Download Program Notes

Total Page:16

File Type:pdf, Size:1020Kb

Download Program Notes Virus All Is Full of Love Björk jörk is an Icelandic singer and songwrit- names” are patronymics that typically change Ber who has shown remarkable staying with each generation to reflect the name of a power since gaining widespread attention in person’s father. Björk’s full name with pat- the late 1980s as lead singer of the alterna- ronymic is Björk Guðmundsdóttir, denoting tive rock band The Sugarcubes. The Icelan- “Björk daughter of Guðmund.” Growing up, dic group was short-lived — it was formed she completed the full 10-year course of the in 1986, released its first acclaimed album Barnamúsíkskóli Reykjavíkur, the oldest and in 1988, and disbanded in 1992 — but it in- most distinguished music school in her coun- spired international enthusiasm in those try (which boasts an unusual density of music few years, thanks in no small part to Björk’s schools). As a student she studied piano and extraordinary vocal variety and expressive- flute, and by the time she graduated, in 1980, ness. She continued as a solo artist, and in she had developed strong interests in jazz, 1993 she released her first solo recording, ap- minimalism, and avant-garde experimental- propriately titled Debut. It would be the first ism, in addition to classical music. But asked of nine albums to date, the most recent being to pinpoint influences in her musical style, Utopia, from 2017. Björk insists that her inspiration is not limit- Her discography has met with extraordi- ed to the work of earlier musicians. She told a nary success. Several of her albums have fig- Brazilian reporter in 1996: ured within the Top 20 in the Billboard charts, more than 30 of her singles have qualified for I’m influenced by everything, by books, international best-seller lists, and in 2015 it by the weather, by the water, by my shoes, was reported that her total record sales to date if they’re comfortable or not. Everything. fell somewhere in the range of 20 to 40 mil- [Some] of it is music, but I think it is very lion units worldwide. In the course of her ca- important with people who are dealing reer, her music-making has traveled through with making music that they are not only many styles, including punk rock, jazz fusion, influenced by music. ... It should be be- alternative rock, electro-pop, EDM (electronic yond style, beyond influence, it should be dance music), and IDM (intelligent dance mu- about pure emotion, and real life. sic). Her songs have drawn from an eclectic array of other repertoires, from the jazz of Ella Fitzgerald to the traditional musics of Iceland, In Short Greenland, Bulgaria, China, and Central Africa. Born: November 21, 1965, in Reykjavík, Iceland Asked about musical influences, she told her Resides: in Reykjavík biographer Mark Pytlik: Works composed and premiered: Virus, If I were to say who influenced me most, I in 2011; All Is Full of Love, 1997; both songs orchestrated by Hans Ek in 2016 would say people like Stockhausen, Kraft- werk, Brian Eno, and Mark Bell. New York Philharmonic premieres: these performances Family surnames do not traditionally fea- Estimated durations: Virus, ca. 4 minutes; ture in the Icelandic language. Instead, “last All Is Full of Love, ca. 3 minutes FEBRUARY 2020 | 30A In addition to singing, Björk has had an All Is Full of Love is the closing track from acting career, appearing in The Juniper Tree her 1997 album Homogenic. The album was (1990) and Dancer in the Dark (2000). For in general an homage to Iceland and Norse the latter, which was written and directed by mythology, although Björk created much of Lars von Trier, she composed and produced it while living in Málaga, Spain, where she the musical score, and was awarded the Best reported that she was specifically inspired Actress award at the Cannes Film Festival for for this song by hearing birdsongs during a her performance. morning walk in April. It therefore concluded Virus appeared on Björk’s 2011 album Bio- the rather dark album on a hopeful note. philia, in which the songs relate to nature. This is a love song, but the nature metaphor Instrumentation: Virus calls flute and pic- she employs is not a traditionally sunny colo, oboe and English horn, clarinet and one. Instead, it views a love relationship in bass clarinet, bassoon and contrabassoon, terms of biological synergy, as a sort of par- two horns, two trumpets, three trombones, asitic attack of one organism on another — tuba, timpani, crotales, marimba, orches- a liaison that encompasses both inevitable tra bells, vibraphone, finger cymbals, sizzle attraction and mutual destruction. In part, cymbal, large and