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Julia Wolfe Magnus Lindberg Phill Niblock Frederic
FESTIVALIO KOMPOZITORIAI JULIA WOLFE COMPOSERS IN FOCUS: MAGNUS LINDBERG PHILL NIBLOCK FREDERIC RZEWSKI BERND ALOIS ZIMMERMANN Festivalyje skambės daugiau nei 100 skirtingų žanrų kūrinių, dauguma jų – premjeros Lietuvoje Festivalio programoje – 7 lietuvių kompozitorių kūriniai ir 8 pasaulinės premjeros Festivalio puošmena – pasaulinio garso solistai, ansambliai ir geriausių Lietuvos atlikėjų pajėgos The festival shall present over 100 pieces of different genres, most of them never before performed in Lithuania The programme of the festival includes 7 pieces by Lithuanian composers and 8 world-premieres World-famous soloists, ensembles and best Lithuanian performers will take part in the festival PB 1 PROGRAMA | TURINYS In Focus: Festivalio dėmesys taip pat: 6 JULIA WOLFE 18 FREDERIC RZEWSKI 10 MAGNUS LINDBERG 22 BERND ALOIS ZIMMERMANN 14 PHILL NIBLOCK 24 Spalio 20 d., šeštadienis, 20 val. 50 Spalio 26 d., penktadienis, 19 val. Vilniaus kongresų rūmai Šiuolaikinio meno centras LAURIE ANDERSON (JAV) SYNAESTHESIS THE LANGUAGE OF THE FUTURE IN FAHRENHEIT Florent Ghys. An Open Cage (2012) 28 Spalio 21 d., sekmadienis, 20 val. Frederic Rzewski. Les Moutons MO muziejus de Panurge (1969) SYNAESTHESIS Meredith Monk. Double Fiesta (1986) IN CELSIUS Julia Wolfe. Stronghold (2008) Panayiotis Kokoras. Conscious Sound (2014) Julia Wolfe. Reeling (2012) Alexander Schubert. Sugar, Maths and Whips Julia Wolfe. Big Beautiful Dark and (2011) Scary (2002) Tomas Kutavičius. Ritus rhythmus (2018, premjera)* 56 Spalio 27 d., šeštadienis, 19 val. Louis Andriessen. Workers Union (1975) Lietuvos nacionalinė filharmonija LIETUVOS NACIONALINIS 36 Spalio 24 d., trečiadienis, 19 val. SIMFONINIS ORKESTRAS Šiuolaikinio meno centras RŪTA RIKTERĖ ir ZBIGNEVAS Styginių kvartetas CHORDOS IBELHAUPTAS (fortepijoninis duetas) Dalyvauja DAUMANTAS KIRILAUSKAS COLIN CURRIE (kūno perkusija, (fortepijonas) Didžioji Britanija) Laurie Anderson. -
Other Minds 19 Official Program
SFJAZZ CENTER SFJAZZ MINDS OTHER OTHER 19 MARCH 1ST, 2014 1ST, MARCH A FESTIVAL FEBRUARY 28 FEBRUARY OF UNEXPECTED NEW MUSIC Find Left of the Dial in print or online at sfbg.com WELCOME A FESTIVAL OF UNEXPECTED TO OTHER MINDS 19 NEW MUSIC The 19th Other Minds Festival is 2 Message from the Executive & Artistic Director presented by Other Minds in association 4 Exhibition & Silent Auction with the Djerassi Resident Artists Program and SFJazz Center 11 Opening Night Gala 13 Concert 1 All festival concerts take place in Robert N. Miner Auditorium in the new SFJAZZ Center. 14 Concert 1 Program Notes Congratulations to Randall Kline and SFJAZZ 17 Concert 2 on the successful launch of their new home 19 Concert 2 Program Notes venue. This year, for the fi rst time, the Other Minds Festival focuses exclusively on compos- 20 Other Minds 18 Performers ers from Northern California. 26 Other Minds 18 Composers 35 About Other Minds 36 Festival Supporters 40 About The Festival This booklet © 2014 Other Minds. All rights reserved. Thanks to Adah Bakalinsky for underwriting the printing of our OM 19 program booklet. MESSAGE FROM THE ARTISTIC DIRECTOR WELCOME TO OTHER MINDS 19 Ever since the dawn of “modern music” in the U.S., the San Francisco Bay Area has been a leading force in exploring new territory. In 1914 it was Henry Cowell leading the way with his tone clusters and strumming directly on the strings of the concert grand, then his students Lou Harrison and John Cage in the 30s with their percussion revolution, and the protégés of Robert Erickson in the Fifties with their focus on graphic scores and improvisation, and the SF Tape Music Center’s live electronic pioneers Subotnick, Oliveros, Sender, and others in the Sixties, alongside Terry Riley, Steve Reich and La Monte Young and their new minimalism. -
