DOCSLIB.ORG

Astra Chamber Music Society

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Astra Chamber Music Society A S T R A C O N C E R T S 2 0 1 9 5 pm, Sunday 8 December GOOD SHEPHERD CHAPEL Abbotsford Convent, Melbourne HUMMING / SPOKEN Pauline Oliveros, Arnold Schoenberg, Milton Babbitt, Ruth Crawford, Kenneth Gaburo, Ernst Toch, John J. Becker, John Arthur Grant, Eve Duncan, Callum Mintzis, Jena Capes, Penelope Alexander, Peggy Glanville-Hicks The Astra Choir & Soloists vocal soloists Catrina Seiffert, Leonie Thomson, Susannah Provan, Louisa Billeter, Tim Drylie, Ben Owen, Nicholas Tolhurst, Steven Hodgson organ Kim Bastin The Astra Choir soprano Mo Doris, Catrina Seiffert, Irene McGinnigle, Alison Tokita, Leonie Thomson, Louisa Billeter, Jean Evans, Maree Macmillan, Susannah Provan, Kate Sadler, Kim Tan, alto Gloria Gamboz, Katie Richardson, Beverley Bencina, Jane Cousens, Joy Lee, Mardi McSullea, Joan Pollock tenor Tim Drylie, Ben Owen, Richard Webb, Greg Deakin, Dylan Nicholson bass Robert Franzke, Nicholas Tolhurst, John Mark Williams, Steven Hodgson, Chris Smith, John Terrell John McCaughey conductor This concert gathers some choral pieces from explorative American composers of the last century – largely overlooked then and now in the choral culture – together with new and recent works from composers in Melbourne. Combining the two geographies, the program concludes with the Australian-American, Peggy Glanville Hicks – the premiere performance of her three settings of Wallace Stevens poems, composed 64 years ago in New York. Since the earliest chant forms, choral singing has been poised between two poles of expression, both of great interest to modern composers: a meditative state of pure sonority – humming or melismas on single vowels – and a discursive state, of words projected in unique ways through collective utterance. The popular form of the musical Round (infinite canon at the unison) embodies both of these states. On the one hand, it is a kind of continuous hum of sound - a spiralling repetition of a tune overlaid with itself, its phrases passing between the voices but never advancing, never arriving. On the other hand, it is often an occasional piece with a specially created text, not designed for concert performance but for domestic diversion, or as a personal homage or greeting. Its history reaches from children's play-songs to the encoded canons of Bach's Musical Offering. Arnold Schoenberg (1874–1951), who died as an American citizen following his emigration in 1933, left a large collection of canons and rounds, a pastime on days when he was pausing on larger compositions. His Christmas round from 1939 was part of an exchange of musical gifts with the Los Angeles composer and writer Richard Drake Saunders. Milton Babbitt (1916–2010), often considered Schoenberg's most advanced successor in 12-tone music, also wrote many canons. His Round comes from his last month of life, aged 94, and is made entirely with the 7 white-notes of the C scale. It was one of 16 settings of presidential quotations by various composers, "Sing Out, Mr President", commissioned by the New York choral conductor Judith Clurman. An aphorism by the conservative James Madison was Babbitt's characteristic choice as text. Equally characteristically, Ruth Crawford (1901–53), 80 years earlier, chose a verse from the communist magazine New Masses for her round titled When, Not If. This is the sole survivor of five musical renditions of this text, resulting from an evening of canon-writing with her composer-husband Charles Seeger, reportedly with much laughter. [NOTES CONTINUED ON P.7...] 