small bass drums, harp, the song relates to Björk’s own experience celesta, and strings, in addition to the solo of being afflicted with candidiasis, a fungal soprano. All Is Full of Love employs flute and infection of the mouth and throat. “It’s like I piccolo, two oboes, two clarinets, bassoon have this new neighbor that I have to sort of (doubling contrabassoon), four horns, three learn to live with,” she said. “And obviously trumpets, three trombones, tuba, timpani, you know this fungus is inside all of us and crotales, marimba, large cymbal, finger cym- it’s never about eliminating it. You have to bals, sizzle cymbal, bass drum, harp, celesta, kind of just live with it.” and strings, in addition to the solo soprano. Polar Parallels The arrangements of Björk songs performed here were made by Hans Ek (b. 1964 in Uppsala, Sweden), who has orchestrated and conducted music for numerous films and has arranged popular music for concert use. He has repeatedly worked as music direc- tor for the Polar Music Prize, a Swedish award founded in 1989 by Stig Anderson (manager of the band ABBA) and given each year to one classical and one “contemporary” musician. As it happens, both Björk and Renée Fleming have been recipients, the former in 2010, the latter in 2008. Fleming said of Björk: Her originality is breathtaking. She just blazes her own path for- ward. … Björk’s openness of expression, and the creative col- oring of her voice, the text and instrumentation, create a style that is uniquely hers. Björk, in a photoshoot for the album Biophilia, which included the song Virus 30B | NEW YORK PHILHARMONIC Text Bjork’s Virus and All Is Full of Love Bjork’s Virus Bjork’s All Is Full of Love Like a virus needs a body You'll be given love As soft tissue feeds on blood You'll be taken care of Some day I'll find you, the urge is here You'll be given love You have to trust it Like a mushroom on a tree trunk As the protein transmutates Maybe not from the sources I knock on your skin, and I am in You have poured yours Maybe not from the directions The perfect match, you and me You are staring at I adapt, contagious You open up, say welcome Twist your head around It's all around you Like a flame that seeks explosives All is full of love As gunpowder needs a war All around you I feast inside you, my host is you All is full of love The perfect match, you and I You just ain't receiving You fail to resist All is full of love My crystalline charm Your phone is off the hook All is full of love Like a virus, patient hunter Your doors are all shut I'm waiting for you, I'm starving for you All is full of love! My sweet adversary All is full of love, all is full of love My sweet adversary All is full of love, all is full of love My sweet adversary FEBRUARY 2020 | 31.
Recommended publications
  • Before the Forties
    Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY
    [Show full text]
  • Mrs. Chase Among Highest-Paid Prep School Heads; It’S About the Individual’S Safety.” 1968
    VISIT US ON THE WEB AT www.phillipian.net Volume CXXVIII, Number 24 Phillips Academy, Andover, Massachusetts January 6, 2006 SMOYERʼS $1M INTERNET SAFETY DONATION TO FIX CONCERNS PROMPT ATHLETIC FIELDS E-MAIL WARNING By EMMA WOOD By STEVE BLACKMAN The Andover Athletic and ALEXA REID Department received a generous In light of recent events, Phillips “Christmas present” of $1 million Academy issued a warning to parents from Stanley Smoyer. and students about the danger of Mr. Smoyer requested that using popular networking websites his donation go directly towards like MySpace.com. renovating the drainage system In an e-mail message to parents of the Boys Varsity Soccer fi eld, and faculty sent on December 12, which fl oods often. Dean of Students and Residential “For years, now, the water Life Marlys Edwards clarifi ed school problems have interfered with policy on non-academic computer practices and forced us to cancel use, warning students about the games. The varsity teams deserve dangers inherent in posting personal to have a fi eld they can be proud information on public webpages. of, so we couldn’t be more pleased She wrote, “The safety concerns about this extraordinary gift,” said arising from use of these Internet sites Athletic Director Martha Fenton, are numerous, and they include the according to Director of Public real fear that young people are making Information Steve Porter. themselves vulnerable to predators.” Instructor in Math and Boys’ “[Sites like MySpace] are not Varsity Soccer Coach Bill Scott a bad thing, not at all, but there said to Mr. Porter, “It is our goal is incredible potential for [their] and dream to create the best natural misuse,” said Ms.