Cronologia Ii
C R O N O L O G I A II (dal 1901 in poi) (ultimo aggiornamento: 24 giugno 2021) Avvertenze • Questa cronologia, per ragioni di spazio, non comprende diverse informazioni che si possono trovare, in particolare, nei seguenti capitoli del sito: “Catalogo opere musicali”; “Direzione concerti”; “I luoghi dell’avventura artistica / L’esperienza lauretana” (per l’attività dal 1904 al 1926, come direttore della Cappella Musicale della Basilica di Loreto); “Incarichi” (tra cui molti “Collaudi d’organo”); “Onorificenze e premi”. • Le citazioni senza il nome dell’autore, sono di Tebaldini. • Abbreviazioni usate: s.d. (senza data) / d.m. (dati mancanti). • La cronologia è suscettibile di perfezionamenti e integrazioni che verranno apportati a seguito di ulteriori ricerche. 1901 30 gennaio. A Milano partecipa ai funerali di Verdi. 24 febbraio. Parte per Milano con quattro studenti della classe di composizione (Bruno Barilli, Gustavo Campanini, Gilmo Candiolo, Ildebrando Pizzetti) per partecipare al corteo delle rappresentanze intorno al feretro glorioso di Giuseppe Verdi che viene portato, insieme a quello della moglie Giuseppina Strepponi, dal Cimitero Monumentale alla Casa di Riposo per Musicisti fatta costruire da Verdi stesso. 27 febbraio. Con i quattro allievi è presente alla cerimonia di traslazione della salme. Arturo Toscanini dirige l’orchestra che esegue Va’ pensiero. Tutti i presenti lo intonano in coro in un’atmosfera di comprensibile, alta commozione. La sera porta gli allievi alla Scala per assistere alla rappresentazione dell’Elisir d’amore di Donizetti sotto la direzione di Toscanini che gli aveva fatto ottenere i biglietti-omaggio. 28 febbraio. Torna alla Scala con gli studenti per il Tristano e Isotta di Wagner, sempre diretto da Toscanini. -
Symphony Orchestrh
li>V\\V,[ VVx< BOSTON SYMPHONY ORCHESTRH ^^v f^^ •^-^ PRoGRsnnE 1(20 )| The DURABIUTY of PIANOS and the permanence of their tone quality surpass anything that has ever before been obtained, or is possible under any other conditions. This is due to the Mason & Hamlin system of manufacture, which not only carries substantial and enduring construction to its limit in every detail, but adds a new and vital principle of construc- tion—The Mason & Hamlin Tension Resonator Catalogue Mailed on Application Old Pianos Taken in Exchange MASON & HAMLIN COMPANY Established 1854 <i Opp. Institute of Technolog^y 492 Boylston Street SYMPHONY HALL, BOSTON HUNTINGTON (S-MASSACHUSETTS AVENUES Ticket Office, 1492 l„ ,„ TelephonesT»io«t,^«^o i Back Bay j Administration Offices, 3200 J TWENTY-NINTH SEASON, 1909-1910 MAX FIEDLER, Conductor Programme nf % Twentieth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, APRIL 1 AT 2.30 O'CLOCK SATURDAY EVENING, APRIL 2 AT 8.00 O'CLOCK COPYRIGHT, 1909, BY C. A. ELLIS PUBLISHED BY C. A.ELLIS, MANAGER 1493 Mme. TERESA CARRENO On her tour this season will use exclusively Piano. THE JOHN CHURCH CO. NEW YORK CINCINNATI CHICAGO REPRESENTED BY G. L SCHIRMER & CO., 338 Boylston Street, Boston, Mass. 1494 Boston Symphony Orchestra PERSONNEL Twenty-ninth Season, 1909-1910 MAX FIEDLER, Conductor First Violins. Hess, Willy Roth, O. HofiFmann, J. Krafift, W. Concertmaster. Kuntz, D. Fiedler, E. Theodorowicz, J. Noack, S. Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. -