2 PROGRAM Pauline Oliveros Tuning Meditation 1971 Arnold Schoenberg Merry Christmas, Mr Saunders December 1939 canon for 4 voices, words by Schoenberg Milton Babbitt Round (Had every Athenian citizen been a Socrates) 2010 round for 4-part choir, words by James Madison Ruth Crawford-Seeger When, not If 1933 round for 3 voices, verse by Fred Rolland from New Masses Kenneth Gaburo Humming 1954 4-part choir, without text Laetentur caeli (Let the heavens rejoice) 1957 Text, Psalm 95, Offertory for Christmas Ernst Toch Gesprochene Musik (Spoken Music) 1930 I. “O-a” II. “Ta-tam” III. “Fugue from Geography” speaking chorus, phonetic text by the composer Kenneth Gaburo Terra tremuit (The earth trembled) 1957 Text, Psalm 76, Offertory for Easter Sunday Psalm (In thee I put my trust) 1965 Text, Psalm 31 John J. Becker Morning Song 8-part double-chorus, poem adapted from Herbert P. Horne Ernst Toch Gesprochene Musik 1930 I. “O-a” II. “Ta-tam” III. “Geographical Fugue” accelerated phonograph version Kenneth Gaburo Two madrigals for SATB choir 1950 1. Snow 2. The Willow Poems by Walter de la Mare I N T E R V A L John Arthur Grant Du–ma–lo: Notes from the Borigove, No.3 2016 4-part choir, phonetic text by the composer Eve Duncan Yes, Promise the Clouds 2019 4-part choir, poem by David Malouf first performance Callum Mintzis Don't Lose Sight 2019 4-part choir without text first performance Jena Capes All Became Part 2018 4-part choir, poem by Walt Whitman Penelope Alexander The Blue Wrens and the Butcher Bird 1997 8-part choir & solo vocalists, poem by Judith Wright first performance Peggy Glanville-Hicks Three Madrigals 1955 1. The night is the colour of a woman's arm 2. Not all the knives of the lamp-posts 3. Rationalists! wearing square hats 4-part choir, poems by Wallace Stevens 1916 first performance 3 Pauline Oliveros, TUNING MEDITATION 1971 Arnold Schoenberg, MERRY CHRISTMAS, MR SAUNDERS 1939 4-part canon Mister Saunders, I owe you thanks for at least four years. Let me do it in four voices so that every one of them counts for one year. Merry Christmas four times, listen how they sing it! Also Merry Christmas to Mrs. Saunders. – Arnold Schoenberg, Los Angeles, 1939 Milton Babbitt, ROUND 2010 4-part canon Had every Athenian citizen been a Socrates, every Athenian assembly would still have been a mob. – James Madison, 1788 Ruth Crawford, WHEN, NOT IF 1940 4-part canon Joy to the World, to live and see the day, When Rockefeller Senior shall up to me and say: “Comrade, comrade, can you spare a dime?” – Fred Rolland, from New Masses 1940 Kenneth Gaburo, HUMMING 1954 4-part choir, without text LAETENTUR CAELI 1957 4-part choir Laetentur caeli, et exsultet terra Let the heavens rejoice, and let the earth exult ante faciem Domini: before the face of the Lord, quoniam venit. because he comes. – Psalm 95, Offertory for Christmas Ernst Toch, GESPROCHENE MUSIK (Spoken Music) 1930 I. “O-a” II. “Ta-tam” III. “Fugue from Geography” – phonetic texts by the composer Kenneth Gaburo, TERRA TREMUIT 1957 4-part choir Terra tremuit et quievit: The earth trembled, and was still: Dum resurgeret in judicio Deus. When God arose to judgement. Alleluia. Alleluia. – Psalm 76, Offertory for Easter Sunday PSALM 1965 4-part choir IN THEE I PUT MY TRUST, LET ME NEVER BE ASHAMED; DELIVER ME IN RIGHTEOUSNESS, O LORD. – Psalm 31 4 John J. Becker, MORNING SONG ca.1935 (?) 8-part double-chorus Wake! What unusual light doth greet the early dusk of this our street? It is the Lord! it is the Christ! That, ere the day is born anew, Himself a child is born for you. Praise the Lord! O praise the Lord! Praise O praise! Praise O praise be to God! The harp, the viol, and the flute, To strike a praise unto our God. Then wake, my heart and sweep the strings, The seven in the Lyre of Life! it is the Christ! it is the King! The Newborn King! He is the Christ, Born in a manger. He is the Lord, To all a stranger In the inn no room is left Of all welcomes is he bereft. Now atone and give him praise. – adapted from Herbert P. Horne, Diversi Colores 1891 Ernst Toch, GESPROCHENE MUSIK 1930 - accelerated phonographic version I. “O-a” II. “Ta-tam” III. “Fugue from Geography” Kenneth Gaburo, TWO MADRIGALS 1950 mixed choir I. SNOW No breath of wind, No gleam of sun – II. THE WILLOW