    [Show full text]
  • SEQUENCE 1.2 (2014) an Allegory of a 'Therapeutic' Reading of a Film
    SEQUENCE 1.2 (2014) An Allegory of a ‘Therapeutic’ Reading of a Film: Of MELANCHOLIA Rupert Read SEQUENCE 1.2 (2014) Rupert Read Wittgenstein, Tractatus Logico-Philosophicus: 6.43 If good or bad willing changes the world, it can only change the limits of the world, not the facts; not the things that can be expressed in language. // In brief, the world must thereby become quite another, it must so to speak wax or wane as a whole. // The world of the happy is quite another than that of the unhappy. 6.431 As in death, too, the world does not change, but ceases. 6.4311 Death is not an event of life. Death is not lived through. // If by eternity is understood not endless temporal duration but timelessness, then he lives eternally who lives in the present. // Our life is endless in the way that our visual field is without limit. Heidegger, Being and Time: If I take death into my life, acknowledge it, and face it squarely, I will free myself from the anxiety of death and the pettiness of life - and only then will I be free to become myself. Wittgenstein, Remarks on the philosophy of psychology I: 20: [A]n interpretation becomes an expression of experience. And the interpretation is not an indirect description; no, it is the primary expression of the experience. 2 SEQUENCE 1.2 (2014) Rupert Read 1. This essay is a (more or less philosophical) i. Throughout this paper, I dance in a account or allegory of my viewing(s) of Lars von ‘dialogue’ with – am in ‘conversation’ Trier’s remarkable film, Melancholia (2011).1 It is with – Steven Shaviro’s fascinating personal, and philosophical.
    [Show full text]
  • Download Futuro Anteriore
    Numero XVII Estate 2017 futuro anteriore Sommario L'Editorial L’Editorial 3 InSistenze 4 Gusci vuoti alla dervia di Simone Scaloni 5 Nella sottrazione utile... di Anna Laura Longo 9 SETTEMBRE 2017 - N.17- ANNO 5 La cristallomanzia delle vite interrotte di Gioele Marchis 13 L’attimo al fulmicotone di Lucio Costantini 17 www.rivistadiwali.it InVerso 21 «No, non è detto che il passato sia già accaduto, così alla perfezione piattamente presente del digitale, che an- Gianluigi Miani 22 come non è detto che il futuro non lo sia ancora. È cer- nulla ogni profondità dimensionale. O come le visioni vo- Valentina Ciurleo 23 to questo il modo in cui spontaneamente pensiamo il lutamente caricaturali del futuro nella fantascienza, che Direttore Editoriale tempo, ma...Lo spazio di questo ma raccoglie le infinite sappiamo non si produrranno mai come le immaginiamo, Roberto Marzano 24 Maria Carla Trapani possibilità della rappresentazione artistica del futuro an- ma che hanno proprio nel loro essere improbabili la forza Martina Millefiorini 26 teriore, questo tempo strano che già sui banchi di scuola di una protesta, di una resistenza. A volte l’anticato e il Direttore Responsabile Dona Amati 28 ci appariva misterioso. Ma è tutto lì il senso del tempo: futuristico si fondono in una sola immagine doppiamente Flavio Scaloni nella possibilità di pensare adesso qualcosa che oggi o anacronistica, come nello Steampunk, in cui le due dire- Focus Haiku 30 domani sarà passata… zioni convergono in una sola immagine, in un solo suo- Redazione InStante 35 Sarà passata, eccolo un esempio del nostro tempo, no, in una sola parola di resistenza.