Markus Stockhausen - CV Trumpet, Flugelhorn
Markus Stockhausen - CV Trumpet, flugelhorn Markus Stockhausen was born in 1957 and began playing the piano at the age of six. In 1975 he began to study piano and trumpet at the music school in Cologne. One year before his final exams he was the 1981 winner of the Deutscher Musikwettbewerb prize. Since then he has regularly performed as a soloist, including many premieres such as the trumpet concerto “Jet Stream” composed for him by Peter Eötvös in 2002 and performed for the first time with the BBC Symphony Orchestra in London. He is also a regular guest at renowned international music festivals. Markus Stockhausen is as much at home in jazz as in contemporary and classical music. For about 25 years he collaborated closely with his father, the composer Karlheinz Stockhausen, who composed many beautiful works for him. With his brother Simon he realized several internationally acclaimed musical projects. As soloist, improviser and composer Markus Stockhausen is in international demand. He leads or collaborates in various ensembles with musicians like Arild Andersen, Patrice Héral, Mark Nauseef, Jörg Brinkmann, Angelo Comisso, Christian Thomé, Ferenc Snétberger, Florian Weber, and plays “intuitive music” in the duo Moving Sounds with his wife, the clarinettist Tara Bouman. His group Eternal Voyage features musicians from India, the Netherlands and Lebanon. From the year 2000 until 2010 he directed a concert series called Klangvisionen with intuitive music in the church of St. Maternus in Cologne. As a composer he has received commissions from, among others, the RIAS Chamber Choir, The London Sinfonietta, the Orchestra d‘Archi Italiana, the Winterthur Chamber Orchestra, the Cheltenham Music Festival and the 12 Cellists from the Berlin Philharmonic. -
Il Romancero Gitano Di Mario Castelnuovo-Tedesco Da
IL ROMANCERO GITANO DI MARIO CASTELNUOVO-TEDESCO DA FEDERICO GARCIA LORCA ANGELO GILARDINO La poesia di Federico García Lorca ha esercitato una vera e propria fascinazione sui compositori del Novecento. Un elenco delle musiche scritte su testi del poeta spagnolo, o comunque ispirate alle sue poesie e alle sue opere teatrali, occuperebbe molte pagine. Mi limito a osservare che non sono stati soltanto compositori di madre lingua e di cultura ispanica a scrivere musiche vocali e strumentali lorchiane, ma anche – anzi soprattutto – compositori di altre nazionalità e culture. Fra loro, spicca la figura del compositore fiorentino Mario Castelnuovo-Tedesco (1895-1968), che scrisse un ciclo di sette composizioni per coro misto e chitarra intitolato Romancero Gitano. Questo scritto prende in esame tale composizione, con il proposito di mettere in luce le relazioni esistenti tra il testo poetico e la musica. MARIO CASTELNUOVO-TEDESCO E LA LETTERATURA SPAGNOLA Nato a Firenze nel 1895 da una agiata famiglia di banchieri, Mario Castelnuovo-Tedesco fu istruito da precettori privati e anche la sua precoce vocazione musicale fu inizialmente coltivata da un rinomato insegnante di pianoforte, Edgardo del Valle de Paz, che gli impartì lezioni a domicilio. In età adolescenziale, fu ammesso al Conservatorio della sua città, dove compì gli studi di pianoforte e di composizione. Gli furono maestri Antonio Scontrino e poi Ildebrando Pizzetti. Il severo insegnamento di Pizzetti lasciò nella formazione di Castelnuovo-Tedesco una traccia indelebile, irrobustendo la sua fertile musicalità naturale con una formidabile tecnica compositiva, 2 che contraddistinguerà tutta la sua opera. Dopo un favorevolissimo sviluppo della sua carriera di compositore, che si svolse sotto il segno della buona sorte per almeno vent’anni, nel 1938 Castelnuovo-Tedesco fu colpito, come tutti i cittadini italiani di religione ebraica, dalle leggi razziali. -
