information and analysis on ship demolition # 60, from April 1 to June 30, 2020 August 4, 2020 On the Don River (Russia), January 2019. © Nautic/Fleetphoto Maritime acts like a wizzard. Otherwise, how could a Renaissance, built in the ex Tchecoslovakia, committed to Tanzania, ambassador of the Italian and French culture, carrying carefully general cargo on the icy Russian waters, have ended up one year later, under the watch of an Ukrainian classification society, in a Turkish scrapyard to be recycled in saucepans or in containers ? Content Wanted 2 General cargo carrier 12 Car carrier 36 Another river barge on the sea bottom 4 Container ship 18 Dreger / stone carrier 39 The VLOCs' ex VLCCs Flop 5 Ro Ro 26 Offshore service vessel 40 The one that escaped scrapping 6 Heavy load carrier 27 Research vessel 42 Derelict ships (continued) 7 Oil tanker 28 The END: 44 2nd quarter 2020 overview 8 Gas carrier 30 Have your handkerchiefs ready! Ferry 10 Chemical tanker 31 Sources 55 Cruise ship 11 Bulker 32 Robin des Bois - 1 - Shipbreaking # 60 – August 2020 Despina Andrianna. © OD/MarineTraffic Received on June 29, 2020 from Hong Kong (...) Our firm, (...) provides senior secured loans to shipowners across the globe. We are writing to enquire about vessel details in your shipbreaking publication #58 available online: http://robindesbois.org/wp-content/uploads/shipbreaking58.pdf. In particular we had questions on two vessels: Despinna Adrianna (Page 41) · We understand it was renamed to ZARA and re-flagged to Comoros · According -
Notes for Chapter Re-Drafts
Making Markets for Japanese Cinema: A Study of Distribution Practices for Japanese Films on DVD in the UK from 2008 to 2010 Jonathan Wroot PhD Thesis Submitted to the University of East Anglia For the qualification of PhD in Film Studies 2013 1 Making Markets for Japanese Cinema: A Study of Distribution Practices for Japanese Films on DVD in the UK from 2008 to 2010 2 Acknowledgements Thanks needed to be expressed to a number of people over the last three years – and I apologise if I forget anyone here. First of all, thank you to Rayna Denison and Keith Johnston for agreeing to oversee this research – which required reining in my enthusiasm as much as attempting to tease it out of me and turn it into coherent writing. Thanks to Mark Jancovich, who helped me get started with the PhD at UEA. A big thank you also to Andrew Kirkham and Adam Torel for doing what they do at 4Digital Asia, Third Window, and their other ventures – if they did not do it, this thesis would not exist. Also, a big thank you to my numerous other friends and family – whose support was invaluable, despite the distance between most of them and Norwich. And finally, the biggest thank you of all goes to Christina, for constantly being there with her support and encouragement. 3 Abstract The thesis will examine how DVD distribution can affect Japanese film dissemination in the UK. The media discourse concerning 4Digital Asia and Third Window proposes that this is the principal factor influencing their films’ presence in the UK from 2008 to 2010. -
2020-Commencement-Program.Pdf
THE JOHNS HOPKINS UNIVERSITY COMMENCEMENT 2020 Conferring of degrees at the close of the 144th academic year MAY 21, 2020 1 CONTENTS Degrees for Conferral .......................................................................... 3 University Motto and Ode ................................................................... 8 Awards ................................................................................................. 9 Honor Societies ................................................................................. 20 Student Honors ................................................................................. 25 Candidates for Degrees ..................................................................... 