Still the white snow Leans now the fair willow, dreaming Whirls softly down In the driving snow she was parched and cold, Twig and bough And in midnight hath been And blade and thorn Swept by blasts of the void night, All in an icy Lashed by the rains. Quiet, forlorn. Now of that wintry dark and bleak Whispering, rustling, No memory remains. Through the air On sill and stone, In mute desire she sways softly; Roof, - everywhere, Thrilling sap up-flows; It heaps its powdery She praises God in her beauty and grace, Crystal flakes, Whispers delight. And there flows Of every tree A delicate wind from the Southern seas, A mountain makes; Kissing her leaves. She sighs. ‘Til pale and faint While the birds in her tresses make merry; At shut of day Burns the Sun in the skies. Stoops from the West One wint’ry ray, – Walter de la Mare, 1921 And, feathered in fire Where ghosts the moon, A robin shrills His lonely tune. – Walter de la Mare, 1913 I N T E R V A L 5 John Arthur Grant, DU–MA–LO: Notes from the Borigove, No.3 2016 4-part choir – phonetic text by the composer Eve Duncan, YES, PROMISE THE CLOUDS 2019 4-part choir first performance Yes, promise the clouds like ragged children, we are willing to come in we are willing to come out to the game, willing to play, and willing to abide and yes, say the others, by the rules, slowly turning, swan, teaspoon, bone, lion, sword, stone, turning in a circle or the three magic bullets. in the charmed field, to be But what will you give, as you wish, sunflower, tractor, child sitting alone on a doorstep and solemnly weeping, to have us walk in out of the rainy afternoon and join you? Will you give us breath? Will you call us by our real names? Will you tell us, in a whisper, your own? – David Malouf Callum Mintzis, DON'T LOSE SIGHT 2019 4-part choir first performance without text Jena Capes, ALL BECAME PART 2018 4-part choir There was a child went forth every day, And the first object he received with wonder or pity or love, that object he became, The early lilacs became part of this child, And white and red morning-glories, and white and red clover, and the song of the phoebe-bird, And the March-born lambs, and the sow’s pink-faint litter, and the mare’s foal, and the cow’s calf, and the noisy brood of the barnyard or by the mire of the pond-side..
Load more

Recommended publications
  • Choral Music of Ernst Toch
    THE CHORAL MUSIC OF ERNST TOCH By MIRIAM SUSAN ZACH A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTL^L FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 1993 Copyright 1993 by Miriam Susan Zach ACKNOWLEDGMENTS The author is grateful to Mikesch Miicke, life-partner and architect, for his patience, encouragement, and introduction to Venturi's thought. His ability to clarify mysteries of computers and the German language made this dissertation a reaUty. She would like to express her deepest gratitude to her parents, Margaret Munster Zach and Herbert William Zach, for a lifetime of support and for advocating the research, teaching, and performance of music. She feels fortunate to have had the opportunity to study music history and Uterature wdth Dr. David Z. Kushner, a master teacher, pianist, and researcher, a mentor who cares. The author is grateful to Dr. Otto W. Johnston for his persistence to help her develop a cogent argument, for responding promptly with thoughtful insights that focused fragmentary ideas, and his humor during the long process. She would also like to take this opportunity to thank Dr. Budd Udell, Dr. Arthur Jennings, Dr. PhyUis Dorman, Dr. Russell Robinson, and Professor Reid Poole for their counsel and collective effort to teach her how to fish. She would like to honor Dr. Robert and MilUe Ramey for their encouraging presence and thoughtfulness. Marsha Berman and Stephen Fry at the UCLA Toch Archive gave their time and expertise during the author's two visits to the collection, and made long-distance research possible.