    [Show full text]
  • Members Only Screenings 2006
    Films Screened at MFS ‘Members Only’ Nights, Masonic Hall Maleny February ’06 to Dec ’16 ’10 84 Charing Cross Road US drama 1986 ’12 100 Nails ITALY drama 2007 ’14 400 Blows FR drama 1959 ’09 The Archive Project AUS doc 2005 ’07 The Back of Beyond AUS drama 1954 ’08 Babakiueria AUS com 1986 ’14 Barbara GER psych.thriller 2012 ’15 My Beautiful Country GER drama 2012 (Die Brücke am Ibar) ’07 Bedazzled UK comedy 1967 ’11 Black Orpheus BRAZIL/FR drama 1958 ’11 Blow Up UK drama 1966 ’10 Bootmen US/AUS drama 2000 ’16 Bornholmer Street Germany drama 2014 ’16 Breaker Morant AUS drama 1980 ’06 Breaking the Waves US dr/rom 1996 ’12 Breathless (A Bout de Souffle) FR drama 1959 ’09 Brothers Denmark drama 2004 ’13 Bunny Lake is Missing UK mystery/dr 1965 ’07 Cane Toads AUS doc 1987 ’16 Casablanca US drama 1942 ’12 Cherry Blossoms Germany drama 2008 ’06 The Chess Players India drama 1977 ’12 Children of the Revolution AUS drama 1996 ’08 The Company of Strangers Canada drama 1990 ’13 Cul de Sac UK mystery/com 1966 ’06 Cunnamulla AUS doc 2000 ’06 Dance of the Wind INDIA drama 1997 ’09 Dancer in the Dark Denmark musical 2000 ’10 Day for Night FR comedy 1973 ’09 Days of Heaven USA drama 1978 ’16 Dead Poet’s Society USA com/dr 1989 ’11 Dingo AUS jazz/dr ama 1991 ’11 The Discreet Charm of the Bourgeoisie FR satire 1972 ’13 Distant Lights GER immigrant dr 2003 ’11 Il Divo ITALY political dr 2008 ’08 Don’s Party AUS com/drama 1976 ’15 The Dunera Boys AUS doc 1985 ’07 East of Eden US drama 1954 ’07 The Edge of the World/ Scotland doco 1937/ Return to the Edge
    [Show full text]
  • Magnus Lindberg 1
    21ST CENTURY MUSIC FEBRUARY 2010 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $96.00 per year; subscribers elsewhere should add $48.00 for postage. Single copies of the current volume and back issues are $12.00. Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. email: [email protected]. Typeset in Times New Roman. Copyright 2010 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Copy should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors are encouraged to submit via e-mail. Prospective contributors should consult The Chicago Manual of Style, 15th ed. (Chicago: University of Chicago Press, 2003), in addition to back issues of this journal.
    [Show full text]
  • Sans Titre-2
    A l’Espace Audiovisuel: Les Palmes d’Or du festival de Cannes Année Titre Réalisateur Pays Cote 2010 Oncle Boonmee Weerasethakul Apichatpong Thaïlande 3344DVD 2009 Le ruban blanc Haneke Michael Autriche 2720DVD 2008 Entre les murs Cantet Laurent France 1727DVD 2007 4 mois, 3 semaines, 2 jours Mungiu Cristian Roumanie 1403DVD 2006 Le vent se lève Loach Ken Royaume-Uni 1161DVD Jean-Pierre et 2005 L'enfant Dardenne Luc Belgique 1284DVD 2004 Fahrenheit 9 / 11 Moore Michael Etats-Unis 2692DVD 2003 Elephant Van Sant Gus Etats-Unis 496DVD 2002 Le pianiste Polanski Roman Pologne 649DVD 2001 La chambre du fils Moretti Nanni Italie 1892DVD 2000 Dancer in the dark Trier Lars von Danemark 269DVD Jean-Pierre et 1999 Rosetta Dardenne Luc Belgique 57DVD 1998 L'éternité et un jour Angelopoulos Theo Grèce 1503DVD Le goût de la cerise Kiarostami Abbas Iran 1929AVV 1997 L'anguille Imamura Shohei Japon 1921AVV 1996 Secrets et mensonges Leigh Mike Royaume-Uni 1028DVD 1995 Underground Kusturica Emir Yougoslavie 1994 Pulp fiction Tarantino Quentin Etats-Unis 1203DVD Nouvelle- 1993 La leçon de piano Campîon Jane Zélande 1032DVD Adieu ma concubine Kaige Chen Chine 1086DVD 1992 Les meilleures intentions August Bille Danemark 1991 Barton Fink Coen Ethan et Joel Etats-Unis 1505DVD 1990 Sailor et Lula Lynch David Etats-Unis 1218DVD 1989 Sexe, mensonge et vidéo Soderbergh Steven Etats-Unis 1068AVV 1988 Pelle le conquérant August Bille Danemark 288DVD 1987 Sous le soleil de Satan Pialat Maurice France 11DVD 1986 Mission Joffé Roland Royaume-Uni 1985 Papa est en voyage
    [Show full text]
  • MTO 16.3: Takehana, Review of the Social And
    Volume 16, Number 3, August 2010 Copyright © 2010 Society for Music Theory Review of Nicola Dibben, Björk (Bloomington: Indiana University Press, 2009) Elise O. Takehana KEYWORDS: Nicola Dibben, Björk, Iceland, nationalism, globalism, technology, nature, popular music Received November 2009 [1] Björk Guðmundsdóttir’s works have consistently posed a challenge to pop and art music as well as to those critics who have explored her music. The broad diversity of her approach to media and genre has made her oeuvre particularly enigmatic. Nicola Dibben premises this key trait of Björk’s work, calling her a whole artist who “communicates her ideas through the integrated use of all media at her disposal” ( Dibben 2009 , 23). To uphold such an interpretation of Björk’s work and artistic position, Dibben veers from many previous texts on the pop artist that presuppose a chronological biography as its organizing structure. Instead she adopts a thematic approach to all her artistic projects regardless of genre or release date. She investigates Björk’s critical reception, dividing the book into themes surrounding many of the basic binaries the artist bridges, particularly her understanding of pop/avant-garde, nationalism/globalism, and nature/technology. By providing a concerted and accessible analysis of the artist’s music, Dibben adds a formalist dimension to past critiques of Björk’s work. Dibben’s book provides an in-depth academic treatment of the artist as both a cultural and musical figure of great importance. Björk offers an intriguing case study of the artist and adds to a continued conversation about the role of music in the face of digital utopianism and globalization that will assuredly be a standard for any subsequent study on Björk.