35 2 ConferringDegrees of Degrees for Conferral on Candidates CAREY BUSINESS SCHOOL Masters of Science Masters of Business Administration Graduate Certificates SCHOOL OF EDUCATION Doctors of Education Doctors of Philosophy Post-Master’s Certificates Masters of Science Masters of Education in the Health Professions Masters of Arts in Teaching Graduate Certificates Bachelors of Science PEABODY CONSERVATORY Doctors of Musical Arts Masters of Arts Masters of Audio Sciences Masters of Music Artist Diplomas Graduate Performance Diplomas Bachelors of Music SCHOOL OF NURSING Doctors of Nursing Practice Doctors of Philosophy Masters of Science in Nursing/Advanced Practice Masters of Science in Nursing/Entry into Nursing Practice SCHOOL OF NURSING AND BLOOMBERG SCHOOL OF PUBLIC HEALTH Masters of Science in Nursing/Masters of Public -
É M I L I E Livret D’Amin Maalouf
KAIJA SAARIAHO É M I L I E Livret d’Amin Maalouf Opéra en neuf scènes 2010 OPERA de LYON LIVRET 5 Fiche technique 7 L’argument 10 Le(s) personnage(s) 16 ÉMILIE CAHIER de LECTURES Voltaire 37 Épitaphe pour Émilie du Châtelet Kaija Saariaho 38 Émilie pour Karita Émilie du Châtelet 43 Les grandes machines du bonheur Serge Lamothe 48 Feu, lumière, couleurs, les intuitions d’Émilie 51 Les derniers mois de la dame des Lumières Émilie du Châtelet 59 Mon malheureux secret 60 Je suis bien indignée de vous aimer autant 61 Voltaire Correspondance CARNET de NOTES Kaija Saariaho 66 Repères biographiques 69 Discographie, Vidéographie, Internet Madame du Châtelet 72 Notice bibliographique Amin Maalouf 73 Repères biographiques 74 Notice bibliographique Illustration. Planches de l’Encyclopédie de Diderot et D’Alembert, Paris, 1751-1772 Gravures du Recueil de planches sur les sciences, les arts libéraux & les arts méchaniques, volumes V & XII LIVRET Le livret est écrit par l’écrivain et romancier Amin Maalouf. Il s’inspire de la vie et des travaux d’Émilie du Châtelet. Émilie est le quatrième livret composé par Amin Maalouf pour et avec Kaija Saariaho, après L’Amour de loin, Adriana Mater 5 et La Passion de Simone. PARTITION Kaija Saariaho commence l’écriture de la partition orches- trale en septembre 2008 et la termine le 19 mai 2009. L’œuvre a été composée à Paris et à Courtempierre (Loiret). Émilie est une commande de l’Opéra national de Lyon, du Barbican Centre de Londres et de la Fondation Gulbenkian. Elle est publiée par Chester Music Ltd. -
TOSHIO HOSOKAWA Gardens
TOSHIO HOSOKAWA gardens Ukho Ensemble Kyiv Luigi Gaggero TOSHIO HOSOKAWA (*1955) 1 Drawing (2004) for eight players 14:30 Ukho Ensemble Kyiv Inna Vorobets, flutes 1 2 4 5 2 Im Frühlingsgarten (2002) Yuriy Khvostov, oboe and English horn 4 5 for nine players 08:14 Maxim Kolomiiets, oboe 1 Dmytro Pashinsky, clarinets 1 2 5 3 Nachtmusik (2012) Artem Shestovsky, bass clarinet 2 and clarinet 5 for cimbalom 11:54 Vladimir Antoshin, bassoon and contrabassoon 5 Yevgen Churikov, horn 2 5 4 Singing Garden (2003) Sergiy Cherevatenko, trumpet 5 for six players 11:10 Renat Imametdinov, trombone 5 Dina Pysarenko, piano and celesta 4 5 5 Voyage V (2001) Maria Aleksandrova, piano 1 for flute and chamber orchestra 16:17 Yevgen Ulyanov, percussion 1 5 Anastasia Sabadash, percussion 5 Oleg Pakhomov, percussion 1 TT 62:05 Léa Mesnil, harp 4 5 Rachel Koblyakov, violin 1 2 4 5 Igor Zavgorodnii, violin 2 5 Zenon Dashak, viola 1 2 5 Mario Caroli, flute Victor Rekalo, cello 1 4 5 Luigi Gaggero, cimbalom 3 and conductor 1 2 4 5 Nazar Stets, double bass 2 5 2 3 The Sound of Nature The words which Toshio Hosokawa uses Many works of Hosokawa’s circle around to describe the view from his workspace, gardens and flowers, including the two tells a lot about his relationship with nature. ensemble pieces Im Frühlingsgarten and Therefore, it is not at all surprising that na- Singing Garden, which have been so beau- ture features in his music. But this is not tifully recorded by the Ukho Ensemble done in an illustrative way, as it would be for this CD. -
Syllabus Cambridge IGCSE Music Syllabus Code 0410 For