    [Show full text]
  • Sòouünd Póetry the Wages of Syntax
    SòouÜnd Póetry The Wages of Syntax Monday April 9 - Saturday April 14, 2018 ODC Theater · 3153 17th St. San Francisco, CA WELCOME TO HOTEL BELLEVUE SAN LORENZO Hotel Spa Bellevue San Lorenzo, directly on Lago di Garda in the Northern Italian Alps, is the ideal four-star lodging from which to explore the art of Futurism. The grounds are filled with cypress, laurel and myrtle trees appreciated by Lawrence and Goethe. Visit the Mart Museum in nearby Rovareto, designed by Mario Botta, housing the rich archive of sound poet and painter Fortunato Depero plus innumerable works by other leaders of that influential movement. And don’t miss the nearby palatial home of eccentric writer Gabriele d’Annunzio. The hotel is filled with contemporary art and houses a large library https://www.bellevue-sanlorenzo.it/ of contemporary art publications. Enjoy full spa facilities and elegant meals overlooking picturesque Lake Garda, on private grounds brimming with contemporary sculpture. WElcome to A FESTIVAL OF UNEXPECTED NEW MUSIC The 23rd Other Minds Festival is presented by Other Minds in 2 Message from the Artistic Director association with ODC Theater, 7 What is Sound Poetry? San Francisco. 8 Gala Opening All Festival concerts take place at April 9, Monday ODC Theater, 3153 17th St., San Francisco, CA at Shotwell St. and 12 No Poets Don’t Own Words begin at 7:30 PM, with the exception April 10, Tuesday of the lecture and workshop on 14 The History Channel Tuesday. Other Minds thanks the April 11, Wednesday team at ODC for their help and hard work on our behalf.
    [Show full text]
  • 2015-2016 Lynn University Wind Ensemble-Wind Works Wit'wit
    Lynn Wind Ensemble Wind Works wit' Wit LYNN Conservatory of Music Wind Ensemble Roster FLUTE T' anna Tercero Jared Harrison Hugo Valverde Villalobos Scott Kemsley Robert Williams Al la Sorokoletova TRUMPET OBOE Zachary Brown Paul Chinen Kevin Karabell Walker Harnden Mark Poljak Trevor Mansell Alexander Ramazanov John Weisberg Luke Schwalbach Natalie Smith CLARINET Tsukasa Cherkaoui TROMBONE Jacqueline Gillette Mariana Cisneros Cameron Hewes Halgrimur Hauksson Christine Pascual-Fernandez Zongxi Li Shaquille Southwell Em ily Nichols Isabel Thompson Amalie Wyrick-Flax EUPHONIUM Brian Logan BASSOON Ryan Ruark Sebastian Castellanos Michael Pittman TUBA Sodienye Fi nebone ALTO SAX Joseph Guimaraes Matthew Amedio Dannel Espinoza PERCUSSION Isaac Fernandez Hernandez TENOR SAX Tyler Flynt Kyle Mechmet Juanmanuel Lopez Bernadette Manalo BARITONE SAX Michael Sawzin DOUBLE BASS August Berger FRENCH HORN Mileidy Gonzalez PIANO Shaun Murray Al fonso Hernandez Please silence or turn off all electronic devices, including cell phones, beepers, and watch alarms. Unauthorized recording or photography is strictly prohibited Lynn Wind Ensemble Kenneth Amis, music director and conductor 7:30 pm, Friday, January 15, 2016 Keith C. and Elaine Johnson Wold Performing Arts Center Onze Variations sur un theme de Haydn Jean Fran c;; aix lntroduzione - Thema (1912-1997) Variation 1: Pochissimo piu vivo Variation 2: Moderato Variation 3: Allegro Variation 4: Adagio Variation 5: Mouvement de va/se viennoise Variation 6: Andante Variation 7: Vivace Variation 8: Mouvement de valse Variation 9: Moderato Variation 10: Mo/to tranquil/a Variation 11 : Allegro giocoso Circus Polka Igor Stravinsky (1882-1971) Hommage a Stravinsky Ole Schmidt I. (1928-2010) II. Ill. Spiel, Op.39 Ernst Toch /.