    [Show full text]
  • Magnus Lindberg Al Largo • Cello Concerto No
    MAGNUS LINDBERG AL LARGO • CELLO CONCERTO NO. 2 • ERA ANSSI KARTTUNEN FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU MAGNUS LINDBERG (1958) 1 Al largo (2009–10) 24:53 Cello Concerto No. 2 (2013) 20:58 2 I 9:50 3 II 6:09 4 III 4:59 5 Era (2012) 20:19 ANSSI KARTTUNEN, cello (2–4) FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU, conductor 2 MAGNUS LINDBERG 3 “Though my creative personality and early works were formed from the music of Zimmermann and Xenakis, and a certain anarchy related to rock music of that period, I eventually realised that everything goes back to the foundations of Schoenberg and Stravinsky – how could music ever have taken another road? I see my music now as a synthesis of these elements, combined with what I learned from Grisey and the spectralists, and I detect from Kraft to my latest pieces the same underlying tastes and sense of drama.” – Magnus Lindberg The shift in musical thinking that Magnus Lindberg thus described in December 2012, a few weeks before the premiere of Era, was utter and profound. Lindberg’s composer profile has evolved from his early edgy modernism, “carved in stone” to use his own words, to the softer and more sonorous idiom that he has embraced recently, suggesting a spiritual kinship with late Romanticism and the great masters of the early 20th century. On the other hand, in the same comment Lindberg also mentioned features that have remained constant in his music, including his penchant for drama going back to the early defiantly modernistKraft (1985).
    [Show full text]
  • 30N2 Programs
    Sonata for Tuba and Piano Verne Reynolds FACULTY/PROFESSIONAL PERFORMANCES The Morning Song Roger Kellaway Edward R. Bahr, euphonium Salve Venere, Salve Marte John Stevens Concerto No. 1 for Hom, Op. 11 Richard Strauss Delta Sate University, Cleveland, MS 10/03/02 Csdrdds Vittorio Monti / arr. Ronald Davis Suite No. IV for Violoncello S. 1010 J.S. Bach Vocalises Giovanni Marco Bordogni Michael Fischer, tuba "Andante maestoso­Andante mosso" Boise State University, Boise, ID WllljOl "Allegro" Central Missouri State University, Warrensburg, MO 11/1/02 (Johannes Rochut: Melodius Etudes No. 79, 24) Pittsburg State University, Pittsburg, KS 11/4/02 Concertino No. I in B­flat, op. 7 .Julius Klengel/an:. Leonard Falcone Romance Op. 36 Camille Saint­Saens/arr. Michael Fischer GranA Concerto Friedebald Grafe Beelzebub Andrea V. Catozzi/arr. Julius S. Seredy Reverie et Balade Rene Mignion Three Romantic Pieces arr. Michael Fischer Danza Espagnola David Uber Du Ring an meinem Finger, Robert Schumann, Op. 42, No. 4 Velvet Brown, tuba Felteinsamkeit, Johannes Brahms Standchen, Franz Schubert *Bowling Green State University, Bowling Green, OH 10/23/02 **Ohio State University, Columbus, OH 10/24/02 Gypsy Songs .Johannes Brahms/arr. by Michael Fischer Sonata Bruce Broughton The Liberation of Sisyphus John Stevens Chant du Menestrel, op. 71 Alexander Glazunov/arr. V. Brown Adam Frey, euphonium Lieder eines fahrenden Gesellen Gustav Mahler/arr. D. Perantoni Mercer University, Macon, GAl0/01/02 *Te Dago Mi for tuba, euphonium and piano (U.S. premiere) Velvet Brown with Benjamin Pierce, euphonium Sormta in F Major.. Benedetto Marcello Blue Lake for Solo Euphonium **Mus!c for Two Big Instruments Alex Shapiro Fantasies David Gillingham Sonata for tuba and piano Juraj Filas Peace John Golland Rumanian Dance No.