Editing the Double Bass Concerto of Antonio Scontrino
The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 12-1-2020 Editing the Double Bass Concerto of Antonio Scontrino Roberto Pineda Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Performance Commons Recommended Citation Pineda, Roberto, "Editing the Double Bass Concerto of Antonio Scontrino" (2020). Dissertations. 1835. https://aquila.usm.edu/dissertations/1835 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. EDITING THE DOUBLE BASS CONCERTO OF ANTONIO SCONTRINO by Roberto Pineda A Dissertation Submitted to the Graduate School, the College of Arts and Sciences and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved by: Dr. Marcos Machado, Committee Chair Dr. Joseph Brumbeloe Dr. Christopher Goertzen Dr. Hsiaopei Lee Dr. Stephen Redfield December 2020 COPYRIGHT BY Roberto Pineda 2020 Published by the Graduate School ABSTRACT Antonio Scontrino (1850-1922) was an important Italian Romantic composer, virtuoso double bassist, and respected pedagogue who is relatively unknown outside of the Italian musical community. His compositional output is prolific and includes string quartets, operas, symphonies, concerti, solo pieces, songs, and religious works. Indeed, Scontrino was a compelling composer who deserves more attention from the international musical community. In addition to his compositional expertise, he was an artful double bass performer whose works for the instrument, while distinctly idiomatic, are compositions of high quality. -
A Festival of Unexpected New Music February 28March 1St, 2014 Sfjazz Center
SFJAZZ CENTER SFJAZZ MINDS OTHER OTHER 19 MARCH 1ST, 2014 1ST, MARCH A FESTIVAL FEBRUARY 28 FEBRUARY OF UNEXPECTED NEW MUSIC Find Left of the Dial in print or online at sfbg.com WELCOME A FESTIVAL OF UNEXPECTED TO OTHER MINDS 19 NEW MUSIC The 19th Other Minds Festival is 2 Message from the Executive & Artistic Director presented by Other Minds in association 4 Exhibition & Silent Auction with the Djerassi Resident Artists Program and SFJazz Center 11 Opening Night Gala 13 Concert 1 All festival concerts take place in Robert N. Miner Auditorium in the new SFJAZZ Center. 14 Concert 1 Program Notes Congratulations to Randall Kline and SFJAZZ 17 Concert 2 on the successful launch of their new home 19 Concert 2 Program Notes venue. This year, for the fi rst time, the Other Minds Festival focuses exclusively on compos- 20 Other Minds 18 Performers ers from Northern California. 26 Other Minds 18 Composers 35 About Other Minds 36 Festival Supporters 40 About The Festival This booklet © 2014 Other Minds. All rights reserved. Thanks to Adah Bakalinsky for underwriting the printing of our OM 19 program booklet. MESSAGE FROM THE ARTISTIC DIRECTOR WELCOME TO OTHER MINDS 19 Ever since the dawn of “modern music” in the U.S., the San Francisco Bay Area has been a leading force in exploring new territory. In 1914 it was Henry Cowell leading the way with his tone clusters and strumming directly on the strings of the concert grand, then his students Lou Harrison and John Cage in the 30s with their percussion revolution, and the protégés of Robert Erickson in the Fifties with their focus on graphic scores and improvisation, and the SF Tape Music Center’s live electronic pioneers Subotnick, Oliveros, Sender, and others in the Sixties, alongside Terry Riley, Steve Reich and La Monte Young and their new minimalism. -