    [Show full text]
  • Kurt Schwitters's Merzbau: Chaos, Compulsion and Creativity Author[S]: Clare O’Dowd Source: Moveabletype, Vol
    Article: Kurt Schwitters's Merzbau: Chaos, Compulsion and Creativity Author[s]: Clare O’Dowd Source: MoveableType, Vol. 5, ‘Mess’ (2009) DOI: 10.14324/111.1755-4527.046 MoveableType is a Graduate, Peer-Reviewed Journal based in the Department of English at UCL. © 2009 Clare O’Dowd. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (CC-BY) 4.0https://creativecommons.org/licenses/by/4.0/, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. Moveable Type Vol. 5 2009: CLARE O’DOWD 1 Kurt Schwitters' Merzbau : Chaos, Compulsion and Creativity For nearly thirty years until his death in 1948, the German artist Kurt Schwitters constructed environments for himself: self-contained worlds, places of safety, nests. Everywhere he went he stockpiled materials and built them into three-dimensional, sculptural edifices. By the time he left Hanover in 1937, heading for exile in England, Schwitters, his wife, his son, his parents, their lodgers, and a large number of guinea pigs had all been living in the midst of an enormous, detritus-filled sculpture that had slowly engulfed large parts of their home for almost twenty years. 1 Schwitters was by no means the only artist to have a cluttered studio, or to collect materials for his work. So the question must be asked, what was it about Schwitters’ activities that was so unusual? How can these and other aspects of his work and behaviour be considered to go beyond what might be regarded as normal for an artist working at that time? And more importantly, what were the reasons for this behaviour? In this paper, I will examine the beginnings of the Merzbau , the architectural sculpture that Schwitters created in his Hanover home.
    [Show full text]
  • Dissertation Body
    Summary of Three Dissertation Recitals by Leo R. Singer A dissertation submitted in partial fulfillment Of the requirements for the degree of Doctor of Musical Arts (Music Performance) in the University of Michigan 2020 Doctoral Committee: Professor Richard Aaron, Chair Professor Colleen Conway Assistant Professor Joseph Gascho Professor Andrew Jennings Professor James Joyce Leo R. Singer [email protected] ORCID iD: 0000-0002-2741-1104 © Leo R. Singer 2020 ACKNOWLEDGMENTS This dissertation was made possible by the incredible faculty at the University of Michigan. Each course presented new information and ways of thinking, which in turn inspired the programming and performing choices for these three dissertation recitals. I would like to thank all the collaborators who worked tirelessly to make these performances special. I also must express my sincere and utmost gratitude to Professor Richard Aaron for his years of guidance, mentorship and inspiration. Lastly, I would like to thank my parents, Scott and Rochelle, my sister, Julie, the rest of my family, and all of my friends for their unwavering support throughout the many ups and downs during my years of education. !ii TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT iv RECITALS I. MUSIC FROM FRANCE 1 RECITAL 1 PROGRAM 1 RECITAL 1 PROGRAM NOTES 2 BIBLIOGRAPHY 8 II. MUSIC FROM GERMANY AND AUSTRIA 10 RECITAL 2 PROGRAM 10 RECITAL 2 PROGRAM NOTES 12 BIBLIOGRAPHY 26 III. MUSIC FROM AMERICA 28 RECITAL 3 PROGRAM 28 RECITAL 3 PROGRAM NOTES 29 BIBLIOGRAPHY 37 !iii ABSTRACT In each of the three dissertation cello recitals, music from a different nation is featured. The first is music from France, the second from Germany and Austria, and the third from America.
    [Show full text]
  • The Pennsylvania State University the Graduate School College Of
    The Pennsylvania State University The Graduate School College of Arts and Architecture CUT AND PASTE ABSTRACTION: POLITICS, FORM, AND IDENTITY IN ABSTRACT EXPRESSIONIST COLLAGE A Dissertation in Art History by Daniel Louis Haxall © 2009 Daniel Louis Haxall Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2009 The dissertation of Daniel Haxall has been reviewed and approved* by the following: Sarah K. Rich Associate Professor of Art History Dissertation Advisor Chair of Committee Leo G. Mazow Curator of American Art, Palmer Museum of Art Affiliate Associate Professor of Art History Joyce Henri Robinson Curator, Palmer Museum of Art Affiliate Associate Professor of Art History Adam Rome Associate Professor of History Craig Zabel Associate Professor of Art History Head of the Department of Art History * Signatures are on file in the Graduate School ii ABSTRACT In 1943, Peggy Guggenheim‘s Art of This Century gallery staged the first large-scale exhibition of collage in the United States. This show was notable for acquainting the New York School with the medium as its artists would go on to embrace collage, creating objects that ranged from small compositions of handmade paper to mural-sized works of torn and reassembled canvas. Despite the significance of this development, art historians consistently overlook collage during the era of Abstract Expressionism. This project examines four artists who based significant portions of their oeuvre on papier collé during this period (i.e. the late 1940s and early 1950s): Lee Krasner, Robert Motherwell, Anne Ryan, and Esteban Vicente. Working primarily with fine art materials in an abstract manner, these artists challenged many of the characteristics that supposedly typified collage: its appropriative tactics, disjointed aesthetics, and abandonment of ―high‖ culture.