www.XtremePapers.com Syllabus Cambridge IGCSE Music Syllabus code 0410 For examination in June 2011 Note for Exams Officers: Before making Final Entries, please check availability of the codes for the components and options in the E3 booklet (titled “Procedures for the Submission of Entries”) relevant to the exam session. Please note that component and option codes are subject to change. Contents Cambridge IGCSE Music Syllabus code 0410 1. Introduction .....................................................................................2 1.1 Why choose Cambridge? 1.2 Why choose Cambridge IGCSE Music? 1.3 Cambridge International Certificate of Education (ICE) 1.4 How can I find out more? 2. Assessment at a glance .................................................................. 5 2.1 Assessment structure 2.2 Examination timing – Important information 3. Aims and assessment objectives ....................................................6 3.1 Aims 3.2 Assessment objectives 4. Assessment in detail .......................................................................8 4.1 Scheme of assessment 4.2 Components: 4.2.1 Component 1: Listening 4.2.2 Component 2: Performing 4.2.3 Component 3: Composing 5. Content of Component 1 ...............................................................14 6. Set works – guidance notes .......................................................... 16 7. Assessment criteria for coursework ..............................................44 7.1 Component 2: Performing 7.2 Component 3: Composing 8. Making and submitting -
Kaija Saariaho
Kaija Saariaho TRIOSDANN • FREUND • HAKKILA • HELASVUO JODELET • KARTTUNEN • KOVACIC 1 KAIJA SAARIAHO (1952) 1 Mirage (2007; chamber version) for soprano, cello and piano 15’17 Pia Freund, Anssi Karttunen, Tuija Hakkila Cloud Trio (2009) for violin, viola and cello 16’12 2 I. Calmo, meditato 3’01 3 II. Sempre dolce, ma energico, sempre a tempo 3’46 4 III. Sempre energico 2’34 5 IV. Tranquillo ma sempre molto espressivo 6’50 Zebra Trio: Ernst Kovacic, Steven Dann, Anssi Karttunen 6 Cendres (1998) for alto flute, cello and piano 9’57 Mika Helasvuo, Anssi Karttunen, Tuija Hakkila Je sens un deuxième coeur (2003) for viola, cello and piano 19’07 7 I. Je dévoile ma peau 4’21 8 II. Ouvre-moi, vite! 2’16 9 III. Dans le rêve, elle l’attendait 4’10 10 IV. Il faut que j’entre 2’34 11 V. Je sens un deuxième coeur qui bat tout près du mien 5’45 Steven Dann, Anssi Karttunen, Tuija Hakkila 2 Serenatas (2008) for percussion, cello and piano 16’03 12 Delicato 2’49 13 Agitato 3’13 14 Dolce 1’22 15 Languido 5’41 16 Misterioso 2’56 Florent Jodelet, Anssi Karttunen, Tuija Hakkila STEVEN DANN, viola PIA FREUND, soprano TUIJA HAKKILA, piano MIKAEL HELASVUO, alto flute FLORENT JODELET, percussion ANSSI KARTTUNEN, cello ERNST KOVACIC, violin 3 n the programme note for her string trio piece Cloud Trio, Kaija Saariaho (b. 1952) discusses how Ishe came about the title of the work, recalling her impressions of the French Alps and the cloud formations drifting over the mountains. -
An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru
Flute Repertoire from Japan: An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru Hayashi, and Akira Tamba D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Daniel Ryan Gallagher, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Katherine Borst Jones, Advisor Dr. Arved Ashby Dr. Caroline Hartig Professor Karen Pierson 1 Copyrighted by Daniel Ryan Gallagher 2019 2 Abstract Despite the significant number of compositions by influential Japanese composers, Japanese flute repertoire remains largely unknown outside of Japan. Apart from standard unaccompanied works by Tōru Takemitsu and Kazuo Fukushima, other Japanese flute compositions have yet to establish a permanent place in the standard flute repertoire. The purpose of this document is to broaden awareness of Japanese flute compositions through the discussion, analysis, and evaluation of substantial flute sonatas by three important Japanese composers: Ikuma Dan (1924-2001), Hikaru Hayashi (1931- 2012), and Akira Tamba (b. 1932). A brief history of traditional Japanese