Neri Marcorè GNU Quartet Franco D'andrea Traditions Today
PROGRAMMA / PROGRAMMe 07 2.7 18.7 Val di Fassa, Gruppo Costabella – Cima Uomo Val di Fiemme, Gruppo del Lagorai 13 h Val San Nicolò, Jonta 13 h Laghi di Bombasèl Neri MarCorè Selmer SaxHarMoNiC Gnu QUartet diretti da / conducted by Come una specie di sorriso MiLaN TurkoViC ● ● 6.7 20 .7 Val di Fiemme, Gruppo Corno Nero – San Martino di Castrozza Pala Santa Pale di San Martino 13 h Passo di Lavazé 13 h rifugio rosetta “G. Pedrotti” Franco D’Andrea Mischa MaiSky traDitions toDay ● special guest HaN BenniNk TrekkinG ● * 23 - 25.7 Val di Fassa, Gruppo del Catinaccio 11.7 Val di Fassa, Gruppo Costabella – Cima Uomo Mario Brunello 13 h rifugio Bergvagabunden Hütte GiuliaNo CarMignoLa Markus StoCkHauseN rolf LiesleVand tara BoumaN ● Music Sounds. ritual 25.7 ● Val di Fassa, Gruppo del Catinaccio 13 h rifugio antermoia 14.7 Val rendena e terme di Comano Mario Brunello Gruppo del Brenta GiuliaNo CarMignoLa 13 h Malga Movlina rolf LiesleVand GilleS ApaP ● MeduoteraN 29.7 ● Val rendena, Gruppo della Presanella 13 h rifugio Val d’amola “Giovanni Segantini” L’ALbA delle Dolomiti Alessandro CarBoNare DAwn in the DOlomites 16.7 Luca CiPriaNo Val di Fassa, Gruppo Lusia – Bocche PerLa CorMaNi 6 h Col Margherita ● Mari BoiNe TrekkinG * SNorre BJerCk 31.7- 2.8 CorraDo Bungaro Primiero, Pale di San Martino CarLo La Manna Petra MaGoNi roGer LudvigseN Ilaria FaNtiN GiorDaNo AngeLi Cosa sono le nuvole? ● ● 08 2.8 22.8 Primiero, Pale di San Martino Val di Fassa, Gruppo Viezzena – Bocche 13 h Villa Welsperg 13 h Malga Canvere MusiCa Nuda Ballaké Sissoko special -
OTHER MINDS 14 a Festival of New Music
OTHER MINDSA festival of new music 14 GUEST COMPOSERS: MICHAEL HARRISON • DOBROMIŁA JASKOT • BEN JOHNSTON • CATHERINE LAMB • CHICO MELLO • JOHN SCHNEIDER • LINDA CATLIN SMITH • BENT SØRENSEN • CHINARY UNG MARCH 5 - 7, 2009 7PM PANEL DISCUSSIONS / 8PM CONCERTS JEWISH COMMUNITY CENTER OF SAN FRANCISCO CHARLES AMIRKHANIAN ARTISTIC DIRECTOR • ADAM FONG ASSOCIATE DIRECTOR Revelationary New Music www.radiOM.org The Djerassi Resident Artists Program is a proud co-sponsor of Other Minds Festival 14 The Mission of the Djerassi Resident Artists Program is to support and enhance the creativity of artists by providing uninterrupted time for work, reflection, and collegial interaction in a setting of great natural beauty, and to preserve the land upon which the Program is situated. The Djerassi Program annually welcomes the Other Minds Festival composers for a five-day residency for collegial interaction and preparation prior to their concert performances in San Francisco. Now celebrating its 30th Anniversary, the Djerassi Program has hosted 1800 artists of every discipline worldwide since its founding in 1979. Small, diverse groups of artists convene for one-month residencies at our rural ranch where studio space, housing, meals and staff support are provided free of charge. Information and application materials may be obtained at www.djerassi.org. The Djerassi Program is a non-profit 501 (C) (3) organization that relies on contributions from individuals and phil- anthropic organizations for its operations. Yield to Whim We welcome your support! by -