    [Show full text]
  • Ernst Toch Papers, Ca
    http://oac.cdlib.org/findaid/ark:/13030/ft0z09n428 No online items Ernst Toch papers, ca. 1835-1988 Finding aid prepared by UCLA Library Special Collections staff and Kendra Wittreich; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] ©2008 The Regents of the University of California. All rights reserved. Ernst Toch papers, ca. 1835-1988 PASC-M 1 1 Title: Ernst Toch papers Collection number: PASC-M 1 Contributing Institution: UCLA Library Special Collections Language of Material: German Physical Description: 44.0 linear ft.(88 boxes) Date (inclusive): ca. 1835-1988 Abstract: The Collection consists of materials relating to the Austrian-American composer, Ernst Toch. Included are music manuscripts and scores, books of his personal library, manuscripts, biographical material, correspondence, articles, essays, speeches, lectures, programs, clippings, photographs, sound recordings, financial records, and memorabilia. Also included are manuscripts and published works of other composers, as well as Lilly Toch's letters and lectures. Language of Materials: Materials are in English. Physical Location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. Creator: Toch, Ernst 1887-1964 Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library Special Collections.
    [Show full text]
  • INSTRUMENTS for NEW MUSIC Luminos Is the Open Access Monograph Publishing Program from UC Press
    SOUND, TECHNOLOGY, AND MODERNISM TECHNOLOGY, SOUND, THOMAS PATTESON THOMAS FOR NEW MUSIC NEW FOR INSTRUMENTS INSTRUMENTS PATTESON | INSTRUMENTS FOR NEW MUSIC Luminos is the open access monograph publishing program from UC Press. Luminos provides a framework for preserv- ing and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org The publisher gratefully acknowledges the generous contribu- tion to this book provided by the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation. The publisher also gratefully acknowledges the generous contribution to this book provided by the Curtis Institute of Music, which is committed to supporting its faculty in pursuit of scholarship. Instruments for New Music Instruments for New Music Sound, Technology, and Modernism Thomas Patteson UNIVERSITY OF CALIFORNIA PRESS University of California Press, one of the most distin- guished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activi- ties are supported by the UC Press Foundation and by philanthropic contributions from individuals and institu- tions. For more information, visit www.ucpress.edu. University of California Press Oakland, California © 2016 by Thomas Patteson This work is licensed under a Creative Commons CC BY- NC-SA license. To view a copy of the license, visit http:// creativecommons.org/licenses.
    [Show full text]
  • The American Stravinsky
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE THE AMERICAN STRAVINSKY THE AMERICAN STRAVINSKY The Style and Aesthetics of Copland’s New American Music, the Early Works, 1921–1938 Gayle Murchison THE UNIVERSITY OF MICHIGAN PRESS :: ANN ARBOR TO THE MEMORY OF MY MOTHERS :: Beulah McQueen Murchison and Earnestine Arnette Copyright © by the University of Michigan 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ϱ Printed on acid-free paper 2015 2014 2013 2012 4321 A CIP catalog record for this book is available from the British Library. ISBN 978-0-472-09984-9 Publication of this book was supported by a grant from the H. Earle Johnson Fund of the Society for American Music. “Excellence in all endeavors” “Smile in the face of adversity . and never give up!” Acknowledgments Hoc opus, hic labor est. I stand on the shoulders of those who have come before. Over the past forty years family, friends, professors, teachers, colleagues, eminent scholars, students, and just plain folk have taught me much of what you read in these pages. And the Creator has given me the wherewithal to ex- ecute what is now before you. First, I could not have completed research without the assistance of the staff at various libraries.