flute music, a summary of Western influences in Japan’s musical development, and an overview of major Japanese flute compositions are included to provide historical and musical context for the composers and works in this document. Discussions on each composer’s background, flute works, and compositional style inform the following flute sonata analyses, which reveal the unique musical language and characteristics that qualify each work for inclusion in the standard flute repertoire. These analyses intend to increase awareness and performance of other Japanese flute compositions specifically and lesser- known repertoire generally. -
108 Wissenschaftskolleg Zu Berlin Jahrbuch 2010/2011 MY Third
MY Third Stay At Wiko Toshio Hosokawa toshio Hosokawa was born in Hiroshima, Japan in 1955. After initial studies in tokyo, he came to Berlin in 1976 to study Composition at the Hochschule der Künste under Isang Yun. From 1983 to 1986, he continued his studies at the Hochschule für Musik in Freiburg under Klaus Huber. He has received numerous awards and prizes, including the Irino Prize for Young Composers (1982), the First Prize in the composition compe- tition for the 100th anniversary of the Berliner Philharmonisches Orchester (1982), the Arion Music Prize (1984), the Composition Prize of the Young Generation in europe (1985), the Kyoto Music Prize (1988), the Rheingau Music Prize and Duisburger Music Prize (both 1998), and the Roche Commissions Award (2007). In 2001, Hosokawa was elected a Member of the Berlin Academy of the Arts. Since 2004 he has been Permanent visiting Professor at tokyo College of Music. His compositions include operas: “Hanjo”, “Matsukaze”; oratorios: “voiceless voice in Hiroshima”, “Sternlose Nacht”; orchestral work: “Circulating Ocean”. – Address: 5-18-33, 203 Shimo-shakujii, Nerima-ku, tokyo, 177-0052, Japan. e-mail: [email protected] this stay at Wiko was the third one for me. the first one was for one year in 2006/07, the second for six months in 2008/09 and this time for three months. I have been keeping close communication with the Wiko people and their spirit for five years since 2006 and my musical works were created through this communication. I think the three-month stay at Wiko this time was the harvest of my creation for the last five years. -
Dossier De Presse / Presskit
DOSSIER DE PRESSE / PRESSKIT EN PARTENARIAT AVEC 2 CRÉATION MONDIALE Huit Minutes (nous y étions presque) l’opéra imaginé par le collectif d’artistes d’OperaLab.ch sera à l’affiche dans le cadre de La Bâtie-Festival de Genève les 1, 2 et 3 septembre 2021 au Cube de la HEAD. WORLD PREMIERE Huit Minutes (nous y étions presque), the opera imagined by the OperaLab.ch artists’ collective, will be presented during La Bâtie-Festival de Genève on 1, 2 and 3 September 2021 at the HEAD’s Cube. CAST composition Leonardo Marino livret Pablo Jakob Montefusco mise en scène François Renou scénographie Claire van Lubeek design d’interaction Yann Longchamp costumes Clémentine Küng lumières Benjamin Deferne Patricia Lara Khattabi Irène Estelle Bridet Veronika Borbála Szuromi Emma Marie Hamard Gabriel Anthony Rivera Hugo Raphaël Hardmeyer divinités du Renouveau Élie Autin ; Solène Schnüriger direction musicale Clement Power Orchestre de la HEM 3 OPERALAB.CH OperaLab.ch, ou le début d’une nouvelle aventure : 9 institutions et 14 jeunes artistes s’unissent pour donner naissance à l’opéra de demain. Le Grand Théâtre de Genève (GTG), la Comédie de Genève, la Haute École d’art et de design (HEAD), la Haute école de musique de Genève (HEM), la Manufacture – Haute école des arts de la scène, l’Institut littéraire suisse de la Haute école des arts de Berne, le Flux Laboratory – en partenariat avec l’Abri et La Bâtie-Festival Genève, présentent OperaLab.ch qui les réunit autour d’un projet stimulant. OperaLab.ch est un projet innovant et interdisciplinaire, fruit de l’association d’institutions culturelles romandes, visant à créer de toutes pièces une production de théâtre musical.