Ix Festival De Música Visual De Lanzarote
INTRODUCCIÓN El Festival de Música Visual de Lanzarote, creado en 1989 a propuesta del artista Ildefonso Aguilar y bajo el patrocinio del Cabildo de Lanzarote, es un extraordinario evento artístico que se sustenta en la integración de propuestas musicales de vanguardia con diferentes lenguajes artísticos en completa armonía con las especiales características y singularidades de los espacios escénicos naturales de la isla de Lanzarote, como los Auditorios de Jameos del Agua o Cueva de los Verdes. La perfecta integración de las nuevas músicas y el paisaje volcánico insular despertó, desde el inicio del festival, el interés de músicos contemporáneos como Brian Eno o Michael Brook, entre otros, logrando que este evento se convirtiera, a lo largo de sus primeras trece ediciones realizadas entre 1989 y 2002, en uno de los encuentros más atractivos y extraordinarios de las músicas de vanguardias en todo el mundo. En 2017, tras quince largos años de pausa, el Área de Cultura del Cabildo de Lanzarote rescata esta innovadora propuesta musical tan demandada por residentes y visitantes, marcándose entre sus objetivos, por un lado, recuperar el prestigio y la repercusión cultural que para Lanzarote supone una iniciativa como esta y, por otro, convertirlo en una alternativa artística singular que consolide a la isla como un destino cultural de máximo nivel y con entidad suficiente para atraer a aquellos que pretenden descubrir una experiencia musical única en el contexto de una naturaleza y un paisaje singular como el de Lanzarote. ORIGEN Y FUNDAMENTO DEL FESTIVAL Lanzarote es un territorio volcánico de ambientes sutiles e inigualables, albergando espacios extraordinarios para acoger manifestaciones culturales de esta naturaleza. -
REHEARSAL and CONCERT
Boston Symphony Orchestra* SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES. (Telephone, 1492 Back Bay.) TWENTY-FIFTH SEASON, J905-J906. WILHELM GERICKE, CONDUCTOR IProGtamme OF THE TENTH REHEARSAL and CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE. FRIDAY AFTERNOON, DECEMBER 29, AT 2.30 O'CLOCK. SATURDAY EVENING, DECEMBER 30, AT 8.00 O'CLOCK. PubUahcd by C A. ELLIS, ManA^er. ^ 689 m. Uincent dindy The eminent French Composer who has just been in America as guest of the Boston Sym- phony Orchestra, and who ap- peared as Pianist in his own Chamber Music with the Kneisel Quartet and the Longy Club, \ ^tf^<«" ^V!^ played exclusively the MmmMiumlm PIANO regarding which he writes as follows : New York, December 7, 1905. Mason & Hamlin Co. : I do not wish to leave America without telling you how happy I have been to know and to play your magnificent instruments. ' Your Pianos are quite remarkable for their expressive sonority, which Tias especially appealed to me, and which commends them to all those who see in music an art addressing itself to the heart rather than a pretext for virtuosity. One can sing on your Pianos^ and it is this which, to my mind, consti- tutes their chief charm. I want to tell you this in assuring you of my high esteem. (Signed) VINCENT d'INDY. •492 Boylston Street BOSTON (Oppositt Institute of Techonlogy) C90 Boston Symphony Orchestra, PERSONNEL. Twenty -fifth Season, 1905-1906. WILHELM GERICKE, Conductor. First Violins. Hess, Willy, Concertmeister. Adamowski, T. Ondricek, K. Mahn, F. Bak, A. Roth, O. Krafft, W.