    [Show full text]
  • January 19, 2018
    in concert with MEREDITH MONK Performing works by ZORN MONK RZEWSKI BYRON FUNG BROWN Jan 19, 2018 at the San Francisco Conservatory of Music in the LABORATORY Series San Francisco Contemporary Music Players San Francisco Contemporary Music Players (SFCMP), a 24-member, unionized ensemble of highly skilled musicians, performs innovative, large-ensemble, contemporary classical music with a spotlight on California composers. SFCMP aims to nourish the creation and dissemination of new works through high-quality musical performances, commissions, education and community outreach. SFCMP promotes the music of composers from across cultures and stylistic traditions who are creating a vast and vital 21st-century musical language. SFCMP seeks to share these experiences with as many people as possible, both in and outside of traditional concert settings. Tonight’s event is part of SFCMP’s In the Laboratory Series, where you will experience contemporary classical works that have pushed the boundaries of the concert format through experimentation and exploration. WE DEDICATE our 2017-18 season to our artistic director STEVEN SCHICK, in gratitude for his 7 years of dedication to SFCMP. Thank you, Steve! Steven Schick Solo Performance SAT, MAR 24, 2018 at Z Space 5:30 pm Steven Schick Celebration Reception and Toast 7:00 pm CONCERT Artistic Director and percussionist Steven Schick, who celebrates his final season with SFCMP, will perform in a special Saturday evening solo concert made for this occasion. On the program: Iannis XENAKIS’s Psappha; Kurt
    [Show full text]
  • Dissertation First Pages
    Dissertation in Music Performance by Joachim C. Angster A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (Music: Performance) in the University of Michigan 2020 Dissertation Committee: Assistant Professor Caroline Coade, Co-Chair Professor David Halen, Co-Chair Professor Colleen Conway Associate Professor Max Dimoff Professor Daniel Herwitz Joachim C. Angster [email protected] ORCID iD: 0000-0002-2563-2819 © Joachim C. Angster 2020 ACKNOWLEDGEMENTS I would like to express my gratitude to members of my Doctoral Committee and to my teacher Professor Caroline Coade in particular, for making me a better musician. I also would like to give special thanks to my collaborators Arianna Dotto, Meridian Prall, Ji-Hyang Gwak, Taylor Flowers, and Nathaniel Pierce. Finally, I am grateful for the continuous support of my parents, and for the invaluable help of Anna Herklotz and Gabriele Dotto. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS ii ABSTRACT iv FIRST DISSERTATION RECITAL: Program 1 Program Notes 2 SECOND DISSERTATION RECITAL: Program 18 Program Notes 19 THIRD DISSERTATION RECITAL: Program 27 Program Notes 28 BIBLIOGRAPHY 40 iii ABSTRACT This dissertation pertains to three viola recitals, which were respectively performed on 2 October 2019, 20 January 2020, and 9 March 2020. Each recital program embraced a specific theme involving little-performed works as well as staples from the viola repertoire, and covered a wide range of different musical styles. The first recital, performed with violinist Arianna Dotto, focused on violin and viola duo repertoire. Two pieces in the Classical and early Romantic styles by W. A. Mozart and L.
    [Show full text]
  • Berg's Worlds
    Copyrighted Material Berg’s Worlds CHRISTOPHER HAILEY Vienna is not the product of successive ages but a layered composite of its accumulated pasts. Geography has made this place a natural crossroads, a point of cultural convergence for an array of political, economic, religious, and ethnic tributaries. By the mid-nineteenth century the city’s physical appearance and cultural characteristics, its customs and conventions, its art, architecture, and literature presented a collage of disparate historical elements. Gothic fervor and Renaissance pomp sternly held their ground against flights of rococo whimsy, and the hedonistic theatricality of the Catholic Baroque took the pious folk culture from Austria’s alpine provinces in worldly embrace. Legends of twice-repelled Ottoman invasion, dreams of Holy Roman glories, scars of ravaging pestilence and religious perse- cution, and the echoes of a glittering congress that gave birth to the post-Napoleonic age lingered on amid the smug comforts of Biedermeier domesticity. The city’s medieval walls had given way to a broad, tree-lined boulevard, the Ringstrasse, whose eclectic gallery of historical styles was not so much a product of nineteenth-century historicist fantasy as the styl- ized expression of Vienna’s multiple temporalities. To be sure, the regulation of the Danube in the 1870s had channeled and accelerated its flow and introduced an element of human agency, just as the economic boom of the Gründerzeit had introduced opportunities and perspectives that instilled in Vienna’s citizens a new sense of physical and social mobility. But on the whole, the Vienna that emerged from the nineteenth century lacked the sense of open-ended promise that charac- terized the civic identities of midwestern American cities like Chicago or St.
    [Show full text]