    [Show full text]
  • Leo Kraft's Three Fantasies for Flute and Piano: a Performer's Analysis
    CHERNOV, KONSTANTZA, D.M.A. Leo Kraft's Three Fantasies for Flute and Piano: A Performer's Analysis. (2010) Directed by Dr. James Douglass. 111 pp. The Doctoral Performance and Research submitted by Konstantza Chernov, under the direction of Dr. James Douglass at The University of North Carolina at Greensboro (UNCG), in fulfillment of the requirements for the degree Doctor of Musical Arts, consists of the following: I. Chamber Recital, Sunday, April 27, 2008, UNCG: Trio for Piano, Clarinet and Violoncello in Bb Major, op. 11 (Ludwig van Beethoven) Sonatine for Flute and Piano (Henri Dutilleux) Sonata for Violin and Piano in A Major (César Franck) II. Chamber Recital, Monday, November 17, 2008, UNCG: Sonata for Violin and Piano in g minor (Claude Debussy) El Poema de una Sanluqueña, op. 28 (Joaquin Turina) Sonata for Violin and Piano in A Major, op. 13 (Gabriel Fauré) III. Chamber Recital, Tuesday, April 27, 2010, UNCG: Sonata for Two Pianos in D Major, K. 448 (Wolfgang Amadeus Mozart) The Planets, op. 32: Uranus, The Magician (Gustav Holst) The Planets, op. 32: Neptune, The Mystic (Gustav Holst) Fantasie-tableaux (Suite #1), op. 5 (Sergei Rachmaninoff) IV. Lecture-Recital, Thursday, October 28, 2010, UNCG: Fantasy for Flute and Piano (Leo Kraft) Second Fantasy for Flute and Piano (Leo Kraft) Third Fantasy for Flute and Piano (Leo Kraft) V. Document: Leo Kraft's Three Fantasies for Flute and Piano: A Performer's Analysis. (2010) 111 pp. This document is a performer's analysis of Leo Kraft's Fantasy for Flute and Piano (1963), Second Fantasy for Flute and Piano (1997), and Third Fantasy for Flute and Piano (2007).
    [Show full text]
  • 2. Case Study: Anime Music Videos
    2. CASE STUDY: ANIME MUSIC VIDEOS Dana Milstein When on 1 August 1981 at 12:01 a.m. the Buggles’ ‘Video Killed the Radio Star’ aired as MTV’s first music video, its lyrics parodied the very media pre- senting it: ‘We can’t rewind, we’ve gone too far, . put the blame on VTR.’ Influenced by J. G. Ballard’s 1960 short story ‘The Sound Sweep’, Trevor Horn’s song voiced anxiety over the dystopian, artificial world developing as a result of modern technology. Ballard’s story described a world in which natu- rally audible sound, particularly song, is considered to be noise pollution; a sound sweep removes this acoustic noise on a daily basis while radios broad- cast a silent, rescored version of music using a richer, ultrasonic orchestra that subconsciously produces positive feelings in its listeners. Ballard was particu- larly criticising technology’s attempt to manipulate the human voice, by con- tending that the voice as a natural musical instrument can only be generated by ‘non-mechanical means which the neruophonic engineer could never hope, or bother, to duplicate’ (Ballard 2006: 150). Similarly, Horn professed anxiety over a world in which VTRs (video tape recorders) replace real-time radio music with simulacra of those performances. VTRs allowed networks to replay shows, to cater to different time zones, and to rerecord over material. Indeed, the first VTR broadcast occurred on 25 October 1956, when a recording of guest singer Dorothy Collins made the previous night was broadcast ‘live’ on the Jonathan Winters Show. The business of keeping audiences hooked 24 hours a day, 7 days a week, promoted the concept of quantity over quality: yes- terday’s information was irrelevant and could be permanently erased after serving its money-making purpose.
    [Show full text]